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BINGHAMTON
U N I V E R S I T Y
State University of New York
’
DNIv ARC
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D E P A H T M E , N T
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AN EVENING OF
INDIAN CLASSICAL MUSIC
Ashwini BhideDeshpande, vocal
Vishwanath Shirod kar, tabla
Seema Shirodkar, harmonium
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Saturday, May 13, 2006
7:00 p.m.
Watters Theater
�PRO GRA M
Khyal in Rag Puriya Dhanashri
I. Alap
II. Bada Khyal in tintal
III. Chota Khyal in ektal
Thumri in Rag Kafi
I. “Mitawal mane nahe ” (‘My love you are not listening to
me’) in tintal
Song for Holi Festival in Rag Maand
I. “Ita lagara mose khalo nahori” (‘Please do not spray the
colored Holi paint on me! ’) in dipchandi tal
Jhoola song in Rag Pilu
I. “Re Jhule ki Radha pyari” (‘My lovely Radha’) in dadra tal
Bhajan in Rag Bhairavi
I. “Mai kahee sama jhawa jabad juga andha ” (‘How can I
explain it to a world of blind people?’) in keherwa tal
Composed by Saint Kabir
Hind ustan i Classical Music
The origins of Indian classical music can be traced to the Vedas, a
set o f four texts that com prise the foundation o f the Hind u reli gion,
and were passed down orally until around 1500 B.C. when they
began to be written down. The texts comprise hymns, which not
only aided memorization, but also provided the foundation of Indian
music. In the first few centuries A.D., the sage Bharata compiled a
treatise on music, dance, and theatre that provided the theoretical
foundations for future directions in Indian composition.
Bharata outlined the organization of rhythm and meter into cycles
made up of groupings of beats now referred to as tala. Every
composition is set to a particular tala cycle made up of stressed and
unstressed beats. Knowledgeable audience members may
externalize the tala by a system of claps (tali) representing the
strong beats, and waves (khali) representing the weak beats. The
tala cycles for each o f the pieces tonight have been notated below.
�Bharata also formulated the concept of raga, which is the melodic
system underlying Hindustani music. Ragas consist of a scale, as
well as a set of musical rules governing choice and emphasis of
pitches, melodic motion, and ornamentation. Ragas normally are
associated with certain times of day and/or seasons of the year.
Bharata related each raga, to a specific rasa, or emotion. The eight
rasa are love, humor, anger, compassion, valor, wonder, disgust,
and fear. The term raga means ‘color’, and ragas are supposed to
color the mind and stimulate listeners to emotional response. After
the writings of Bharata, wandering monks began composing sacred
hymns, known as Bhaj ans, in the raga and tala cycles formulized by
Bharata, which provide the source for many contemporary Indian
classical compositions.
V
From this common historical origin, classical music in India has
gradually become divided geographically into Northern
(Hindustani) and Southern (Karnatik) traditions since the 13”
century A.D. The source of this division was the occupation of
Northern India by successive waves of Muslim conquerors
including Persian, Turkish, Arab, and Central Asian peoples.
During the successive reigns of these Muslim dynasties, Northern
India came to adopt and adapt several instruments, styles, and
techniques from Persian and Arabic music. Hindustani classical
music, as we know it today, took shape in the 1 6” century A.D. in
the courts of the Mughal em perors as Hindu musicians began to
seek employment as court musicians. At the Mughal courts Hindu
musicians mixed with Persian musicians, and they began to develop
a hybrid of both musical traditions. They also began to intermarry,
and many contemporary Hindustani musicians have Persian
surnames.
Through time, certain families of court composers established
gharana, or stylistic schools of performance and interpretation.
Eventually these schools took on talented students from outside the
family, spreading the influence of these previously local styles.
‘During the British colonization of India (18501947), many of the
courts were dissolved and musicians shifted their performances to
the concert stage, where they can now be enjoyed by all.
EF)
�ABOUT THE MUSIC
Khyal in Rag Puriva Dhanashri
Khyal (‘imagination’) is the most frequently performed genre of
Hindustani vocal music. It was developed in the early decades of the
18™ century by the musician Nyamat Khan in the court of the
Mughal Emperor Muhammad Shah (r. 17191748). Compared to
Dhrupad, the other more ancient genre of vocal music, khyal
features greater use of improvisation, including rapid melodic runs,
known as tan, and this facet was perhaps responsible for its name,
loosely translated as ‘imagination’. This increased use of
improvisation is believed to have been drawn from Muslim
devotional hymns known as gawwali. In contemporary
performance, the Khyal is considered the main event, and is often
followed by some “light” classical genres such as Thumri and
Bhajan to wind the performance down.
Khyal compositions, known as bandish, are made up of a few lines
of text set to the melodic rules of the raga, and the metric rules of
the tala. There are only two sections, the ascending (sthayi), where
the melody ascends the scale, and the descending (antara), where
the melodic motion descends the scale. From this minimal kernel of
precomposed material, the artist must develop the piece with
extensive improvisation using both the syllables of the text, solfa
type syllables (known as sargam), as well as pure vowel sounds. In
this way khyal may be cautiously compared to a Jazz composition
where a singer will sing the regular piece straight through and then
use scatsinging to improvise before returning to the original
composition.
In performance, the singer usually begins with an alap, an
unmetered, introductory improvisation that is m eant to introduce the
notes and melodic rules of the raga. During this portion, which may
last from 30 seconds up to 5 minutes, the tabla drummer does not
play as it is in free rhythm. This is then followed with a bandish in
slowmedium tempo known as bada khyal (‘big khyal ’). The bada
khyal will be in a tala cycle, highlighted by the entrance of the
drummer. _
�Following this composition, without a pause, will be a different
bandish in a fast tempo and in a different tala, known as chota khyal
(‘small khyal ’). By the end of the chota khyal the singing will be
extremely fast and virtuosic. The whole performance of khyal may
last from 204 0 minutes depending on the inspiration of the artist.
Rag Puriya Dhanashri is an evening raga normally performed after
sunset. It is a combination of two earlier ragas Puriya and
Dhanashri that became very popular in the 20™ century. The scale
normally avoids the tonic (C) in the ascent and may be notated as:
Ascent
Z
E
h
or
a
12
wv
Descent
or
o o
l h e y
I
aa
Y
b
\
l
10d
1
o z
E e e a
The bada khyal is in tintal, a 16beat cycle divided into 4 sets of 4
beats (4/4/4/4). Its notation in stressed (X=clap) and unstressed
(O=wave) beats is:
1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 1 5 1 6
x x o x
The chota khyal is in ektal, a 12 beat cycle divided into 6 sets of 2
beats (2/2/2/2/2/2). Its notation is:
1
x
2
3
7
o
4
5
x
6
7
8
o
9
1
0
x
1
1
x
1
2
[
l
�Thumr i in Ra g Kafi
Thumri is a genre of “light” classical music that evolved from songs
perform ed to accomp any erotic dances by courtesans to a more
A
Y
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l
serious style that came to accompany the kathak classical dance
during the period of about 1 7701870 A.D. Eventually in the court
of Nawab Wajid Ali Shah of Lucknow (r. 18471856) thumri was
elevated to a court genre that featured female singers who
entertained male audiences in a manner similar to the Japanese
Geisha. In the early 2 0 century
, the courtesan tradition fell into
disrepute, under the pressures of the British colonial regime as well
as in the eyes of the largely Westemeducated Indian middleclass.
Thumri singers could no longer support themselves, so khyal
performers took over the artistic singing of thumri. Now thumri has
become part of the classical concert repertory, where it is used to
wind down both performers and audience after a lengthy rendition
of khyal.
Thurmri is considered “light ” music because its compositions and
improvisations can bend and even break the melodic rules of its
raga. Thumri bandish are usually lively and quick paced, with texts
that emphasize romantic love, including the pangs of longing, the
desperation of separation, or unrequited love. Thumri compositions
also feature improvisation by the vocalist, and may also allow the
tabla drummer and harmonium player space to improvise.
Rag Kafi uses a scale similar to the Western dorian mode, with one
important difference: the third and the seventh may also be played
natural. Effectively, this means the artists m ay sing combinations in
both ionian and dorian modes.
2 Ascent
3
l
f
~¢ o= o®
a y 0 a
e a
Descent
1 9 . l ’ w
a J
Il
w ‘ o
� aand
Song for Holi Festival in Rag M
Songs for the Holi festival represent another genre of “light”
classical music that has come out of folk music into the concert
repertory. The Holi festival is the known as the Spring Festival of
Colors, and normally occurs in March. The night before the full
moon, every village lights a bonfire to burn the residual dried leaves
and twigs of winter. This bonfire is the commemoration of a Hindu
legend where the demoness Holika was burnt to death ensuring the
victory of good over evil. The following morning the community
squirts colored water and smears colored powders over each other,
giving us the title of this song, which asks that the singer be spared
from this part of the festivities! The festival of Holi is also closely
associated with Lord Krishna, who in his young age played and
frolicked with his band of cowherds and maidens (the Gopis). Lord
Krishna played Holi with so much gusto that even today the songs
sung during Holi are full of the pranks that he played on the Gopis,
especially his childhood sweetheart Radha, who incidentally forms
the subject o f the next piece.
