39 10 1775 https://omeka.binghamton.edu/omeka/files/original/1329271217eecd3130dcbb1e3eb9c5a7.pdf 80b7eaf3f1af7664869299c6a538c803 PDF Text Text BINGHAMTON U N I V E R S 1 T Y STATE U N I V E R S I T Y O F N E W Y O R K cad/ob D E P A R T W E N T G RADUATE T HESIS R ECITAL K ATHLEEN JASINSKAS, SOPRANO with U Lee, Piano Charles Hyland, Baritone Frida y, M arch 23, 2012 8:00 p.m. Casadesus Recital Hall �PROGRAM ..Mozart Laudamus Te . from Great Mass in Cminor Five Poems of An na Akhmatova (Op. 27).. 1. Sunshine has ﬁlled the room II. True tenderness III. Memories of sunlight IV. Greetings V. The greyeyed King Selections from Italienisches Liederbuch. with Charles Hyland, Barito ne (1756–1791) .. P ro koﬁev (1891–1953) .Wolf (1860–1903) Ihr seid die Allerschonste Auch kleine Dinge Ein Standchen Euch zu bringen Und willst du deinen Liebsten sterben sehen Mein Liebster singt a m Haus Wie soll ich frohlich sein O wiisstest du, wie viel ich deinetwegen Schweig’ einmal still Ich hab’in Penna einen Liebsten wohnen u ) INTERMISSION «3 Knoxville: Summer of 1915... ...Barber (19101981) PROGRAM NOTES Moza rt was living in Vienna in the winter of 1782 when he began composition of the Great Mass in cminor (K. 427) as a gift for his ﬁancée, soprano Constanze Weber. The mass setting was a n impressively la rge underta king, scored for four soloists (SSTB), double chorus and orchestra. Despite protestations from his father, Mozart and Constanze were ma rried in the summer of 1782 and they premiered several movements of the work at St. Peter’s in Salzburg in October of 1783. By all accounts, the performance was quite successful, but for unknown reasons Wolfgang and Constanze left Salzburg permanently the day after the premiere and the score joins the famous Requiem as a stunning but incomplete work. The Laudamus Te is the second of seven sections tha t form the Gloria movement of the Mass, and its message to praise and glorify God is highlighted by a sunny key transition to FMajor and no shortage of vocal and orchestral pyrotechnics. After the completion of his opera The Gambler in 1916, Se rgei Prokoﬁev is said to have told friends that he wanted to relax and compose a few short, in timate pieces. No stranger to vocal chamber music, his ﬁrst several song cycles employed the poetry of ”socalled Golden Age [poets] such as Push kin and Lermontov.” This time, however, Prokoﬁev sought out the work of upandcoming poet Anna Akhmatova (1889– 1966), enchanted by the “deliberately straightforward and concrete imagery [used] to convey the sometimes morbid sensations of a society woma n.” The cycle was completed in only four days and was a huge success at its premiere at a Concert of Modern Music i n Moscow on February 18, 1917, which featured soprano Zinaida Artyomova and the composer at the piano. Critic Yuly Engel raved that �Prokoﬁev had found a new type of lyricism : “One hardly expects to ﬁnd tenderness, warmth, emotion or, in short, lyrical charm in Prokoﬁev’s music. Some say that the young Sa muel Ba rber began work on Knoxville: Su mmer of1915 in 1947 in response to a request for a large symphonic work for Akhmatova’s words, it is diﬀicult to agree with this.” The composer himself agreed that these compact songs did indeed represent a tu rn toward more lyric wri ting that would follow him to the end of his career. composition: “... my musical response was immed iate and intense... The summer evening he describes reminded me so much of similar evenings when I was a child a t home.” Indeed, Agee and Barber had much in common: both grew up in the South in the ea rly pa rt of the Twentieth Centu ry, and both lost their fathers within a year of their works’ completion. The piece is narrated prima rily by a child, though she seems a t times to transcend into adulthood and reminisce on the idyllic summer scene. Barber described the ﬁnished product as a ”ly ric rhapsody,” featuring a full spectrum of orchestral colors, from the serene lilt of the opening harp and oboe to the full blast of french h orns as the child drops to her knees in prayer. It was premiered by American soprano Eleanor Steber and the Boston Symphony Orchestra in 1948 and has become a beloved staple of the com pose r has none of it. Bu t after h ea ring the songs set to Hugo Wolf was one of the most proliﬁc Lieder com posers of the late 19th Century, producing more than two hundred songs between 1888 and 1897. The Italienisches Liederbuch contains fortysix miniatures in two volumes from 1892 and 1896, while Wolf was living and working in Aust ria. The poems a re traditional 15th Centu ry Tuscan rispetti translated into German by Paul Heyse. Though the translations are beautifully done and reta in much of the poetry’s o riginal ﬂavor, the poems lose the standard structu re of eight 11 syllable lines, which adds to their Italian cha rm. The subject is love, ranging in expression from sublime to ridi culous (and the nine selections we have chosen certainly follow that order!). Each song is a pa instakingly reﬁned snapshot, ranging in style from a si mple Schubertian serena de to complex Wagnerian chromaticism, with the occasional hint of Italian bel canto opera . Though there are no instructions for how the works are to be performed, they are typically divided between a male and female voice based on poetry and musical range, and have been recorded by several incredible teams, including Elisabeth Schwarzkopf and Dietrich FischerDieskau. voice and orchestra by conductor Serge Koussevitzky. He found himself d ra wn to James Agee’s poem, reca lling post modern symphonic repertory. �ABOUT THE PERFORMERS Soprano Kathleen Jasinskas is currently a Resident Artist with TriCities Opera and a Master of Music candidate at Binghamton University, where she studies voice with Professor Tom Goodhea rt. She was hailed as “a joy to watch” singing Despina in TCO’s Cosi fan tutte (2010), and has also been featured as Stella in Les contes d Hoﬀman (2011) and Kate Pinkerton in Madama Butterﬂy (2011) at TCO. Kathleen made her professional debut in 2009 singing Antonia in Man of La Mancha with Shreveport Opera, where she was a member of the Shreveport Opera eXpress Resident A rtist program. She has been seen as a Studio A rtist at Opera New Jersey (2009), covering YumYum in The Mikado and as an Apprentice A rtist at Des Moines Metro Opera (2008), covering the role of Oscar in Un ballo in maschera. Kathleen received her Bachelor’s Degree from The Juilliard School in 2008, where her notable performance credits included the New York premiere of Ned Rorem’s Our Town and the American premiere of Cavalli’s La Doriclea. She made her Alice Tully Hall debut in the Spring of 2007 singing Poulenc’s l a Courte Paille and has presented several recitals in New York City and her hometown, Kansas City, KS. This spring, Kathleen will sing the role of Papagena in TCO’s Die Zauberﬂote (April 27 & 29). An extraordina ry a rtist, Ms. U Lee is a vi rtuoso singer as well as a pianist and conductor. As a singer, Ms. Lee has performed many roles, including Giulietta, La voix humaine, Judith, Suzuki, Mere Ma rie, Idamante, Dorabella, Glenda, Annio, and more in houses from Taiwan and Malaysia to the United States and Canada. In April, Ms. Lee will perform the Second Lady in TriCities Opera’s Die Zaubeﬂite. As a pianist/coach, Ms. Lee has worked for Manhattan School of Music, Dolora Zajick’s Institute for Young Dramatic Voices, Yard Opera, Grandview Opera, Experimental Theater (Taipei), and is no w with the M usic Depa rtmen t of Binghamton University. She has also