Rag Maand is an evening rag typically played from 69 p.m., and
uses a scale similar to the Western major scale, however it avoids
c descent pattern :
the 2 ” (D) in the ascent, and has a characteristi
€
=
Descent
Ascent
‘ d ’ 4
F
l
> . & o
= o a 2 _ »a
i
e ' “
r o
Dipchandi tal is a 14beat cycle divided into alternate sections of
three and four beats (3/4/3/4). It is notated:
1 2 3 4 5 6 7 8 9 1 0 1 1 1
Y
2 1 3 1
4
F
�Krishna and Radha sitting in the Jhoola
= 2 3
– 7 7
i
i l . wo , i ’ " 1
p‘m‘ o
a
t R
E
S
. i” 5
5gm5 , ;
. ’4V So
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r
i
4
. . ' ”5“ I fo
2
8
g l ] swing that has become an i mportant
'
Jhoola song in Rag Pilu
Jhoola songs form part of a larger
genre of “light” classical pieces
known as dadra, because they all use
the dadra tala cycle. Jhoola is a
icon in northern India because of its
association with the romantic love
, , __
MM between Lord Krishna and his
firm " A
N
_
favorite Gopi Radha. In northern
.
i
i “4 .
India Jhoola songs are typically sung
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UBER! by women during the monsoon
Whmnd m
g © ”i f ' ‘
season (August), which falls during
t
h
e holy month of Shraavan. D
uring
this month constant offerings are made to the various Hindu deities,
including Lord Krishna. A Jhoola usually has a happier mood and
evokes the joyfulness of wet, green earth, when girls in rural areas
sit swinging on wooden planks tied with ropes to trees. The musical
phrasing in a Jhoola must also convey the swaying movement of a
swing.
3
4
Rag Pilu is a highly imaginative and complex raga that uses both the
natural and flatted 3 ” and 7", much like Rag Kafi, above. It is
commonly used in folk and lightclassical genres. It is normally
sung in the early evening from 36 p.m.
2 Ascent
or
ev p– t 4
©
ANS,
l ; — T
/ Descent
1
Q)
‘
> 1
or
E
=
a
or
l
1
r
E
or
=
o 1
0
J a v e
T
1
® 0x J ®
V o vv
‘O
m — _
l
4
V o > >
Dadra tal is a 6beat cycle divided into two sets of three beats (3/3)
and is notated:
1
2
3
4
5
6
x
o
�Bhajan in Rag Bhairavi
The final piece of the evening is a Bhajan, which is a genre of
devotional hymns to the Hindu deities. Bhajans express religious
love for the divine, and are an important component of the Bhakti,
or devotional movement Hinduism. The singing of Bhajans is meant
to connect human beings with the divine, in the same manner that
romantic love connects husband and wife. This Bhajan was
composed by a famous Hindu saint named Kabir (14401518).
Kabir was an Indian mystic who preached an ideal of seeing all of
humanity as one. He was known to be a weaver and later became
famed for scorning religious affiliation. His philosophies and ideas
of loving devotion to God are expressed in metaphor and language,
using vernacular Hindi.
Rag Bhairavi is one of the most wellknown and loved ragas, and is
often used as it is here to conclude a performance. Traditionally,
Bhairavi is a morning raga, but it is now often used at any tim e of
day or night. Bhairavi is suited for the expression of romantic or
devotional love and admiration, and is used to compose both
Bhajans and Thumri. There is considerable flexibility in the
performance rules of Bhairavi, and artists often introduce shades of
other ragas according to their skill and imagination. Its basic scale,
however, is as follows:
2 Ascent
or
or
= Soe eT a
~~¢
Spe rI = orm r o a 7 Ta —
l
oV
Zee
Descent
[)
I e o »
a l l a
Keherwa tal is an 8beat cycle divided into two sets of 4 beats (4/4)
notated as:
1 1 2 1 3 4 5 ] 6 ] 7 ] 8
x o
–Notes by James Burns
�ABOUT THE P ERFOR MERS
Ashwini BhideD eshpand e (vocal)
Amongst the vocalists of the younger generatio n of the Jaipur
Atrauli tradition of Khyal singing, Ashwini BhideDeshpande is an
artiste of great caliber. She has been performing in a number of
prestigious music conferences in India for over fifteen years and has
had successful concert tours of Europe as well as of North American
continent.
Ashwini began her training at the age of five under the guidance of
Pandit Narayanrao Datar. After graduating with a “sangeet
visharad” from Gandharva Mahavidyalaya, she started receiving
guidance and meticulous attention from her mother, Smt. Manik
Bhide, a great Khyal singer herself. Ashwini has inherited all that
was best in her mother’s style and was able to add to her repertoire
with great sensitivity and intellect. Presently she is receiving
guidance from Pandit Ratnakar Pai, a veteran of the Jaipur gharana.
Systematic exposition of the Rag structure, brilliant phrasing,
variety o f tan patterns, ease and grace in all of the three octaves
mark her singing. She does not merely present the grammar of a
Rag, but can build it up into an aesthetically pleasing experience.
A resident of Mumbai, Ashwini is a graduate in Microbiology and
also holds a Ph.D. degree in Biochemistry.
Vishwanath Shir od kar (tabla)
The art of accompaniment on tabla in Indian classical music is a
very subtle and a difficult one. Many try it, but only a very few
become successful in it and are recognized for how they embellish
the perfo rmance o f the main artiste . When it comes to providing
accompaniment to a classical vocalist, the job of a tabla
accompanist is even more difficult. Vishwanath Shirodkar is one of
those few who exemplifies these qualities. His knowledge of vocal
music gives him an added advantage and has therefore been
recognized as one of the best accompanists of the younger
generation.
�He was initiated into tabla by Shree Suryakant Naik, and later on he
received training from Pandit Vaibhav Nageshkar. At present, he is
receiving advanced training from Pandit Suresh Talwalkar, who is
one of the most revered teachers of tabla. Vishwanath has
accompanied many well known vocalists as well as instrumental
musicians. These include Padma Talwalkar, Rashid Khan, Ashwini
BhideDeshpande, C. R. Vyas, Shobha Gurtu, Malini Rajurkar,
Shubha Mudgal, Veena Sahasrabuddhe, Rakesh Chaurasia, Brij
Narayan, N. Rajam, Ulhas Bapat and Zarin Daruwala.
!
l
Vishwanath is a graduate in engineering but devotes all of his time
to classical music. He has toured the United States, Canada, South
America, the Middle East and has performed in all major cities of
India.
Seema Shirodkar (harmonium)
Beginning at a very early age, Seema had an acute interest in music,
and started her initial training under the guidance of Shree Umesh
Ansulkar. Over the next several years she received extensive
training under the able guidance of Pandit Tulsidas Borkar,
recognized by many has a complete teacher. She also benefited from
her association with the Late Shree Vishwanath Pendharkar, one of
the most gifted and versatile teachers and performers. It was Pandit
Borkar who groomed her as an accompanist and it was Shree
Pendharkar who taught her the fine points of a solo performer.
Seema has accompanied vocalists that include Kishori Amonkar,
Veena Sahasrabuddhe, Rashid Khan, Padma Talwalkar, Arati
AnkalikarTikekar, Ashwini BhideDeshpande, C, R. Vyas, Shubha
Mudgal, Rajan and Saj an Misra, Sanjeev Abhyankar and Prabhakar
Karekar.
Seema is a graduate of the S.N.D.T. University and is on the faculty
of the Gandharva Mahavidyalaya, in Mumbai. Seema has gone on
concert tours of the United States, Europe, the United Kingdom,
Canada and the several countries of the Middle East.
1
i
�
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Binghamton University Music Department Tape Recordings
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Concerts ; Instrumental music ; Live sound recordings
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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. <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: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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01:19:56
42:22
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An evening of Indian classical music, May 13, 2006
Recital Tape 2006-5-13
Description
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Held at 7:00 p.m., May 13, 2006, Watters Theater.
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Bhide-Deshpande, Ashwini
Shirodkar, Vishwanath
Shirodkar, Seema
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Binghamton University Libraries
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2006-5-13
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sound
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a989b096-9823-4a10-940b-486cb19ad171
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https://omeka.binghamton.edu/omeka/files/original/d52a03ceba1bb7f772f924f551be7e9c.pdf
36dc1bfd1d22d17eedb87eeae311d1e6
PDF Text
Text
BINGHAMTON
U N I V E R S l T Y
State University of New York
.
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D E P A R
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M E N T
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Flute Ensemble
Georgetta Maiolo, director
F riday, May 12, 2006
8 :00 p.m.
Casadesus Recital Hall
�Prog ram
...Arranged by Paul Morgan
.
An Elizabethan Suite.
1, Stephen Thomas, his A l e
2. Bateman’s Ayre
“3. Waters, his Love
% . Durance Masque
5 , The Nobleman, his Almain
6. Douland’s Almain
Two ROME BORER ...... ...... ...... ...... ...... ...... ...... ...BélaBartok
(18811945)
Arr. by Anne McGinty
La Caccia
Pastorale
Vivace
Georg Philipp Telemann
(16811767)
Arr. by Giovanni Gatti
MorningHas Broken
arr by Amy RiceYoung
.
Epigrams
:
Anne McGinty
(b. 1945)
. ...... ...... ...... ...... ..GrahamP own ing
Children’s Suite. .
(b. 1949)
1. Pop goes the Ensemble
2. Oranges and Vodka
3. The Teddy Bears Freakout
Nuances.. ...... ...... ...... ...... ...... ...... ...... ...... .Ann eMcGinty
(b. 1945)
�The Comedians’ Gallop...
(from The Comedians, Op. 26)m
Dmitri Kabalevsky
(19041987)
Arr. by Ricky Lombardo
CedarRidge...... ....... ....... ....... ....... ....... .RickyLombardo
(b. 1946)
Sabre Dance. . . . . . . . o o c i i n i i i i i i i n i n i i n Kabalevsky
(19041987)
Arr. by Mitchell Bender
Sailor ’s H o r n p 1 p e . . T r a d i t i o n a l
A m . b y Adrian Brett
Members of the Binghamto n University Flu te Ensemble
Kelsey Bauer
Stephanie Dodge
Juliette Guarino
Leah Hays
Nicole Lean
Katherine Navarette
Valerie Spiller
Meghan Tate
Melissa Voldan
�Comnig “Crenst
Sa t u r d ay, M a y 1 3 – In dian Cl
assical M usic by
vo calist Ashwini Bhi deD es hp an de
, a cc om pani ed by
Vishwan ath Sh irodkar on ta
bl a an d Se ema
Shirodkar on harm oniu m 7:00
p.m – Watters
Theater $10 general admission ; $
5 for students (co
sponsored by IPAS)
W ed nesd ay, M ay 1 7 – Master ’s
Recital
: Jody
Sc hu m, p ian o – 8:00 p.m. – Casad
esus Recital Hall –
free
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <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: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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1 audio disc
Duration
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31:24:00
Streaming Audio
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204287">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204287</a>
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Title
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Binghamton University Flute Ensemble, May 12, 2006
Recital Tape 2006-5-12
Description
An account of the resource
Works of Morgan, Bartók, Telemann, Rice-Young, McGinty, Powning, Kabalevsky, Lombardo, Brett. Held at 8:00 p.m., May 12, 2006, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Maiolo, Georgetta
Publisher
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Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
2006-5-12
Rights
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In copyright
Type
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sound
IIIF Item Metadata
UUID
79b1fcbe-75a6-4575-9c95-138096557192
-
https://omeka.binghamton.edu/omeka/files/original/a92da909f1526584c1d1cd3c718cd5ce.pdf
cca08b2764a26d69b8f7856dea8c8147
PDF Text
Text
UNI V
Pe.
ih
2 \
giJH’
:
p
C ‘ 1 “
0
:
a
;
Binghamton Univ
ersity Department of Music
TH UR SD AY MIDDAY RE CO GN ITI ON CO NC ER
May 11, 2005 –1:2 0 P.M.
l ; C C (J P
T
Casadesus Recital Hall
Spring Wind
Eric Thiman
Jennifer C urian o, sop rano and Cari Begeal, mezzosopran
o
ChaiKyou Mallinson, pian o
Recognized by Judy Berry, Professor o f Voice
Sonata for Flute Solo, Op. 24
Questioning
Jaunty
John La Montaine
Kelsey Bauer, flute
Recognized by Georgetta Maiolo, Professor o f F lute
Presented by Timothy Perry, Professor of Clarinet and In
strum ental Conducting
The Cascades (1904)
. Scott Joplin
“Arr. by Arthur Frackenpohl
Bing hamt on University Saxop hone Qua rtet :
Amy Natiella, sopran o; Em ily Alkiewicz, alto ;
Michael Marchisotto, tenor; Stephanie Barne r, baritone
Recognized by April Lucas, Professor o f Saxophone
Summertime from “Porgy and Bess” ..
George Gershwin
Michaela Lisi, soprano
ChaiKyou Mallinson, piano
Recognized by Mary Burgess, Professor of Voice
Presented by Timothy LeFebvre, Professor of Voice
Botschaft
Johannes Brahms
Erin Lahm, sop rano
Jody Schu m, piano
Recognized by Mary Burgess, Professor o f Voice
Presented by Timothy LeFebvre, Professor of Voice
(turn over)
�Meine Lippen sie kfissen so heiss
Franz Lehar
Julia Ebner, soprano
Margaret Reitz, piano
Recognized by Duane Skrabalak and Peter Sicilian, Professor of Opera
Presented by Timothy LeFebvre, Professor of Voice
Vocal modesty
Thomas Pasatieri
Kathy Boczar, soprano
ChaiKyou Mallinson, piano
Recognized by Mary Burgess, Professor of Voice
Presented by Timothy LeFebvre, Professor of Voice
Sonatine.
II.
Andante Sostenuto
Jacques Casterede
David Henann, trombone
Margaret Reitz, piano
Recognized by Donald Robertson, Professor of Low Brass
Duet for Clarinets.........
.. Christopher Longano
Timothy Perry, clarinet, Theresa Perrone clarinet
Christopher Longano, composer recognized by Paul Goldstaub, Professor of Composition
Theresa Perrone recognized by Timothy Perry, Professor of Clarinet
Kristen Gilbert, composition recognized by Paul Goldstaub, Professor of Composition
Prelude in EMajor, Op. 32, No. 3
.. Sergei Rachmaninoff
Jody Schum, piano
Recognized by Ewa Mackiewicz Wolfe, Professor of Piano
Presented by Jonathan Biggers, chair, Department of Music and Professor of Organ
**Please join us for a reception in the Green Room following the concert**
�
Dublin Core
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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. <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: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
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In copyright.
Template: PDF / Rosetta
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Original Format
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1 audio disc
Duration
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31:55:00
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204284">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204284</a>
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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>.
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Title
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Thursday mid-day recognition concert, May 11, 2006
Recital Tape 2006-5-11
Description
An account of the resource
Works of Thiman, La Montaine, Joplin, Gershwin, Brahms, LehaÌr, Pasatieri, Casterede, Longano, Rachmaninoff.
Held at 1:20 p.m., May 11, 2006, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Curiano, Jennifer
Begeal, Cari L
Mallinson, Chai-Kyou
Bauer, Kelsey
Natiella, Amy
Marchisotto, Michael
Barner, Stephanie
Lisi, Michaela
Lahm, Erin
Schum, Jody
Ebner, Julia
Reitz, Margaret
Boczar. Kathryn
Henann, David
Perry, Timothy
Perrone, Theresa
Longano, Christopher
Gilbert, Kristen
Publisher
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Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
2006-5-11
Rights
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In copyright
Type
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sound
IIIF Item Metadata
UUID
2546c77b-5f7e-45a7-a4ad-631276eca9fd
-
https://omeka.binghamton.edu/omeka/files/original/abc970ab1be8676d20d0044f80d66f34.pdf
d889621d7108f8c47e94804c3cb1427d
PDF Text
Text
BINGHAMTON
U N I V E R S I T Y
State University of New York
d e e
7
D E P A R T M E N T
"
An Evening of
German Vocal Music
Presented by the
German Diction Class
Timothy LeFebvre, instructor
Williams James Lawson, piano
!5
Wednesday, May 10, 2006
8:00 p.m.
Casadesus Recital Hall
�PROGRAM
H
t
,!
a
l
from Die Schone Miillerin
Alexander Blitstein, tenor
l Schubert
(17971828)
Nur wer die Sehnsucht k en nt ...
... ...
... ... ... ... ... ... ... ...
Fra...
nz.
Schubert
(17971 8 28)
Elizabeth Duhr, mezzosoprano
Standchen
Franz Schubert
(17971828)
Vitaliy Maystruk, baritone
Heimliches L
i
c
h
e
n
.
.
Kathryn Boczar, mezzosopran
o
. Schu bert
(17971828)
Nimm sie hin denn, diese Lied
er..................Ludwig van Bee
thoven
from An die ferne Geliebte
(17701827)
Mark Kratz, tenor
Kennst du das L an d. ... ... ... ...
... ... ... ... ...
... ... ... . van Beethoven
(17701827)
Jessica S. Barkley, soprano
l
l
Widmung
Cari Begeal, mezzosoprano
Robert Schumann
(181 01856)
Wie Melodien zieht es mir .........
.....cceeeeuen............ Johannes Bra
hms
(18331897)
Jana Kucera, soprano
Brauner Bursche fiihrt zum Tan
ze......................... Johannes Bra
hms
(18331897)
Amy DeLeo, soprano
�Johannes Brahms
( l 8 3 31 897)
Mary Aimoniotis, mezzosoprano
Von ewiger L1ebe
Die Mainacht
Katrina L. Cox, soprano
Der Tod, das ist die kfihle Nacht
Julia Ebner, soprano
Erin Lahm, soprano
.
Ein Traum
Stefanie Sudduth, soprano
Breit fiber mein Haupt
Nili Riemer, soprano
Verschwiegene Liebe
Andrew Sudduth, baritone
Auch kleine Dinge
Miriam A. Wright, soprano
Der Kontrabandiste
Soon Young Park, baritone
~Intermission~
Johannes Brahms
(18331897)
Johannes Brahms
(1 83 3 l 897)
(18331897)
:
Edvard Grieg
(1 843 1907)
Richard Strauss
(18641949)
Hugo Wolf
(1 860 1903)
Hugo Wolf
(18601903)
Robert Schumann
(18101856)
!