conducted works by Debussy, Ravel, Puccini, Mozart and Rossini. Not restricted to the vocal studio or concert stage, Ms. Lee also made her appearance on the catwalk for designers Dolita and Stayres, played cello in Melanie Fiona’s music video (It kills me), and her a rt work is currently being exhibited in New York. Charles Hyland, Baritone, is a resident a rtist at the TriCities Opera and is currently in the Master of Music program at Binghamton University. He sang the role of Yamadori and covered the role of Sharpless in the TCO production of Madama Butterﬂy, and will be singing Papageno for their production of Die Zauberﬂo’te in April. Other previous roles include Melchior in Amahl and the Night V isitors (Binghamton University), Masetto in Don Giovanni (Prelude to Performance, Ma rtina Arroyo Foundation), Figaro in Le Nozze di Figaro (Catholic University of America), Dr. Falke in Die Fledermaus (CUA), Schaunard in La Boheme (CUA), Haly in L’ltaliana in Algeri (Bel Cantanti Opera), and Lorenzo in I Capuleti e i Montecchi (BCO). �B nghamton University Music Department ’s U P C O M I N G EVENTS Thursday, March 29 — MidDay Concert — 1:20 p.m. — Casadesus Recital Hall — free Thursday, April 12 — MidDa y Concert — 1:20 p.m. — Casadesus Recital Hall — free Friday, April 13 –– Senior Recital: Alexander Baron, recorder — 8:00 p.m. — Casadesus Recital Hall — free Saturday, April 14 — Masterclass with organist Carla Edwards — 10 a.m. — 12 noon — First Presbyterian Church, Binghamton — free Saturday, April 14 — Robert Smith, euphonium, presents “El Bombardino” with Margaret Reitz, piano — 3 p.m. — Casadesus Recital Hall — $6 general public; $3 faculty/staﬀ/seniors; free for students Sunday, April 15 — Africanaise: An evening of African Inspired Compositions — 3 p.m. — Anderson Center Chamber Hall — $10 general public; $6 faculty/staﬀ/seniors; $3 students Sunday, April 15 — Guest Organist Carla Edwards — 4 p.m. — First Presbyterian Church, Binghamton — $10 general public; $6 fa culty/ staﬀ/seniors; $3 students Thursday, April 19 — MidDay Concert — 1:20 p.m. — Casadesus Recital Hall — free Friday, April 20 — University String Orchestra — 4:00 p.m. — Grand Corridor — free I f you enjoyed and were inspired by this performance, please consider supporting the Department of Music with a ﬁnancial gift. 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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 sound disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 48 minutes:52 seconds Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE142048">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE142048</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. 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Creator An entity primarily responsible for making the resource Lee, Ü Hyland, Charles Jasinskas, Kathleen Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 3/23/12 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/ab259ada974bfbc7d336ef061715a227.pdf 0a6fdb34f1a612e278767935930588d8 PDF Text Text BINGHAMTON U N I V E R S I T Y o y S T A T E U N I V E R S I T Y OF N E W Y O R K t t h e R T M E N T Graduation Recital Briana Sakamoto, soprano William James Lawson, plarust Pej Reitz, plarust Saturd ay, Ma y 7, 2011 at 8 pm Casadesus H a l l �p t o g a m I. Selections from Tonadillas al estilo antiguo, 191011, H. 136 . 1. El majo timido, no. 5 2. El mirar de la maia, no. 6 3. El tra la la y el punteado, no. 7 4. El majo discreto, no. 3 11. Selected songs. 1. V tak mnohém srdci mrtvo iest from Pisne milosme, 1888, op. 83, no. 2 2. Ten ptaéek, ten se nazpiva from Veéemi’ pisné, 1876, op. 31, no. 5 3. Kdy2 mne stara matka from Ciginské melodie, 1885, op. 55, no. 4 Enrique G ranados 18671916 Antonin Dvofak 18411904 .. George Frideric Handel 16851759 III. 11 primo ardor.. from the opera Ariodante, 1735, HWV 33 Intermission IV. Selected songs of Spanish composers late 19% to mid 20* C 1. La zagala alegre. ... from Seis canciones, no. 1” 1940 2. Después que te conoci from Seis canciones, no. 6 .. 3. Como quieres que adivine.. from Seis canciones castellanas, no. 5, 1939 4. Mananita de San Juan from Seis canciones castellanas, no. 6, 1939 4. Cantare: from Poema en forma de cancioncs, no. 3, 1917 V. Settings of English poetry 1. Loveliest of Trees 2. Now sleeps the crimson petal... 3. The Floral Dance. wwerneene Eduard T o l d 18951962 C E Guridi 18861961 .Joaquin Turina 18821949 lohn Duke 18991984 Roger Quilter 18771953 .Kate Emily Barley Moss 18811947 �loitns Thansa a d Texst n I . Selections from Tonad illac al entilo antiguo’ Little songs in an old style 1 dmido 1. El ma jo’ The timid ma jo Uegaamire ia y memira porlanoche unmaio que, en cuanto me ve y suspira, se va calle abajo. lAy qué n’o mas tardiol [Si asi se pasa la vida estoy divertidal every night – a majo who, after looking at me and sighing, continues down the stree t. Ay! What a slowpoke! If this is how life is going to go I will be amused! Texts: Ferna ndo Periquet, 18731940 He appears at my window and stares at me Si hoy tambien pasa y me mira y no se entusiasma pucs después de ese saludo [Adios Don Fantasmal jAy que tic mas tardio! Por estar enamorado l f today he comes again and stares and makes no eﬀort Las reias calladas. Goodbye Mr. Ghost! Ayl What a slowpoke! For being so in love He stays quiet! 2. El mirar de la maja The gaze oft he ma ja ¢Por qué es en mis ojos Why do my eyes have such a deep look? In order to hide tan hondo el rnirar? Que a ﬁn de cortar desdenes y enojos los suelo entornar. Qué fuego dentro llcvaran que si acaso con calor los clavo en mi amor sonroio me dan Por eso el chispem” a quien mi alma di al verse ante mi me tira el sombrero y diceme asi: “Mi maia, no me mires mas que tus oios rayos son y ardiendo en passion la muerte me dan.” and then after this greeti ng it’s disdain and anger l lower my lids So much ﬁre is inside them that if by chance, with their passion, they look piercingly at my lover, they make me blush. 3. El tra la Byel p u n teado Es en balde, majo mio, que sigas hablando porque hay cosas que contesto yo siempre cantando: Themlalaandtheguit arstnrm It is useless, majo of mine, to keep talking Por mas que preguntes tanto because there are things I will answer every time only singing: Tra la la... The more you ask ni yo he de salir de mi canto. or make me end my song. 4. El majo diocrem The discree t ma jo Dicen que mi maio es feo ; Es posible q ue si que lo sea, They say that my maio is ugly; It is possible that indeed he is, Because love is desire that blinds and takes over. Tra la la... i no causas quebranto En m que amor es deseo que ciega y marea. I la tiempo que sé que quien ama no ve. You won’t d istress me I’ve had time to learn: she who kives cannot see. Mas si no es mi maio un hombre que por lindo descuelle y asombre, en cambio es discreto y guarda un secreto que yo posé en él sabiendo quc es ﬁel. But if my maio is not a man who shines and impresses with good looks, he is, on the other hand, discreet and keeps a secret which I told him, knowing he is trustworth y. +Cuil es el secrcto que el majo gu ard ? Seria indiscreto contarlo yo. No poco trabajo costara saber secretos dc un majo con una muicr. What is the secret that the main kept? It would be indiscreet i f s aid it! Nacio en Lavapiés®. {Eh, lehl il is un majo, un majo esl He was born in Lavapiés. Ha! Ha! He’s a majo, a majo he is l Not a bit of eﬀort is need ed to ﬁgure out woman. the secrets o f maio with a Therefore, t his ﬁne gangster to whom I gave my soul when he faces me he pulls his hat