/
�Coronach
Franz Schubert
(17971828)
Katrina L. Cox, Amy DeLeo, Jana Kucera
Robert Schumann
( l 8 1 01 8 56 )
Stefanie Sudduth and Andrew Sudduth
An den Abendstem
So wahr die Sonne scheinet.................................. Robert Schumann
(18101856)
Vitaliy Maystruk and Kathy Boczar
Klange
Nili Riemer and Julia Ebner
Johannes Brahms
(18331897)
Es rauschet das Wasser..........................................Johannes Brahms
(18331897)
Elizabeth Duhr and Soon Young Park
Horch, der Wind klagt...........................................Johannes Brahms
(18331897)
Erin Lahm, Jessica S. Barkley, Mark Kratz, Soon Young Park
(18091847)
Jana Kucera and Cari Begeal
Suleika und Hatem! An des lust’gen Brunnens Rand
Felix Mendelssohn
Alexander Blitstein and Erin Lahm
Herbstlied
(1 8091 847)
Felix Mendelssohn
(18091847)
Miriam A. Wright and Mary Aimoniotis
After the performance, please join us for a reception in Green Room
�TRANSLATIONS
Halt!
I see a mill showing through the
alders;
Through the gushing and singing of
the water
Breaks the noise of the wheel.
Welcome, welcome, sweet song of
the mill!
And the house, how comfortable it
looks!
And the windows, how they glitter!
And the sun, how brightly it shines
from heaven!
O brooklet, dear brooklet, was this
what was intended?
Nur w er die Sehnsucht kenn t
Only one who knows longing
Knows what I suffer!
Alone and cut off
From all joy,
I look into the firmament
In that direction.
Ah! he who loves and knows me
Is far away.
I am reeling,
My entrails are burning.
Only one who knows longing
Knows what I suffer!
Standchen
Softly through the night my songs
implore you,
Come down into the still grove with
me, beloved ;
Slender treetops rustle and whisper
in the moonlight,
Fear not, sweet one, the betrayer ’s
malicious eavesdropping.
hear the nightingales calling? Ah!
They are imploring you.
With the sweet music of their notes
they implore you for me.
They understand the bosom’s
yearning, they know the pangs of
love.
They can touch every tender heart
with their silvery tones.
Let them move your heart also ;
beloved, hear me!
Trembling, I wait for you; come,
give me bliss!
Heimliches Lieben
Oh you, when your lips touch mine,
Then my desire will carry away my
soul,
I feel deep inside a nameless
trembling,
And my bosom heaves.
My eyes are aflame; a glow spreads
over my cheeks,
My heart beats with an unknown
longing,
My mind wanders, intoxicated lips
stammer,
And can hardly compose itself.
In such an hour my life hangs
On yo ur swe et, rosesoft mouth,
And in your trusted arms embrace
I would almost give myself up.
Oh, could my soul but not leave me
And burn in your soul alone!
Would that my lips, that burn with
longing,
Must not pa rt from your lips!
Could but my soul into kisses
dissolve
While my lips and heard are so
firmly pressed to yours,
A heart that may never openly
Beat for me.
i
il
J
�Nimm sie hin, de nn diese L ieder
Take, then, these songs,
That I to you, beloved, sang,
Sing them again in the evenings
To the sweet sounds of the lute!
When the red twilight then moves
toward the calm, blue lake,
And the last ray dies
behind that hilltop;
And you sing, what I have sung,
What I, from my full heart,
Artlessly have sounded,
Only aware of its longings.
For before these songs yields,
What separates us so far,
And a loving heart reaches
For what a loving heart has
consecrated.
Kennst du das L and
Knowest thou where the lemon
blossom grows,
In foliage dark the orange golden
glows,
A gentle breeze blows from the
azure sky,
Still stands the myrtle, and the
laurel, high?
Dost know it well?
‘Tis there! ‘Tis there
Would I with thee, oh my beloved,
fare.
I
Knowest the house, its roof on
columns fine?
Its hall glows brightly and its
chambers shine,
And marble figures stand and gaze
at me :
What have they done, oh wretched
child, to thee?
Dost know it well?
‘Tis there! ‘Tis there
Would I with thee, oh my protector,
fare.
:
Knowest the mountain with the
misty shrouds?
The mule is seeking passage
through the clouds;
In caverns dwells the dragons’
ancient brood;
The cliff rocks plunge under the
rushing flood!
Dost know it well?
‘Tis there! ‘Tis there
Leads our path! Oh father, let us
fare.
Widmung
You my soul, you my heart,
You my bliss, 0 you my pain,
You the world in which I live,
You are heaven, in which I float,
O you my grave, into which
I eternally cast my grie f
You are rest, you are peace,
You are bestowed upon me from
heaven.
That you love me makes me
Worthy of you;
Your gaze transfigures me
Before you ;
You raise me lovingly above myself
My good spirit, my better selfl
Wie Melodien zieht es mir
Like melodies it softly pervades my
senses
Like spring flowers it blossoms
And like a fragrance drifts away.
But if the word comes and grasps it
Then leads it before the eyes
Like misty gray it fades and
vanishes like a breath.
And yet in the rhyme
A secret fragrance is hidden
That gently from its tranquil source
Brings tears to the eyes.
�Brauner Bursche fii hrt zum
Tanze
The bronzed young fellow leads to
the dance
His lovely blueeyed maiden,
Boldly clanking his spurs together.
A Czardas melody begins.
He caresses and kisses his sweet
dove,
Whirls her, leads her, shouts and
springs about;
Throws three shiny silver guilders
On the cymbal to make it ring!
Von ewiger Liebe
Dark, how dark it is in the forest
and field!
Night has fallen; the world now is
silent.
Nowhere a light and nowhere
smoke.
Yes, now even the lark is silent.
From yonder village there comes
the young lad,
Taking his beloved home.
He leads her past the willow bushes,
Talking so much, and of so many
things:
Iron and steel can be recast by the
smith
But who would transform our love?
Iron and steel can melt;
Our love, our love will have to last
forever!”
Die Mainacht
When the silvery moon gleams
through the copse,
And pours his slumbering light over
the grass,
And the nightingale warbles,
I wander sadly from bush to bush.
Hidden by the foliage, a pair of
doves
Coos its delight near by; but I turn
away,
Seek deeper shadows, and weep a
lonely tear.
When, o smiling image, which like
the light of morning
Shines through my soul, shall I find
you upon the earth?
And the lonely tear trembles hotter
down my cheek!
As fast as we once came together.”
Der Tod, das ist die kiihle Nacht
Death, it is the cool night,
Life is the sultry day.
It grows dark already;
I grow sleepy,
The day has made me tired.
Over my bed rises a tree,
Within it sings the young
nightingale;
It sings of pure love.
I hear it even in my dreams.
Then says the maiden, the maiden
says:
“Our love shall never end!
Steel is firm and iron is firm,
Yet our love is firmer still.
Botschaft
Blow, little breeze, gently and
lovingly
about the cheeks of my beloved;
play tenderly in her locks,
“If you suffer shame and if you
grieve,
If you suffer disgrace before others
because of me,
Then our love shall be ended ever
so fast
As fast as we once came together;
It shall go with the rain and go with
the wind,
do not hasten to fle e far away!
I
�If perhaps she is then to ask,
how it stands with poor wretched
me,
tell her: “Unending were his
sorrows,
most serious his plight;
But now he can hope
wonderfully to come alive again
for you, lovely one,
are thinking of him!”
Ein Traum
I once dreamed a beautiful dream:
a blond maiden loved me,
it was in the green woodland glade,
it was in the warm springtime :
the buds were blooming, the brook
was swelling,
from the village far away church
bells were chiming
we were completely filled with joy,
engulfed in happiness.
And more beautiful yet than that
dream,
it happened in reality:
it was in the green woodland glade,
it was in the warm springtime :
the brook was swelling, the buds
were blooming,
church bells were chiming from the
village
I held you tight, I held you long
and now will never let you go!
Nevermore! Nevermore!
1
so that into my soul, so brightly and
clearly,
will stream your eye’s light.
I do not want the splendor of the
sun above,
nor the glittering crown of stars;
I want only the night of your locks
and the radiance of your gaze.
Verschwiegene Liebe
Over the treetops and the fields of
grain,
In the moonlight – who could guess
them,
Who hold them in check?
Thoughts are in motion,
The night is silent,
Thoughts are unconfined.
May only one guess who is thinking
of her,
In the rustling of the grove
when no one else is awake.
As the clouds that soar,
my love is silent, and lovely as the
night.
Auch kleine Dinge
Even little things can delight us,
Even little things can be precious.
Think how we gladly adorn
ourselves with pearls;
They are heavily paid for, and yet
are small.
Think how small is the olive’s fruit,
And is nevertheless sought for its
There reality became a dream,
virtue.
Think only on the rose, how small
she is,
And yet, smells so sweet, as you
know.
Breit fiber mein haupt
Spread over my head your black
hair,
,
and incline to me your face,
Der Kontrabandiste
I am the smuggler,
and know well how to inspire
respect;
I know how to defy everyone,
O vernal woodland glade,
you will live in me for all time!
there the dream became reality!
�and I fear no one.
So let us be merry!
Who shall buy my silk and tobacco?
Truly, my pony is tired,
I hurry, yes, hurry,
otherwise the patrol will catch me,
and then things will go very badly!
Run, my merry horse,
ah, my dear, good steed,
you know well how to carry me!
Coronach
He is gone on the mountain,
He is lost t o the forest,
Like a summer dried fountain,
When our need was the sorest.
The font reappearing
From the raindrops shall borrow,
But to us comes no cheering,
To Duncan no morrow!
The hand of the reaper
Takes the ears that are hoary,
But the voice of the weeper
Wails manhood in glory.
The autumn winds rushing
Waft the leaves that are serest,
But our flower was in flushing
When blighting was nearest.
So wahr die Sonne scheinet
As sunlight wakens flowers, as
cloudlets give forth showers,
As flame sends up its light, as
springtime ’s hues are bright;
So truly do I treasure a love that
knows no measure,
The love I bring to thee, the love
thou bearest me.
The sunlight may be shrouded, the
heavens never clouded,
The flame may cease to burn, and
sprightime ne’er return
But naught shall be o ’er casting our
love forever lasting,
The love thou bearest me, the love I
bring to thee.
Klange
Flowers spring from the earth,
light spills from the sun;
love flows from the heart,
and so does pain, which breaks it.
And the flowers must wilt,
and night follows day;
and yearning follows the love
that makes the heart so gloomy.
Fleet foot on the correi,
Sage counsel in cumber,
Es rauschet das Wasser
The water rushes and will not stay
still;
The stars pass merrily in the sky,
The clouds advance merrily in the
sky,
And so Love rushes and wanders
there.
An den A bendstern
Hover up in the sky, beautiful
evening star.
Each person gladly sees you in the
The waters are rushing, the clouds
dissolving;
Yet the stars remain: they wander
and drift.
And so it happens as well with
Love, the true:
It sways and stirs but changes not.
Red hand in the foray,
How sound is thy slumber!
Like the dew on the mountain,
Like the foam on the river
Like the bubble on the fountain,
Thou art gone, and forever.
bright throng.
Go up, go not to the sky’s edge
such a vestment does not adorn your
brother.
�Horch, de r Wind klagt
Listen, the wind wails in the
boughs sadly;
Sweet love, we must part: good
night!
Oh, how gladly I would rest in your
arms!
But, the hour o f separation draws
near, may God protect you.
Dark is the night, no little star sheds
any light;
Sweet love, trust in God and do not
weep!
If loving God brings me back to you
someday,
we will remain united in love’s
happiness forever.
Gruss
Wherever my steps may wander,
Thro ’ woods and meadows fair,
I gaze with deep emotion
O’er hill and vale and ocean,
Greeting thee everywhere,
I from the garden gather
Sweet flowers bright and fine,
And into garlands wind them,
‘With pleasant thoughts I bind them,
And greetings intertwine.
To thee I dare not give them,
E’en that might give thee pain,
They soon again must perish,
The love I may not cherish,
Must in the heart remain.
Suleika und Hatem! An des
lust ’gen Brunnens Ra nd
Herbstlie d
Oh how soon the dance of spring
dies away,
and turns itsel f into wint ertime.
Oh how soon the silence of
mourning
Changes itself into cheerfulness.
Soon the last sounds fly away,
Soon the singers leave
Soon the final green is lost
They all are drawn homeward.
Oh how soon the dance dies away,
and pleasure longs for agony.
Were your thoughts of love a
dream?
Sweet like the springtime and
quickly drift away?
One, only one will never falter,
It is the core that never goes awa y,
Oh how soon the silence of
mourning
Changes itself into cheerfulness.
Oh, so soon, oh so soon.
[These translations are provided by
the students, as part of their
preparation for this program.
�Thursday, May 1 1 – MidDay Student Recognition Concert
with faculty and student performers – 1:20 p.m. – Casadesus
Recital Hall – free
Thursday, May 1 1 – Har pur Chorale and Women ’s Chorus –
8:00 p.m. – Anderson Center Chamber Hall – free
Thursday, May 11 – Antonio Vivaldi: Concerti “ Four Seasons”
for violin – 10:00 p.m. – Casadesus Recital Hall – free
Friday, May 12 – Flute Ensemble – 8:00 p.m. – Casadesus Recital
Hall – free
Saturday, May 1 3 – Indian Classical Music by vocalist Ashwini
BhideDeshpande, accompanied by Vishwanath Shirod kar on
tabla and Seema Shirod kar on harmonium – 7:00 p.m –
Watters Theater $10 general admission; $5 for students (co
sponsored by IPAS)
Wednesday, May 17 – Master ’s Recital : Jody Schum, piano –
8:00 p.m. – Casadesus Recital Hall – free
�
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
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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. <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: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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2 audio discs
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53:51
22:29
Streaming Audio
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204280">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204280</a>
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An evening of German vocal music, May 10, 2006
Recital Tape 2006-5-10
Description
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Works of Schubert, Beethoven, Schumann, Brahms, Grieg, Strauss, Wolf, Mendelssohn. Held at 8:00 p.m., May 10, 2006, Casadesus Recital Hall.
Creator
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LeFebvre, Timothy
Lawson, William James
Publisher
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Binghamton University Libraries
Date
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2006-5-10
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sound
IIIF Item Metadata
UUID
22db6b87-78d3-4a22-bbd3-7f33ecbfdb88
-
https://omeka.binghamton.edu/omeka/files/original/853e79cfc3d5917164d57dd15d0fea14.pdf
257c54570d53b6383c7b682c9e4791bf
PDF Text
Text
BINGHAMTON
U N I V E R S I T Y
State University of New York
wdc
[4
B
E R A R T M E N
T
The University Win d Ensembl e
presents
The L egacy of
~ A lfred R eed
(19212005)
Ro bert G . Smith
Music Direc tor a n d Con d uctor
assisted by
Danie l Bris k
G radua te Con ducto r
and
Jessica Will iamson
G rad uate C onduc tor
Sunday , May 7 , 2006
3:00 p. m.
Anderson Cen ter Cha mber H all
�PROGRAM
This season the University Wind Ensemble has been pleased to present one
composition by Alfred Reed in eac h concert. This final concert of the 20052006
season features a complete program of additional works. What was originally
envisioned as homage to the Dean of American Wind Band Composers has
become a celebration of his life an d his contributions to the wind band movement
around the world.
El Camino Real, A Latin BaREASY L i k .i
v
e
r
s
o
n
(1970)
A Jubilant Ove rture
Conducted by Mrs. Williamson*
nasensies
Russian Christmas M u s e . 8 0 d rerensensssana
arr (1961)
Greensleeves
Conducted by Mr. Brisk*
Armenian Dances, P a r t
..
(1972)
Tzarani Tzar (The Apricot Tree)
Gavaki Yerk (Partridge’s s Song)Gomidas Vartabed (18691935)
Hoy, Nazam Eem (Hoy, My Nazam)
Alagya (An Armenian Mountain)
Gna, Gna (Go, Go)
..(1985)
.
Three Revelations from the Lotus Sutra...
I. The Awakening (To Awaken in the Light o f the Universe)
II. Contemplation (To Contemplate the Depths of the Soul)
III. Rejoicing (To Rejoice in the Beauty of P eace)
*Mrs. Williamson ’s and Mr. Brisk’s performances are in partial satisfaction
of the requirements for the Master of Music in Conducting.
They are graduate students of Dr. T imothy Perry.
�PROG RAM NOT E S
Alfred Reed (192 12005)
With over 250 published works for concert band, wind ensemble, orchestra,
chorus and chamber groups, Alfred Reed is one of America’s most prolific and
frequently performed composers. Born Alfred F reidman, his music career began
in 1931 in the N e w York schools of music. H e studied trumpet with Abraham
Nussbaum , theory and composition with John Sacco and began playing
professionally at the age of 14. Later, he was offered a scholarship to study
composition with Paul Yartin, a student of SaintSaens. His first successful
composition, Interludium for orchestra, was performed by the N BC Symphony
and later published in an arrangement for organ. Reed wrote many compositions
and arrangements for band during his service with the Army Air Corps in World
War II. When composer Roy Harris and Reed’s commanding officer both ordered
him to produce a work for radio broadcast honoring the friendship between the
Russian and American people they gave him a two week deadline. In eleven days,
Reed prod uced Russian Christmas Music, the work that la unched his career as a
composer of music for winds. Following the war, he began studying with V ittorio
Giannini at Juilliard, but left to work as a staff composer and arranger at both
NBC and ABC. Be rnard Kalban of Charles H. Hansen Music Corporation asked
Reed to write music for young wind players, thus, beginning his long associat ion
with the school band movement. In 19 53, Reed accepted a position as conductor
of the Ba ylor University Orchestra and while there he completed his bachelor’s
and master’s degrees. Returning to N e w York in 1956, he went to work for
Hansen as a senior editor. In 1966, he took a position at t he University of M iami
in order to have time to devote to his writing. Over the next 27 years, he
composed most of his wellknown works for band including : The Hounds of
Spring, Othello, Music for ‘Hamlet’, and Armenian Dances (part I and II). In
1981, he was invited to Japan by Sony ’s Toshio Akiyama to conduct and record
with the Tokyo Kosei Wind Orchestra. This led to a long association with TKWO
and other Japanese music or ganizatio nsHis work took him to 49 states and 18
countries.
By R. Smith
El Camin o Real (A Latin Fantasy) was comm issioned by the 58 1“ Air Fo rce
Band (AF RES) and its Commander, Lt. Col. Ray E. Toler. The music is based on
a series of chord progressions common to countless generations of Spanish
flamenco guitarists, whose fiery style and brilliant playing have captivated
millions o f music lovers throughout the world. The first section o f the music is
based upon the dance form known as thc Jota, while the second, contrasting
section is derived from the Fandango, but here a ltered considerably in both t ime
and tempo from its usual form.