down and says to me: “My maial Do not look at me anymo re because you r eyes are lig htning bolts and, burning with passion, they kill me.” s in the opus are 1 A “tonadilla ” is a dimin utive form o f “tona,” song, so it means “little song.” All the song that of 18th quite short, and tell of the romances be tween majos and majas in Madrid. The “old style” is y century /onadilla, a theatrical song based on the vernacular, and on folk music. r class 2 “Maio” has no English equivalent, t hough it is a bit like “dude.” Originally it described spunky lowe mean, roughly, folk, especially in Madrid, who dressed in an exaggera tedly traditional manner. It came to “good looking.” Recently it connotes friendlin form. In these tex ts, earlier meanings apply. “Maja” is t he female acho, “Chispero” is also diﬀicult to transla te. It is something like “gangster” or “rogue” and refers to a m gun. ug, lighter or ans spark pl ﬁery, handsome man. It literally me 3 of person * Lavapies is a barrio, a neighborhood, of Madrid . Keeping wit h the early d eﬁnition of majo, a type from Madrid, the speaker means that since her man was born t here, he is a legitimate majol �II . Selected songs of Dvoﬁk 1. V tak mnohém ardci mrtvo jest I n so man y hearts everyt hing in dead V tak mnohém srdci mrtvo jest, jak v temné pustiné, v ném na Zalost a na bolest, In so many hearts everything is dead, like in a dark wasteland, ln it, pain and suﬀering, are the only things that ﬁt. from Pisne milostne “Love songs™ Text: Gustav PﬂegerMoravsky, 18331875 ba, mista iediné. Tu klamy lasky horouci v to srdce vstup uje, Here deceptions of passionate love enter into the heart, A srdce Zalem prahnouci, to mni he miluje. And the heart, weeping with hunger, is aware that it loves. A v tomto sladk ém domnéni se jeste jednou v raj To srdce mrtvé proméni a zpiva starou bail And in that swee t illusion once more like a paradise The dead heart revives and sings an old tale! 2. Ten ptaéek, ten se nazpiva from Veéemi’ pisné – “Evening songs» Tha t little bird, who sings so much Ten ptaéek, ten se nazpiva, iak by byl piseﬁ ziva; Ba kdo v svém srdci lasku ma, nedivte se, i e zpival That little bird, who sings so much, as if he were song incarnate But whoever has a heart with love in it, do not be surprised that he sings! A ptacek, ten tak od srdce a k srdci mluvit umi, And the little bird, that in this way, knows how to speak from the heart to the heart, Text: Vitézslav H alek, 18351874 Ze div by ¢lovek neplakal, kdyZ srdcem porozumi. Ba Casto mné to ptipada. i e jsem mu druhem v lk ini, neb i ty moje pisné isou ien iemné naﬁkani. 3. KdyZ mne stard madta‘ from Ciganské melodie “Gypsy songs» Text: Adolf Heyduk, 18351923 When my old mother KdyZ mne stara matka zpivat ucivala, podivno, i e éasto slzivala. A ted’ také plaéem snédé lice muéim, KdyZ ciganské déti hrat a zpivat uéiml When my old mother taught me to sing, it’s strange that often she cried. And now 1 too, crying, torment my swarthy face, when I teach gypsy children to play and to sing! III. 11 primo ardor’ The ﬁrst ﬂame of love ll primo ardor é cosi caro a questo cor, che stinguerlo non vuol, quest’alma aman te. The ﬁrst ﬂame of love is so dear to this heart, this heart will not extinguish it, this loving soul. lo son fedel, ne mai crudel e sempre a lui sara il cor costante. I am faithful, never cruel, and for him always my heart will be constant. Text: Anonymous that a man can barely keep from crying, when with his own heart he understands. But often, to me it seems, that I am his friend in sorrows, for even these songs of mine are only gentle laments. 6 $ Dvofak’s ﬁrst attempt at song w riting was a cycle called “The Cyp resses,” which h e composed in 1 865, at the age of 24. He earned a small living playing viola in the orchestra of Bedﬁch Smetana, and teaching piano. Two of his students were Joseﬁna Cermikova and her younger sister, Anna. He was in love with J oseﬁna, but she did not return his aﬀections, and he later fell for Anna. Some say “The Cypresses” were written for one of the two sisters, but it is unclear as to w hich sister the composer had in mind. In 1873, Dvofak and Anna married. They had a long marriage, and nine children. the ﬁrst three of which died in infancy. “The Cypresses,” like Dvol’ak’s ﬁrst pursuit of love, was not much of a success, but the ideas and poetry remained dear to the composer. Twentythree years after that ﬁrs t try, a grown and betterpaid ma n, Dvol‘ak revised the group, and it became the “Love Songs.” The “G ypsy songs” were composed on a set of poems w ritten in German and Czech. The German version was set ﬁrst, for the work’s premier in Vienna. “KdyZ mne stara matka” is the most popular of the group, the most popular o f all Dvofak’ songs for that matter, and is often sung in German (“Als die alte Mutter”) and English (“Songs my mother taught me”). 7 This aria is sung by the character of Dalinda in Handel’s opera, Ariodante. Dalinda is an attendant to G inerva, who is betrothed to Prince Ariodante. Lurcanio, Ariodante‘s brother, is in love with Dalinda. Dalinda is in love with Polinesso, a duke, but Polinesso is in love with Ginerva. Scheming to win Ginerva from Ariodante, Polinesso exploits Dalinda’s aﬀections, using her as a pawn in a plot to make Ariodan te think that G inerva and Polinesso are having an aﬀair. The plot works. Ariodante goes to the woods to attempt suicide. Ginerva is disowned by her father. Polinesso tries to have Dalinda killed as a coverup, but while run ning away from the assassins, she meets Ariodante in the woods, his suicide attempt having failed. Ariodante saves Dalinda from the assassins. Dalinda assures Ariodante of Ginerva’s ﬁdelity. They return, Polinesso confesses and dies, and all is well. Ginerva marries Ariodante. Dalinda marries Lurcanio. Near the end of the ﬁrst act, when none of this has yet been revealed, and Dalinda is still in love with Polinesso, she sings “Il primo ardor” to Lurcanio, spu rning him, and aﬀirming her faith fulness to the ma n she believes is her one true love. �IV. Selected songs of Spanish composers – late 19% to early 20% C 1. La zagala alegre® The happy maiden A una donosa zagala su vieja madre reﬁa, cuando pasaba las horas alegres, entretenida; y ella, su amor disculpando, con elocuencia sencilla, cantando al son del pandero, asi mil veces decia: Ahora que soy nina, madre, ahora que soy nina, déieme gozar ahora, sin que asi me rina. A happy maiden is scolded by her old mother, as she spends happy hours, entertaining herself; and she, excusing her love, with simple eloquence, singing with her tambor”, says this a thousand times: Now that 1 am a girl, mother, now that 1 am a girl, Let me enioy myself now, without scolding me. {Que mal nos hace Salicio si cuando pasa me mira, y me tira de la saya o en el brazo me pellizca? . . .No piense, madre, que busca mi deshonra; no lo diga. Mi gusto solo, y su gusto, queriéndome asi codicia. Ahora que soy nina, madrc... Text: Pablo de Jérica, 17811841 3. Cé6mo quieres que adivine Text: Folk How can I guess Cémo quieres que adivine si estas despierta o dormienda, How can I guess if you are awake or asleep when no angel of heaven will come down to tell me! [como no baje del cielo un angel y me lo digal How can I guess? ¢Como quieres que adivine? hermosa paloma cuando seras mia, cuando seras mia, [cuando vas a ser, Joy and more ioy, pretty dove when you’ll be mine, when you are mine, when that comes to be, pretty dove, laurel branch! What harm is Salicio if he walks by and looks at me, and tugs my skirt hem, or pinches