By A. Reed
�A Jubilant Overture opens as a joyous celebration of music layering many
driving rhythms in d ifferent voices within the ensemble. It is interesting to note
that while Reed uses many of the same rhythmic motives throughout the piece, it
never sounds repeti tive and continues to capture the audie nces attention. The
middle section of this piece is lyrical and expressive while still keeping some of
the underlying excitement from the opening. Reed transitions from this lyrical
section gracefully as we begin to hear the opening motives return slowly at first
and then with great gusto leading up to the end of the piece.
By J. Williamson
Russian Christmas Music was originally written in November of 1944 and was
first performed in December of that year at a special concert in Denver, Colorado,
by a select group of musicians from five of the leading Service Bands stationed in
that area. An ancient Russian Christmas Carol (“Carol of the Little Russian
Children”), together with a good deal of original material and some motive
elements derived from the liturgical music of the Eastern Orthodox Church, forms
the basis of this musical impression of Old Russia during t he jubilant Christmas
season. Although cast in the form of a single, continuous movement, four distinct
sections may be easily recognized, which the composer originally subtitled:
Children’s Carol, Antiphonal Chant, Village Song and the closing Cathedral
Chorus.
By A. Reed
Greensleeves
This familiar ancient tune is set in three verses, each with an introductory section.
The first verse is introduced by flowing eighth note lines in the woodwinds.
These flowing lines continue throughout the first verse, with the melody being
stated just as gently by the tenor voices o f the brass section. In the second verse,
the woodwinds begin the melody following a key change. The brass section, by
and large has accompaniment figures. The entire ensemble takes on an “organ
like” broadness to usher in the final verse. The original key has returned by this
point, but a sense of fullness that was absent in the first verse is present now. The
flowing eighth note lines of the woodwinds return as the piece closes in the same
fashion as it began.
By D. Brisk
I
I
�American Dances, Part I was completed in 1972 and was performed at the
CBDNA convention in Urbana, Illinois by the University of Illinois Symphonic
Band, under Dr. Harry Begian, who had suggested the work. Comprising a four
movement suite, Armenian Dances, Parts I and II is based on authentic Armenian
folk songs from the works of the founder o f Armenian classical music, Gomidas
Vartabed (18691935). P a rt I I was composed in 1 975 and the entire work was
performed in 1976.
By R. Smith
Three Revelations fr om the Lotus Sut ra is an attempt to rea lize in music three
different states of man ’s soul in his quest for ultimate perfection. The first
movement, Awakening (To Awaken in the Light of the Universe) portrays the
vastness and richness of the experience of the human mind on expanding its field
of view from the narrow confines of daily life to the contemplation of, and
merging with, the entire universe. The second movement, Contemplation (To
Contemplate the Depths of the Soul) represents a turning away of the mind from
the ‘outer ’ to the ‘inner ’ universe... the attempt to fathom the limitless
possibilities of the h uman conciousness i n its quest for identity, to answer the
eternal questions beginning with the word “Why?” The third and final movement,
Rejoicing (Rejoicing in the Beauty of Peace) depicts the realization that, while on
earth, peace is not merely the absence of war, destruction, pain and suffering, but
a thing of beauty in and of itself...and an occasion for heartfelt rejoicing on the
part of all men, everywhere, who share the same eternal quest as true brothers.
By A. Reed
�T H E CONDUCTORS
ROBERT SMITH is Music Director and Conductor of the Binghamton
University Wind Ensemble. Professor Smith holds a Bachelor of Science in
Music Education from Hartwic k College, a Master of Music in Conducting from
Binghamton University and is a candidate for the Doctor of Musical Arts in
Music Education from Boston University. Locally, he is conductor of the annual
observance of TubaChristmas and is former conductor of the Maine Community
Band, the oldest band of its kind in the United States. He has guest conducted all
county and community bands throughout central N e w York as well as the Goshen
College (IND) Wind Ensemble and Orchestra. His conducting teachers include
Frederick Fay Swift, Thurston Dox, Thomas Ives, Timothy Perry, Robin
Linaberry, John Graulty and Mariusz Smolij. An active performer, he currently
plays principal euphonium with the Southern Tier Concert Band and tuba with the
Brass Nickel quintet and the Crown City Brass sextet. Professor Smith is the
irrunediate past president of the Broome County Music Educators Association and
recipient of the 2005 BCMEA Distinguished Service Award. Professional
memberships include The Broome County Music Educators Association, the N e w
York State School Music Association, the Music Educators Nat ional Conference,
The National Band Association, The Association of Concert Bands, The
Conductors Guild, The World Association of Symphonic Bands and Ensembles,
The College Band Directors National Association and the International Tuba and
Euphonium Association.
l
1
JESSICA WILLIAMSON holds a Bachelor of Music in Music Education from
SUN Y College at Fredonia and is currently a candidate for the Master of Music in
Conducting from the Binghamton University. Her conducting teachers include:
Timothy Perry, Patrick Jones, David Rudge and Rudolph Emilson. Jessica is the
director of the Whitney Point Middle School Concert Band, Sixth Grade Band
and Jazz Band. She has performed with the Long Island Winds, the Southern Tier
Concert Band and with the EVE A Youth Commission of Germany. Memberships
include N e w York State School Music Association, the National Association of
Music Educators and the Broome County Music Educators Association.
DANIEL BRISK graduated from Wilkes University in Pennsylvania with a
degree in Music Education. Mr. Brisk is currently an instrumental music educator
at Chenango Valley High School where he conducts the Symphonic Band, Jazz
Band, Pep Band and has been heavily involved in the Theatre Guild. A tubist,
Mr. Brisk currently performs as a member of the Southern Tier Concert Band,
European Brass and is a freelance musician. He is currently enrolled at
Binghamton University where he is pursuing a Masters Degre e with a focus on
Instrumental Conducting under Dr. Timothy Perry. He has previously studied
conducting under Cyril Stratanski, Dr. Alan Baker, Ferdinand Liva, Jerome
Campbell and Dr. Richard Brown.
2
1
iS
�T H E PERFO RMERS
r
L
Flute
Erica LeoUtica, NY
S u b i n LimWilliston Park, N Y
Elise MartingaleMassapequa, NY
Katie NavaretteBrunswick, NY
Valerie SpillerNorthport, N Y
Piccolo
Melissa VoldanHilton, NY
Oboe
Ephraim AtkinsonAmherst, NY
A b iga i l SneagG reat Neck, N Y
E b Clarinet
Theresa PerroneGreene, N Y
Bb Clarinet
Heather BolandMerrick, N Y
Joanne BriceSpring Valley, NY
D o r i a n Dodd La ke Katrine. N Y
Michele GrexerQueens, N Y
Christa HeschkeOlean, NY
A n d r e i LeeEast Meadow, N Y
Danielle QuickSyracuse, NY
Richard SalvagniQueens, NY
Da n ZaccariniN ew Hyde Park. N Y
Bass Clarin et
C h l o e H o pza pfe l L a ke Ronkonkoma, N Y
Alto Saxoph one
0
I
F
Horn
Ro b e rt
MullerPoughkeepsie, N Y
Mate usz RekMiddle Village, NYC, N Y
William Stal lsworthSouth Orange, N Y
Trumpet
Philip DeitzH
untington, NY
John MarschhauserManorville, NY
Thomas OsaSeaford, N Y
St e v e n PanXinjiang,China
Andrew San fratelloMohegan Lake, N Y
D a v i d WrightBinghamton, N Y
Trombone
Christopher ChenRoslyn, NY
David HennanWind Gap, PA
Euphonium
R ic k M okanLancaste r, N Y
T uba
Dan GallagherMaine, NY
Paul McddaughRock Hill, NY
Percussion
Christopher JacobsonBaldwinsville, NY
E u n Y o u K imBinghamton, N Y
J a na KuceraBi nghamton, N Y
Scdrick MyrtilSpring Valley, N Y
M i k e VentiBinghamton, N Y
String Bass
E m i l y A l k icwiczEast Fishkill, N Y
Chris Zavala East Mcadow, N Y
Tenor Sa xophone
Adam GoodstoneMcllick, NY
G rad uate Assista nt
Amy NaticllaBuffalo, NY
Baritone Sa xophone
A d a m G eringerEast Meadow, N Y
Kathryn Boc zarWhitney Point, N Y
�Sunday, May 7 – Master ’s Recita l – William G ilchrest, t rumpet
– 7:30 p.m. – Casadesus Recital Hall – free
Wednesd ay, May 10 – An Evening of G erman Vocal Music –
8:00 p.m. – Casadesus Recital Hall – free
J
Wednesd ay, May 10 – Co nductor ’s Conce rt – 7:00 p.m. – FA
111 – free
Th ursday, M ay 1 1 – MidDay Stude nt Recognition Co ncert wit h
faculty a nd stude nt perfor mers – 1 :20 p.m. – Casadesus Recital
Hall – free
Th ursday, May 1 1 – H a rp u r Chorale a n d Wome n ’s C ho rus –
8:00 p.m. – Anderson Cente r Chamber Hall – free
Th ursday, M ay 1 1 – Anton io Vivald i : Concerti “ Four Seasons”
for violin – 10:00 p.m. – Casadesus Recital Hall – free
F riday, M ay 12 – F l ute Ense mble – 8 :00 p.m. – Casadesus Recita l
Hall – free
Saturday , May 1 3 – Indian Classica l Music by vocal ist Ashwini
BhideDeshpande, accompanied by Vishwa nath Shi rod kar on
tabla a nd Seema Shirod kar on harmoni um – 7:00 p.m –
Watters Theater $10 general admission; $5 for students (co
sponsored by IPAS)
Wednesd ay, May 1 7 – Master ’s Recita l : Jod y Sch um, pian o –
8 :00 p.m. – Casadesus Recita l Hall – free
)
1
/
JI
�
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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. <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: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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1 audio disc
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59:38:00
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204277">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204277</a>
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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>.