my arm? ...don’t think, mother, that he wants to dishonor me, don’t say it. It’s only fun to me, and him, and he desires my love. Now that I am a girl, mother... Cuando voy por lena al monte olé ya mi niﬁa y me meto en la espesura, y veo la nieve blanca, ole ya mi nina, me acuerdo de tu hermosura. When I go to get wood on the mountain, oh my girl, and I ﬁnd myself in the thicket, and I see the white snow, oh my girl, I remember your beauty. Cuando casada me vea, hecha muicr de farnilia, me sobraran mil cuidados, me faltara mi alegria. Por eso quisiera, madre, pasar alegres los dias que me restan de soltera en bailes, iuegos y risas. Ahora que soy niﬁa, madre... When you see me married, the mother of a family, I’ll have a thousand worries, I’ll miss my happiness. Therefore, mother, I want to be happy in these days when I’m still single, with dances, games and laughs. Now that I am a girl, mother... Quisiera ser por un rato anillo de tu pendiente, para decirte al oido lo que mi corazon siente. Quisiera ser por un rato... I would like to be, just once, an earring you wear, so I can tell your ear what my heart feels. I would like to be, just once... Las estrellas voy contando, ole ya mi niﬁa, por ver la que me persigue. Me persigue un lucerito, olé ya mi nina, I count the stars, oh my girl, to look at the one that follows me. A little star is following me, oh my girl, 2. Despuéa q ue te conoci After meeting you Alegari y mas alegna.. Joy and more joy... Después que te conoci, todas las cosas me sobra el sol para tener dia, abril para tener rosas. After meeting you I don’t need all these things: the sun in order to have day, 4. Maﬂanita de Sarrjtranm Text: Folk Moming on St. John’s day Mananita de San Juan, Por mi bien pueden tomar otro oﬁcio las auroras, que yo conozco una luz que sabe amanecer sombras As far as I’m concemcd. there might as well be another iob for the dawn, because I know a light that knows how to brighten shadows In the morning on St. John’s day, wake up early and in the window you will see Bien puede buscar la noche quien sus estrellas conozca, que para mi astrologia ya son escuras y pocas. It is better to search the night as someone who can see her stars, but in my astrology the stars are faint and few. Despues que te conoci... After meeting you... Ya no importunan mis ruegos a los cielos por la gloria, que mi bienaventuranza tiene jornada mas corta. And my prayers don’t plead the heavens for glory, Text: Francisco Gomez de Quevedo, 15801645 Bien puede la margarita guardar sus perlas en conchas, que buzano de una risa las pesco yo en una boca. pril in order to have roses. because my own heavenly blis is a much shorter trip away. The oyster can just as well keep her pearls in her shells, because, when 1 ﬁsh for a laugh I ﬁnd them in a mouth. " Toldra was especially inﬂuenced by traditional Catalan dances. Much of the musical and poetic form of “La zagala alegre” bears resemblance to that of the jota, a lively, wal tzlike dance known throughout Spain. 9 A “pandero” (“tabret,” u tambor” or “timbrel") is an ancestor of the modern tambourine. Alegria y mas alegria, hermosa paloma, ramito laurel! pequenito pero ﬁrme, levantate tempranito y en la ventana vera’s de hierbabuena un poquito. Aquclla paloma blanm que pica en el arcipiés, que por donde la cogenia, que por donde la cogeré; si la coio por el pico se me escapa por los pics. Coge nino la enramada, que la noche esta serena y la musica resuena en lo profundo del mar. it is small, but strong, a little bit of mint. That white dove who picks at its leaves how can I catch it how can 1 get i ; if I catch it by the beak it will escape with its feet. Go, boy, to the arbor, because the night is serene and the music resounds in the depths of the sea. 5. Cantares Songs Mas cerca de mi te siento Cuanto mas huyo de ti Closer to me I feel you The more I try to ﬂee you For your image is in me Shadow of my mind. Text: Ramon de Campoamor y Campoosorio, 18171901 Pues tu imagen es en mi Sombra de mi pensamiento. Vuélvemelo a decir l’ucs embelesada ayer Te escuchaba sin oir Y te miraba sin ver. Say it to me again Because spellbound yesterday I listened to you without hearing And I looked at you without seeing. '" In Spain it is traditional to celebrate the summer solstice on St. John’s night, June 23, using bonﬁres and ﬁreworks to ward o ﬀ evil spirits, and bathing in the sea for puriﬁcation. �V. Settings of English poetry 1. Loveliest of Trees Text: Alfred Ed ward Housman, 18561 936 Loveliest of trees, the cherry now Is hung with bloom along the bough, And stands about the woodland ride Wearing white for Eastertide. Now, o f my th reescore years and ten,“ Twenty will not come again, And take from seventy springs a score, It only leaves me ﬁfty more. And since to look at t hings in bloom Fifty sp rings are little room, About the woodlands I will go To see the cherry hung with snow. 2. Now sleeps t he crimson pe tal? Text: Lord Alfred Tennyson, 18091892 Now sleeps the crimson petal. now the white ; Nor waves the cypress in the palace walk; Nor winks the gold ﬁn in the porphy ry font: The ﬁreﬂy wakens: waken thou with me. Now folds the lily all her sweetness up, And slips into t he bosom of the lake: So fold thyself, my dearest, thou, and slip Into my bosom and be lost in me. ” This refers to Psalm 90:10, w hich states that “T he days o f our years are three score years and ten,” in other words, that we’ve seventy years to live. 12 From the blank verse narrative poem, “The Princess,” the story w hich inspired G il bert and Sullivan‘s “Princess Ida.” This excerpt, in form and imagery, is based on the ghazal, a type Persian love poem. 3. The Floral Dance ” Text: Kate Emily Barkley ("Ka tie") Moss (1881 1947) As I walked home on a Summe r night, When stars in Heav’n were shining bright, Far away from the footlight’s glare Into the sweet and scen ted air Of a quaint old Cornis h town, Borne from afar on the gentle breeze, Joining the mu rmur of the summer seas, Distant tones of an old world dance, Played by the village band perchance, On the calm air came ﬂoating down. I thought I could hear the curious tone Of the comet, clarinet and big trombone, Fiddle, ‘cello, big bass drum, Bassoon, ﬂute and euphonium. Far away, as in a trance, I heard the sou nd of the Floral Dance. And soon I heard such a bustling and prancing And then I saw the whole village was dancing In and out of the houses they came, Old fol k, young folk, all the same In that quaint old Cornish town. Every boy took a girl ‘round the waist And hu rried her o ﬀ in tremendous haste Whether they k new one another I care not, Whether they cared at all, I know not, But they kissed as they danced along. And the re was t he band with that curio us tone Of the cornet, clarinet and big trombone, Fiddle, ‘cello, big bass drum, Bassoon, ﬂute and eu phonium. Each one making the most of his chance, All toge ther in the Flo ral Dance. l felt so lonely standing there And 1 could only stand and stare, For I had no boy with me, Lonely I should have to be, In that quaint old Cornish town. When suddenly hast’ning down the la ne A ﬁgure I knew I saw q uite plain, With outstretched hands he came along And carried me into t hat merry throng And ﬁddle and all went dancing down. We dan ced to t he band with the curious tone Of the cornet, clarine t and big trombone, Fiddle, ‘cello, big bass drum, Bassoon, ﬂute and euphonium, Each one making the most of his chance, Altoget her in t he Floral Dance. Dancing here, prancing there, Jigging, jogging ev’ryw here, Up and down, and