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Title
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The University Wind Ensemble presents The Legacy of Alfred Reed (1921-2005), May 7, 2006
Recital Tape 2006-5-7
Description
An account of the resource
Held at 3:00 p.m., May 7, 2006, Anderson Center Chamber Hall.
Creator
An entity primarily responsible for making the resource
Reed, Alfred
Smith, Robert
Brisk, Daniel
Williamson, Jessica
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
2006-5-7
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In copyright
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sound
IIIF Item Metadata
UUID
b94924c0-aa23-4284-b0ec-6308785de63f
-
https://omeka.binghamton.edu/omeka/files/original/99cd4b664beb5eba9249e80a0332b4a3.pdf
eaa0920f80e665ebbbfcc0a57fefaa12
PDF Text
Text
BINGHAMTON
U N I V E R S I T Y
State University of New York
UNTV A R C
Rec d \ C D
: 5 f , ,
D E P A R T M E N T
So 28
U N I V E R S I T Y SAX OPH ONE
QUARTET
April Lucas, dir ector
Amy N atiella, sopra no sax ophon e
E i i l y Alkiewicy, Al to saxophone
Micha el Marchisot to, ten or saxophon e
Stepha nie Ba rner, b ariton e saxo phone
Saturday, April 29, 2006
3:00 p.m.
Casadesus Recital Hall
�PROGRAM
Quatour pour Saxophones.........
I. Gaieté Villageoise
II. Doux Paysage
III. Papillons
IV. Concert sur la Place
Faustin et Mauriee JeanJean
(19001979)
A
.
a
.
. Sebastian Bach
(16851750)
Fuga Y Misterio
Astor Piazzolla
(19211992)
Arr. by Joel Diegert
Beau S
c
i
Petit Quatour
II. Cantilene
I. Gaguenardise
Seventh Heaven Rag
r
C
l
a
u
d
e Debussy
(18621918)
Arr. by Schmidt
Jean Franeaix
(b. 1912)
.. Stephen Rush
Arranged by Steve Mathieson
(b. 1988)
* * * * * * * * * * * * * * * * * * * * * * *
The Binghamton University Saxophone Quartet participated in the
Concerto Competition this fall and made the cuts to the final round
of competition.
�ABOUT THE PERFORMERS
AMY NATIELLA, a junior Sociology and Geology major, grew up
in Buffalo, NY starting piano at age 5 and saxophone at age 9. She
also plays in the Binghamton University Wind Ensemble under the
direction of Mr. Smith and studies saxophone with April Lucas at
Binghamton University and with Dave Schiavone in Buffalo. Amy
has also played in the pit orchestra for Binghamton University
Theater Productions. She enjoys spending time with her family and
friends and has been a member of the Binghamton University
Saxophone Quartet for three years.
EMILY ALKIEWICZ has been a member of the Binghamton
University Saxophone quartet for three years. She is also a member
of the Binghamton University Wind Ensemble and BU bearcats Pep
Band. Emily studied saxophone with Jim Trainor and Steven
Kieley during junior high and high school and with April Lucas at
Binghamton University. Emily is a Junior at Binghamton
University seeking a BA in Economics. Emily is a key holding
associate at Payless Shoe Source and enjoys being with her friends
and family, outdoor activities, and dogs.
MICHAEL MARCHISOTTO is currently in his junior year,
working towards a Bachelor of Arts degree in Music. He lives in
South Setauket, Long Island, and is a 2003 graduate of Ward
Melville High School. Michael is a recipient of the Nielsen Music
Scholarship and studies saxophone with April Lucas. He is a
member of the Harpur Jazz Ensemble under the direction of
Michael Carbone. He also enjoys playing the guitar. He has been a
member of the Binghamton University Saxophone Quartet for two
years.
STEPHANIE BAR NER is a senior at Owego Free Academ y. She
grew up in Owego, NY and will be attending SUNY Potsdam as a
Music Education major and a minor in Jazz Studies. Stephanie
teaches Women’s Choir at her high school, and plans to keep up
with her singing in college. She studies privately with April Lucas,
and has been a member of the Binghamton University Saxophone
Quartet for two sem esters. Stephanie enjoys her family and friends.
�Saturday, Ap ril 29 – University Chorus and O rchestra : O rff’s Carmina
Burana – 8:00 p.m. – Osterhout Concert Theater $9 general public; $7
faculty/staff/seniors; flee for students
Sunday, April 30 – Master’s Recital : Erin Lahm, sopra no – 1:00 p.m. –
Casadesus Recital Hall – free
Sunday, April 30 – Master ’s Recital : Kath ryn Boczar, m ezzosoprano – 7:30
p.m. – Casadesus Recital Hall
Tuesday, May 2 – MidDay Concert with faculty and g uest performe rs – 1 :20
p.m. – Casadesus Recital Hall – free
Tuesday, May 2 – Master ’s Recital : Ch ristian Huebn er, organ – 7 :00 p.m. –
First Presbyterian Church, Binghamton, free
Wednesday, M ay 3 – Stude nt Recital : Jen nifer Curiano, soprano and Cari
Begeal, mezzosoprano – 8:00 p.m. Casadesus Recital Hall – free
Thursday, M ay 4 – MidDay Jazz Conc ert with guest artist Cynth ia Scott –
1:20 p.m. – Osterhout Concert Theater – free
Thursday, May 4 – Harpu r Jazz Ensemble with guest artist Cynthia Scott –
8:00 p.m. – Osterhout Concert Theater $9 general public; $7
faculty/staff/seniors; free for students
Friday, May 5 – Flute Studio Recital – 10:15 a.m. – Casadesus Recital Hall –
free
Friday, May S
5 – Piano Stud io Recital : Students of Michael Salm irs – 8:00
p.m. – Casadesus Recital Hall – free
Saturday, May 6 – Master ’s Recital: Pa ul Blake, trombone – 3:00 p.m. –
Casadesus Recital Hall – free
Sunday, May 7 – University Wind Ensemble – 3:00 p.m. – Anderson Center
Chamber Hall – free
Sunday, May 7 – Master’s Recital: William Gilchrest, trumpet – 7 :30 p.m. –
Casadesus Recital Hall – free
Tuesday, May 9 – Master ’s Recital : And rew Sudduth, baritone – 8:00 p.m. –
Casadesus Recital Hall – free
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <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: <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 sound disc
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
01:04:59
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204274">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204274</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>.
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FacingCover
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
University Saxophone Quartet, April 29, 2006
Recital Tape 2006-4-29
Description
An account of the resource
Works of JeanJean, Bach, Piazzola, Debussy, Françaix, Rush. Held at 3:00 p.m., April 29, 2006, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
April Lucas, director
Amy Natiella, soprano saxophone
Emily Alkiewicz, alto saxophone
Michael Marchisotto, tenor saxophone
Stephanie Barner, baritone, saxophone.
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
2006-4-29
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
efb5afe4-3063-4d4a-9706-583106d5364c
-
https://omeka.binghamton.edu/omeka/files/original/d18cab980f316079e5f7aa0922a1d004.pdf
6430e87a8c372ecaa96e39f6fefc0324
PDF Text
Text
UNAN MWCO
K e c' \*\ L>\ Xe o e
2 0 0‘ ,
State University of New York
U aA
S P E C C
[ '
O
L
D E P A R T M E N T
J
MIDDAY CONCER T
April 27, 2006 – 1 :20 P.M. – Casadesus Recital Hall
..George Fredric Handel
(16851759)
Care selve......................
from Act I of Atalanta
Barbara! Io ben lo so
from Act III of Alcina
E rin Lahm, soprano
ChaiKyou Mallinson, piano
Gustav Mahler
Lieder eines fahrenden Gesellen.........cccceveveeneninieninennieneniennienieneneseenneneennennee..
(18601911)
(Songs of a Wayfarer)
Wenn mein Schatz Hochzeit macht
I.
Ging heut’ morgen iiber’s Feld
II.
III. Ich hab’ ein glithend Messer
IV. Die zwei blauen Augen
Kath ryn Boczar, mezzosoprano
ChaiKyou Mallinson, piano
..Arranged by Paul Morgan
..
An Elizabethan Suite......
1. Stephen Thomas, his Almain
2. Bateman’s Ayre
3. Durance Masque
4. The Nobleman, his Almain
Anne McGinty
(b.1945)
Epigrams
1 raditional
Sailor’s Hornpipe c.vveviveieii eiecrteisiereeisieseieneresesenesesssnesesesissssssessssssssssesssnessnenenenenen.
Arr. by Adrian Brett
Members of the Binghamton University Flute Ensemble
Georgetta Maiolo, Director
Kelsey Bauer
Stephanie Dodge
Juliette Guarino
Leah Hays
Nicole Lean
Katherine Navarette
Valerie Spiller
Meghan Tate °
Melissa Voldan
I
/
i
i
f
\
\
/
I
/
I
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <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: <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.)