ro und the town Hurrah! For the Cornis h Floral Dance! “ Th e poem is a story that actually ha ppened to Moss, a t a Furry (or Flora) Dance in Cornwall. About the Performers Briana Sakamoto is pursuing a Bachelor of Music d egree in Vocal Performance at SUNY Binghamton under the direction o f Professor Mary Burgess. She also studie s with TCO founder Peyton Hibbitt. Over the past ﬁve years, Briana has been a frequent recitalist at Binghamto n and in Westchester, near her home. This January she organized and sang in a chamber concert in Briarcliﬀ, NY, w hich raised money for Partners in Health’s Haiti relief eﬀorts. She has been a membe r of the Tri Cities Opera chorus, BU’s Harpur Chorale, the Binghamton University Chorus and t he Taconic Ope ra Cho rus. Singing in fund raisers and forums at BU, she has lent her voice to such causes as “Voices Against [dome stic] Violence,” and the ﬁght against the genocide in Sudan. A member of AEA, SAG and AFTRA, she has a lo ng background in dramatic performance, and between semesters, studies acting at t he Larry Singer Studio s in Manhattan. She graduates this month, and will return home to continue working towards a full time career as an opera singer... www.you tube .com / user/ einekleinesopran William Jame s Lawson coaches and accompanies singers at Binghamton University. As a coach, he specializes in English diction for American and English art songs and the sacred and classical theater repertoires. He stud ied at Binghamton University (B.A. 1 980), where his teachers included Seymour Fink and Patricia Hanson in piano, M. Searle Wright in church mus ic, and Stevenson Barrett in vocal coaching. He holds an M.A. from N ew York U niversity (1984) and w as one of the ﬁrst grad uates o f New York University ’s innovative Departmen t of Performance Stud ies, an interdis ciplinary program in t he performing arts. In 2008, he cond ucted the Summer Savoyards p roductio n of Pri ncess Ida. Pe j R eitz pianist, is a native of t he 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 stu died piano with Jean Casadesus, Victor Rosenbaum, Seymour Fink and Walter Ponce and accompanying with A llen Rogers. She has accompanied throughout the U nited States, in England, South America, Spain and at the American Institute of M usical Studies in G raz, Austria. She was a win ner of the Artistic Am bassado rs P rogram by the U nited States I n formation Agency in partnership with the J ohn . Kennedy Cen ter for the per forming arts. She was an oﬀicial accompanist for t he MTNA State and Iias tem Division Competi tion held at It haca College and played for the event again J anuary 2010. She has been a guest chamber music artist in Morges , Switzerland. She also was selected to attend the Accompanying Workshop for Singers and P ianists held at Northwestern U niversity with Chicago Lyric Opera Faculty and Coaches. She was recently invited to the lntema tional Clarinet Con ference to play a recital in Tokyo, Japan. She was a guest artist o n the Cornell Summe r Series. She was an oﬀicial pianist at the International Double Reed Competition and Convention in 2 007 at Ithaca College and was invited to play the 2009 Convention in Birming ham, E ngland with the Glick man Ensemble She will work on a CD project with the Glickman Ensemble again this summer in Englew ood, NJ. She was selected to accompany at the Interpretation of Spanish Music in coniunction with U niversit y of Madrid in G renada, Spain coached by Teresa Berganza and at Mannes School of M usic su mmer 2 008. She was a Guest Artist playing two concerts in G ranada, Spain t his past summer and accompanied the Barcelo na Song Festival in July. This past summer she soloed with the Catskill Symphony at the Otesaga in Cooperstown, NY under the direction of Charles Schneider. This coming summer she will accompany and tea ch at The In ternational Spanish M usic Festival in Madrid, Spain. �Coming Events 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 – $5, 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 Friday, May 13 – Chinese Music Ensemble Class Concert 5:00 p.m. – Casadesus Recital Hall – FREE Wednesday, May 18 – Voice Class Recital (MUS143 Chmela) 11 a.m. – Casadesus Recital Hall – FREE For ticket information, please call the Anderson Center Box Ojﬁtr at 777ARTS. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 40:03:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145467">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145467</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 Graduation recital, Briana Sakamoto, May 7, 2011 Recital Tape 2011-5-7 Description An account of the resource Held at 8:00 p.m., May 7, 2011, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Sakamoto, Briana Lawson, William James Reitz, Margaret Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2011-05-07 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/cd3b702c68816a07686170aefa7f0e9f.jpg 8fbb7063d0863dc28ab63c61754ae58b https://omeka.binghamton.edu/omeka/files/original/7cc2908e3b2e6176a9bf238845930634.jpg 86d149d59540b231b1113cfa2372cdb1 https://omeka.binghamton.edu/omeka/files/original/948e12f937ac92200006aa948dd9100e.jpg 255c5f0f5f07dd2475e5df24f05a7855 https://omeka.binghamton.edu/omeka/files/original/4bcf1cceeb5b33cb5e4f60873bfe69c1.jpg 7aa9c71570b9c0344744f01b6c8cc8d7 https://omeka.binghamton.edu/omeka/files/original/617563f9a249b733bd3cde2a62f8b034.jpg 72ea1fef77dc242ee9443de67ebe9699 https://omeka.binghamton.edu/omeka/files/original/fe646cac599f67bc7c8d7cecd684a946.jpg f2df7ec22e083cb27768db35419b165d https://omeka.binghamton.edu/omeka/files/original/6dc2ea2ae810905075b8f98b7c92eb66.jpg 206dd511dbb401419a8acdfc83c473c5 https://omeka.binghamton.edu/omeka/files/original/c08295559c0779b06d5bb4eedaa47be8.jpg 1f611b2fe79252b66d17c150a7521e7c https://omeka.binghamton.edu/omeka/files/original/c40f45ad380dd5fe574aa00b234c1ec6.jpg 0b17273f45046cf715a7fa18bf61ba87 https://omeka.binghamton.edu/omeka/files/original/5a10df7d010e21fce978e973380f83f5.jpg f652395fa4babfeab590235a22a31446 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 Who is Max Reinhardt? The celebrated Austrian theater 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. What is a prompt book? 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. Why are his important? 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. Acknowledgements 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 <a href="https://omeka.binghamton.edu/omeka/items/show/2877">Full Display and German Transcription of Max Reinhardt's</a><a href="https://omeka.binghamton.edu/omeka/items/show/2877"> Reigen Promptbook</a> <a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/">Max Reinhardt Archives and Library</a> <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,reinhardt&tab=DigitalCollections&search_scope=DigitalCollections&vid=01SUNY_BIN:01SUNY_BIN&offset=0">Max Reinhardt Collection Photographs</a> <a href="https://omeka.binghamton.edu/omeka/max-reinhardt-timeline">The Life and Times of Theater Director Max Reinhardt</a> <a href="https://omeka.binghamton.edu/omeka/max-reinhardt-theaters">The Theaters of Max Reinhardt</a> Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Jean Green,  Binghamton University Students: Madelynn Cullings Kashawn Hernandez Aanyah Jhonson-Whyte Marisa Joseph Bethany Maloney Ashleigh Marie Sherman Thomas Tegtmeier Joseph Vitale Promptbook Collection Miscellaneous Promptbooks Description Appears to be a lost section of another promptbook. Book consists of detailed, printed staging arrangements for play. Handwritten markings found throughout in red pencil, black pencil. Owner unknown, play is “Gräfin Mariza.” Dimensions Physical dimensions of item Pages 81-112; 22.5cm x 15cm Production(s) Not specified. Notes Located in Binghamton University Special Collections PT2635.E548 P752 v.7 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 Gräfin Mariza [promptbook] Subject The topic of the resource Kálmán, Emmerich, 1882-1953 Promptbook Stage directions Creator An entity primarily responsible for making the resource Kálmán, Emmerich, 1882-1953 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 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. Contributor An entity responsible for making contributions to the resource Unknown Language A language of the resource German 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 Binghamton Community Poets' Big Horror Reading Series Subject The topic of the resource American poetry -- 20th century; Oral interpretation of poetry Description An account of the resource The Binghamton Community Poets were founded in 1983 by native Binghamton poet, educator, and Harpur College alum Richard Martin. That year he started the The Big Horror Reading Series at a local coffee house. People associated with the series changed throughout the years but always included local writers who were dedicated to the idea of creating a space where literary art could flourish. For fourteen years, readings took place at various venues around the Triple Cities featuring nationally and internationally known writers while continuing to provide “open mike” time for local community writers and sometimes musicians. The series received funding from the New York State Council on the Arts, the Broome County Arts Council, and Poets and Writers, Inc., as well as public donations. Many of the readings between 1987 and 1996 were videotaped. Some of the writers who are featured on the videotapes include (in alphabetical order) Tish Benson, Charles Bernstein, Barney Bush, Wally Butts, Adrian Clarke, Suzanne Cleary, Robert Creeley, Joel Dailey, Jim Daniels, Jack Dann, Diane di Prima, Safiya Henderson-Holmes, Lance Henson, Bob Holman, Pierre Joris, Dave Kelly, Sylvia Kelly, Bill Kemmett, Peter Kidd, Dorianne Laux, Ed Ochester, Kate Rushin, Pamela Sargent, Patricia Smith, Lloyd Van Brunt. Also featured are former and current members of the Binghamton University faculty (in alphabetical order): David Bartine, Martin Bidney, Milton Kessler, Bob Mooney, Liz Rosenberg, Jerome Rothenberg, John Vernon. People associated with the series at one time or another (in alphabetical order): Ken Bovee, Alexis Cacyuk, Jerry Caswell, Tom Costello, Gerry Crinnin, Terry Day, Paul Dean, Zack Grabosky, Tom Haines, Connie Head, Michael Kelly, Tom Kolpakas, Richard Martin, Kate McQueen, John Miller, Bern Mulligan, Doug Paugh, Susan Prezzano, Phil Sweeney, Mike Tarcha. Venues for recorded readings (in chronological order): Swat Sullivan’s Hotel*, Benlin’s, Mad Murphy’s, The Tazmanian Embassy, The Amsterdam, Java Joe’s, Amp’s. The collection also <a href="https://omeka.binghamton.edu/omeka/collections/show/31">includes twelve excerpted poems</a> that serve as an introduction. They are linked not only to the full individual readings in Rosetta but also to the catalog records for the books in which they are published. This creates a unique convergence experience, as the catalog record “comes alive” and users can see the writer and hear a poem from the book before they take it off the shelf to read. Digitization and DVD Production After the series ended in 1996, the videotapes sat in boxes for ten years. In 2006, since they were most likely degrading and losing both video and audio fidelity, a Memorandum of Understanding between the BCP and the Libraries was agreed on and the process of converting the videotapes to DVD-quality MPEG files for preservation and access purposes was begun. Many of them had glitches and dead spots and several others were not originals but copies, further adding to loss of video and audio fidelity. After the conversion, both the video and audio quality were enhanced to a degree from what was on the tapes.  Phase Two involved producing individual DVDs from the MPEG files. The files were literally “raw”: they started when the camera was turned on and continued without interruption until it was turned off, which meant there was often video of silent microphones and audio of irrelevant crowd noises and conversations. Editing these out made the DVDs much better than the raw files. Preservation and Expanded Access Due to copyright restrictions, the DVDs have been housed in Special Collections and had to be viewed there. This has definitely curtailed their usage. However, a recent development in Rosetta, our digital preservation system, has allowed us to offer a new form of access. Rosetta added a built-in video viewer, which allows the videos to be both preserved and streamed at the same time. In order to accomplish this, the DVDs had to be converted to MP4s to be compatible with the new viewer. The streaming versions are copies of the DVDs, which is why they contain menus and chapters which are not functional but are continuous play. The streaming versions will allow more users to be able to view and listen to this diverse, wide-ranging collection of readings. (N.B.: They are only accessible on campus or via campus VPN.) *The image on the item records is the iconic Swat Sullivan's Hotel, which was located on Binghamton's South Side. Swat's was the venue for the earliest readings in the video collection. The building was torn down in 1990. This image was downloaded from <a href="https://www.pinterest.com/pin/548805904585058425/">Pinterest</a>. If you are the rights holder, please contact The Libraries. Creator An entity primarily responsible for making the resource Binghamton Community Poets Publisher An entity responsible for making the resource available Digital publisher: Binghamton University Libraries Rights Information about rights held in and over the resource In copyright Language A language of the resource English Contributor An entity responsible for making contributions to the resource Bern Mulligan Erin Rushton Ben Coury David Schuster Rachel Turner David Floyd Sasha Frizzell Aynur de Rouen Nicholas Eggleston Alexxa O Bisnar (Student worker) Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 videodisc (97 min.) sound, color 4 3/4 in. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 97 min. Collection Big horror reading series (Binghamton Community Poets) Date of Digitization 7/12/22 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243188">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243188</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 Greg Boyd and Patricia Smith with "Open Mike" at the Tazmanian Embassy, November 10, 1992 Subject The topic of the resource American poetry -- 20th century Oral interpretation of poetry Description An account of the resource Features poetry readings from Greg Boyd and Patricia Smith at the Tazmanian Embassy in Binghamton, N.Y. Several local poets read their works during "open mike" sessions before the featured poets. The event was held on November 10, 1992. The readings were sponsored by the Binghamton Community Poets as part of their Big Horror Reading Series. Video edited by Bern Mulligan. Creator An entity primarily responsible for making the resource Boyd, Greg Smith, Patricia, 1955- Source A related resource from which the described resource is derived DVD created from VHS recording of the event Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Binghamton Community Poets Date A point or period of time associated with an event in the lifecycle of the resource 1992/11/10 Rights Information about rights held in and over the resource In copyright Language A language of the resource English Type The nature or genre of the resource Moving Image Identifier An unambiguous reference to the resource within a given context PS615 B56 1992 11-10 Format The file format, physical medium, or dimensions of the resource video/mp4 https://omeka.binghamton.edu/omeka/files/original/b7932404f0a2a2a4e83be3a963a026bc.pdf ef389067f07ff2e3484561a414121265 PDF Text Text BINGHAMTON UNIVERSITY S TATE UNIVERSITY OF NEW YORK usi D E P A R T M E N T GREGG ACKERMAN CLARINET with Pej Reitz, piano Sibongile Boyd, soprano James Wu, clarinet 14, March, 2009 3:00 p.m. Casadesus Recital Hall ��PROGRAM ini Concertzno ................. ...................... .... ..... .. .......... .... Gi1useppe T art1n1 I. Grave II. Allegro Molto III. Allegro Risoluto (1692-1770) Sonatina .............................. .. ........................................ Miklos R6zsa Terna con variozioni (1907-1995) Der Hift auf dem Felsen, op.129 .................................Franz Schubert (Shepherd On The Rock) (1797-1828) Andantino Allegretto INTERMISSION Preludes for Piano .................................................. George Gershwin I. Allegro ben ritmato e deciso (1898-193 7) II. Andante con moto e poco rubato III. Allegro ben ritmato e deciso Concertipiece No. 2, Op.114 ................................ Felix Mendelssohn Presto ( 1809-184 7) Andante Allegretto Grazioso �PROGRAM NOTES Giuseppe Tartini (1692-1770) Concertino Concertino is Gordon Jacob's free arrangement of two of Giuseppe Tartini's Sonatas for Violin for Clarinet and String Orchestra or Piano. Miklos Rózsa (1907-1995) Sonatina Hungarian-American composer Miklos R6zsa is best known for his film scores. (Three have won Oscars.) His Sonatina was composed in 1957 and dedicated to the Polish-American song writer and film score composer Bronislaw Kaper. Franz Schubert (1797-1828) Der Hirt auf dem Felsen, D 965 Text after Wilhelm Miiller's poem "The mountain shepherd" Translation: Lionel Salter Wenn auf dem hochsten Fels ich steh, ins tiefe Thal herneider seh, und singe, und singe, fern aus dem tiefen, dunkeln Thal schwingt sich empor der Wiederhall, der Wiederhall der Klilfte. When on the highest cliff I stand, gaze down into the deep valley and sing, the echo from the ravines floats upwards from the dark valley far away. Je weiter meine Stimme dringt, Je heller sie mir wiederklingt, von unten, von unten. Mein Liebchen wohnt so weit von The further my voice travels, the clearer it returns to me from below. So far from me does my love dwell that I yearn for her more ardently over there. mir, drum sehn ich mich so heiB nach ihr hinüber, hiniiber. In tiefem Gram verzehr' ich mich, mir ist die Freude hin, aufErden mir die Hoffnung wich, ich hier so einsam bin, icR hier so einsam bin. With deep grief Iam consumed, my joy is at an end; all hope on earth has left me; I am so lonely here, I am so lonely here. �PROGRAM NOTES continued So sehnend klang im Wald <las Lied, so sehnend klang es <lurch die Nacht, die Herzen es zum Himmel zieht mit wunderbarer Macht. So longingly sounded the song in the wood, so longingly it sounded through the night, drawing hearts heavenwards with wondrous power. Der Fruhling will kommen, der Frühling meine Freud, nun mach ich mich fertig zum Wandern bereit. Spring is coming, Spring, my joy; now I will make ready to go journeying. George Gershwin (1898-1937) Preludes for Piano Preludes for Piano have been arranged for clarinet and piano by James Cohn. They demonstrate Gershwin's talent for interweaving jazz and classical elements. Felix Mendelssohn (1809-1847) Concert Piece No. 2 in D Minor (Op. 114) Felix Mendelssohn wrote two concert pieces for clarinet, basset horn and piano in 1832. Both were inspired by virtuoso clarinetist Heinrich Baermann. The pieces have been arranged for numerous instrumental combinations, including clarinet, bassoon and orchestra/piano, and two clarinets and orchestra/piano. --Sarah Chandler �ABOUT THE PERFORMERS GREGG ACKERMAN, from Great Neck, New York, is an accounting major and will be graduating this May. Gregg has been playing clarinet for thirteen years, including his four years in the University Orchestra. Before college, he played in many ensembles including the Children's Orchestra Society, the Band of Long Island, and the Great Neck Rotary Band. He also performed in the NYSSMA All-County Band and Orchestra and the All-State Wind Ensemble. During his time at Binghamton University, he has studied under Timothy Perry and Sarah Chandler. He would like to thank both of them for their lessons and guidance. Gregg also thanks his family for always encouraging his musical pursuits. Hailed for her "lyrical and warm singing voice," Brooklyn native SIBONGILE BOYD, a cum laude graduate of Harvard University, made her operatic debut with Harvard's Dunster House Opera as Yvette in Puccini's La Rondine and later appeared as Barbarina in Mozart's Le Nozze di Figaro. After graduating from Harvard, Ms. Boyd continued her vocal pursuits through opera and performance workshops and was featured in vocal recitals at numerous churches and concert venues in New York City and Washington DC. She performed opera roles with the Shaker Mountain Performing Arts Festival, Natchez Festival of Music, Cantiamo Opera, and the Opera Company of Brooklyn. Ms. Boyd has given recital and chamber performances at the Brooklyn Museum of Art, the Sumner Museum (Washington DC), and the Merck Concert Series (appearing with the Manchester String Quartet). In the 2007-08 ·season, Ms. Boyd was a Resident Artist with Tri-Cities Opera, where she sang the role of Beauty in Giannini's Beauty and the Beast. Ms. Boyd is in her second year in the Masters of Music program at Binghamton University, where she recently performed the roles of Gabriel and Eve in Haydn's The Creation. She recently performed the role of Zerlina in Delaware Valley Op.era's production of Don Giovanni and appeared in recital at Bargemusic (Brooklyn) and the Dweck Performing Center for Contemporary Culture (Brooklyn Public Library). JAMES WU is a first year student enrolled in Binghamton University's Harpur College of Arts and Science. Before college, he was enrolled in the Manhattan School of Music's Precollege program, where he received formal music training. He also played in many ensembles including the Manhattan School of Music's Philharmonic Orchestra, various chamber groups, and his high school band. �The fourth and final concert of this season will be performed Saturday, March 21st at 8 pm Presbyterian Church, _42 Chenango S . Series will be continued in 2 0 NNGHAMTON VE R S I T y IIV E R ·OF NEW YORK For tickets, call (607) 777-ARTS. For more_ ]nformation, visit the Binghamton University Mus sic Department's website at music.binghamton.edu· �Saturday, March 14th Master's Recital: Heather Montana, soprano, Casadesus Recital Hall, 8:00 PM, FREE Sunday, March 15thGuest Fortepiano Concert: Stefania Neonato, Casadesus Recital Hall, 3:00 PM, $$ Sunday, March 15'11 Master's Recital: Sibongile Boyd, soprano, Casadesus Recital Hall, 7:30 PM, FREE Monday, March 1 6th Master Class with Guest Fortepiano Artist Stefania Neonato, 7:30 - 8:45 PM, Casadesus Recital Hall, FREE Wednesday, March 18th Master Class with Jazz saxophonist Maceo Parker, 4:00 PM, Osterhout Concert Theater (Co-sponsored by the Music Department and the Harpur Jazz Project) Wednesday, March 18thJazz saxophonist: Maceo Parker Osterhout Concert Theater, 8:00 PM, $$, (Co-sponsored by the Music Department and the Harpur Jazz Project) Thursday, March 19thMid-Day Concert, 1:20 PM - FREE Casadesus Recital Hall Thursday, March 19th Harpur Chorale and Women's Chorus: A Mediterranean Choral Cruise, Anderson Center Chamber Hall, 8:00 PM, FREE Friday, March 20thPercussion Duo: Mike Correa and Gene Koshiniski, Casadesus Recital Hall, 8:00 PM, FREE (co-sponsored by the United States Air Force Band and the Binghamton University Department of Music) Saturday, March 21st Master's Recital: Stephen Brooks, bass, Casadesus Recital Hall, 8:00 PM, FREE Saturday, March 21st Organist Jonathan Biggers -A Bach Celebration!! Series, First Presbyterian Church, Binghamton,8:00 PM, $$ For ticket information,please call the Anderson Center Box Office at 777-ARTS. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 45:22 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149635">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149635</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.) FacingCover Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gregg Ackerman, March 14, 2009 Recital Tape 2009-3-14b Description An account of the resource Works of Tartini, Rózsa, Schubert, Gershwin, Mendelssohn. Held at 3:00 p.m., March 14, 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Reitz, Margaret Boyd, Sibongile Wu, James Ackerman, Gregg. 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 2009-03-14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/78d60edf75de559096d6d5ff059bb52a.jpg dc277b2202eb32181b08a35b148c133a 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 Anna E. Wilcox Family letters Subject The topic of the resource United States--History--Civil War, 1861-1865--Personal narratives ; Soldiers--Correspondence. Description An account of the resource The collection consists of 45 letters on 44 sheets, 8 photographs, 4 unassociated envelopes, and ancillary materials. Most of the letters were written between October 16, 1862 and August 10, 1865. Ancillary materials include the "scope and content" note, the "finding aid", and the "transcription note". Also, the ancillary materials include photocopies from the National Archives and Records Administration of the Military Service Records and Military Pension Records for William Pike, B. Leroy Pike, and Emory Wilcox (Service Record only). Creator An entity primarily responsible for making the resource Wilcox, Anna E. Pike, William S. Wilcox, Emory Pike, Benjamin Leroy Pike, John Pike, Ruth Pike, Corintha Pike, Mary J. Stover, Benjamin 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 1862-1868 Rights Information about rights held in and over the resource In copyright. Relation A related resource <a href="https://archivesspace.binghamton.edu/public/repositories/2/resources/106">Binghamton University Libraries Special Collections, Anna E. Wilcox Family letters</a> Language A language of the resource English Type The nature or genre of the resource Text ; image Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1860-1869 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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/. Identifier An unambiguous reference to the resource within a given context AWP08 Title A name given to the resource Group photograph of Anna Wilcox, John Pike, Mrs. J. [Emma Rose] Pike, and Mrs. W. S. [Sarah E.] Pike Subject The topic of the resource Wilcox, Anna E.--Portraits Pike, John--Portraits, Smyrna (N.Y.) -- Biography Chenango County (N.Y.) -- Biography Description An account of the resource One group photograph of Anna Wilcox and John Pike seated in the foreground with Mrs. J. Pike and Mrs. W. S. Pike standing behind. Original format: 1 photograph, 7 x 9cm, developed on metal plate. Creator An entity primarily responsible for making the resource Anonymous 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 Approximately 1868 Rights Information about rights held in and over the resource http://www.binghamton.edu/libraries/special-collections/servicesandpolicies/docs/duplicationpolicy.pdf Relation A related resource Anna E. Wilcox Civil War Collection Binghamton University Libraries’ Civil War Collections Format The file format, physical medium, or dimensions of the resource 1 digital resource (1 image) image/jpg Type The nature or genre of the resource Image Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1860-1869 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 33:03 09:18 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE60307 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE60307">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 Guarneri Quartet Recital Subject The topic of the resource Concerts Description An account of the resource Held Nov. 6, 1967. Creator An entity primarily responsible for making the resource Guarneri Quartet 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 1967-11-06 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource 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 3.9091E+13 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 3 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 32:41 33:19 23:12 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63053 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63053"> 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 Guarneri Quartet Recital Subject The topic of the resource Concerts Description An account of the resource Held 8:15 pm, March 20, 1968, College Theater. Works of Beethoven and Brahms. Creator An entity primarily responsible for making the resource Guarneri Quartet 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 1968-03-20 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Beethoven, Ludwig van, 1770-1827 Brahms, Johannes, 1833-1897 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 39091020058602 39091020058651 39091020058701 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 3 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 22:18 30:59 23:37 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59408">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 Guarneri Quartet Recital Subject The topic of the resource Concerts Description An account of the resource Held 8:15 pm. April 24, 1968, Harpur College Theater. Works of Ravel 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 Date A point or period of time associated with an event in the lifecycle of the resource 1968-04-24 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Ravel, Maurice, 1875-1937 Beethoven, Ludwig van, 1770-1827 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 39091020093419 39091020093468 39091020093575 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 38:53 34:20 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59400"> 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 Guarneri Quartet Recital Subject The topic of the resource Concerts Description An account of the resource Held 8:15 pm, May 12, 1968, Harpur College Theater. Works of Mozart, Bartók, Beethoven. Creator An entity primarily responsible for making the resource Guarneri Quartet 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 1968-05-12 Rights Information about rights held in and over the resource In copyright 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. Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020094409 39091020094243