40:12:00
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204271">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204271</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
Mid-day concert, April 27, 2006
Recital Tape 2006-4-27
Description
An account of the resource
Works of Handel, Mahler, McGinty. Held at 1:20 p.m., April 27, 2006, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Lahm, Erin
Mallinson, Chai-Kyou
Boczar, Kathryn
Maiolo, Georgetta
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
2006-4-27
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
8d9f0a80-a357-4c02-80d6-3655438baed6
-
https://omeka.binghamton.edu/omeka/files/original/7b5374234545402ceb98314652b819bf.pdf
ec41e7ff510992dab5f3bdd77635fa4b
PDF Text
Text
BINGHAMTON
U N I V E R S I T Y
State University of New York
[4
D
E
E
(22 92 24
S
R
UNIVERSITY PE RC US SI ON
EN SE M BL E
Danie l F ab ric ius, con du cto r
Tuesday, April 25, 2006
8:00 p.m.
Anderson Center Chamber Hall
�\
PROGRAM
TRASH CAN DANCE JAM
.....................Daniel Fabricius
CLINTONIAN SKETCH
Jared Spears
PLEASE PASS THE BEATS.....................Kristen ShinerMcGuire
~Intermission~
RONDO BAROCK
Frederic Dutton
YOU GOT SERVED
Mark THEICY
JESU, JOY OF MAN’S DESIRIN G
...J S. Bach
Arranged by Steve Mathieson
FIESTA L
A
T
I
N
A
D
a
v
e Mancini
�ABOUT THE C ONDUCTOR
DANIEL FABRICIUS took the post of Percussion Instructor at Binghamton
University in September 1992. He also has been Director of Bands at Owego
Free Academy since 1989. Fabricius is active as a performing percussionist in the
Southern Tier. He is a member of the Binghamton Symphony Orchestra as well
as Timpanist/Principal Percussionist for the Orchestra of the Southern Finger
Lakes. In recent years, he also has performed as a percussion soloist in chamber
ensembles, in musical theater productions and with a variety of nationally known
artists. He performs often as a freelance musician and as a member of the local
dance band, “Classy Brass.”
As a music educator, Fabricius holds professional memberships in the New York
State School Music Association, the International Association of Jazz Educators,
the Percussive Arts Society, and the National Band Association. He also has
served two terms as President of the New York State Band Directors Association.
He has worked on the Summer Session faculty for the Ithaca College School of
Music and also serves as a cooperating teacher for senior student teachers. He has
conducted many honor band festivals, presented clinics on a variety of music
education topics, and has adjudicated at music festivals throughout New York.
UNIVERSITY P ERCUSSION E NSEMBLE
David CiolinoVolano
Kristine Jackson
Ai Karasaw
Spencer Lo
Sedrick Myrtil
Richard Postelnik
Pete Tringali
Mark Turley
Mike Venti
�
C n (erly
Th u rsday, A pril 27 MidDay Conc ert with faculty and st udent p erforme
rs
1:20 p.m. – Casadesus Recital Hall – free
Satu rday, A pril 29 – Saxop hone Q uartet Concert 3:00 p.m. – Casadesus
Recital Hall free
Satu rday, April 29 – University Chorus and Orchest ra : O rff’s Ca rmina
Bu rana – 8:00 p.m. – Osterhout Concert Theater $9 general public; $7
faculty/staff/seni ors; free for students
Sunday, April 30 – Master’s Recital : Erin Lahm, soprano – 1:00 p.m.
–
Casadesus Recital Hall – free
Sunday, April 30 – Master’s Recital : Kath ryn Boczar, mezzosoprano – 7 :30
p.m. – Casadesus Recital Hall free
Tuesda y, May 2 – MidDay Co ncert w ith facu lty and guest pe rformer s – 1
:20
p.m. – Casadesus Recital Hall – free
Tuesda y, May 2 – Master ’s Recit al : Ch ristian H ue bner, or gan – 7 :00 p.m.
–
First Presbyterian Church, Binghamton free
Wednesday, Ma y 3 – Student Recital : Jennifer Cu riano, s op rano an d Ca
ri
Begeal, mezzosoprano – 8:00 p.m. Casadesus Recital Hall – free
Thu rsday, May 4 – MidDay Jazz Concert with guest a rtist Cy nthia Scott –
1:20 p.m. – Osterhout Concert Theater – free
Thu rsday, May 4 – Ha rpu r Jazz E nsemble with gu est a rtist Cy nthia Scott –
8:00 p.m. – Osterhout Concert Theater $9 general public; $7
faculty/staff/seni ors; free for students
Friday, May 5 – Flute Studio Recital – 10:15 a.m. – Casadesus Recital Hall –
free
Satu rday, May 6 – Master ’s Recit al : Pa ul Blake, t rombon e – 3 :00 p.m
. –
Casadesus Recital Hall – free
Sunday, May 7 – University W ind Ensemble – 3:00 p.m. – Anderson Center
Chamber Hall – free
Sunday, May 7 – Mast er ’s Recit al – William Gi lch rest, t rumpet – 7:30 p.m. –
Casadesus Recital Hall – free
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <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: <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.)
36:31:00
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204268">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204268</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
University Percussion Ensemble, April 25, 2006
Recital Tape 2006-4-25
Description
An account of the resource
Works of Fabricius, Spears, Shiner-McGuire, Dutton, Turley, Bach, Mancini. Held at 8:00 p.m., April 25, 2006, Anderson Center Chamber Hall.
Creator
An entity primarily responsible for making the resource
Fabricius, Daniel
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
2006-4-25
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
8e56be18-73f7-4c46-980e-88d968e0cc2f
-
https://omeka.binghamton.edu/omeka/files/original/4ec49920a7ecf4b9673914a55642041e.pdf
f879a6da28df17de4d99739eccc4edd1
PDF Text
Text
BINGHAMTON
U N I V E R S I T Y
State University of New York
e d e
[4
D E P A R T M E N T
The Ha rpu r Trumpet Ensemble
and Friends
Ben Aldridge, director
Margaret Reitz, piano
The Harpur Trumpet Ensemble
Phillip Deitz
William Gilchrest
Thomas Osa
Steven Pan
Andrew Sanfratello
The Otsego Brass Quintet
William Gilchrest & Amy Hoxie, trumpets
Lee Ferrara, horn
Paul Blake, trombone
Christopher Rubenacker, tuba
Sunday, April 23, 2006
7:30 p.m.
Casadesus Recital Hall
�PROGRAM
Intrada from Suite for Five Trumpets...................... Ronald LoPresti
(19331985)
The Ensemble
Suite in D for Trumpet and Piano............... Georg Friedrich Handel
Overture – Gigue – Menuetto
(16851759)
March 1 – March 2
William Gilchrest, trumpet
Margaret Reitz, piano
Concerto for T
r
u
Allegro – Adagio – Allegro
m
p
e
t ...Karl Pilss
(19021979)
William Gilchrest, trumpet
Margaret Reitz, piano
~Intermission~
SixtyNote Fanfares for............
Four Antiphonal Trumpets
...Tom Johnson
(b. 1939)
The Ensemble
Intrada for Unaccompanied Trumpet..........ccccceevennen.e.. Otto Ketting
(b. 1935)
William Gilchrest, trumpet
Aelgro o rA iVvi ace
Quintet for Brass...
The Quintet
...Malcolm Arnold
(b. 1921)
�©
(ents
Tuesday, April 25 – University Percussion Ensemble – 8 p.m. – Anderson
Center Chamber Hall – free
Thursday, April 27 – MidDay Concert with faculty and student performers
– 1 :20 p.m. – Casadesus Recital Hall – free
Saturday, April 29 Saxophone Quartet Concert 3 :00 p.m. – Casadesus
Recital Hall free
Saturday, April 29 – University Chor us and O rchestra : O rff’s Ca rmina’
Burana – 8:00 p.m. – Osterhout Concert Theater $9 general public; $7
faculty/staff/seniors; free for students
Sunday, April 3 0 – Master’s Recital : Erin Lahm, soprano – 1 :00 p.m. –
Casadesus Recital Hall free
Tuesday, May 2 – MidDay Concert with faculty and guest performers – 1 :20
p.m. Casadesus Recital Hall – free
Tuesday, May 2 – Master’s Recital : Christian Huebner, organ – 7:00 p.m. –
First Presbyterian Church, Binghamton free
Wednesday, May 3 – Student Recital : Jennifer Curiano, soprano and Cari
Begeal, mezzosoprano – 8:00 p.m. Casadesus Recital Hall – free
Thursday, May 4 – MidDay Jazz Concert with guest artist Cynthia Scott–
1:20 p.m. – Osterhout Concert Theater – free
Thursday, May 4 Harpur Jazz Ensemble with guest artist Cynthia Scott –
with guest artist – 8:00 p.m. – Osterhout Concert Theater $9 general public; $7
faculty/staff/seniors; free for students
Friday, May 5 – Flute Studio Recital – 10:15 a.m. – Casadesus Recital Hall –
free
Saturday, May 6 – Master’s Recital : Paul Blake, trombone – 3:00 p.m. –
Casadesus Recital Hall – free
Sunday, May 7 – University Wind Ensemble – 3 :00 p.m. – Anderson Center
Chamber Hall – free
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&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. <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: <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.)
50:25:00
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204265">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204265</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:
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'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
The Harpur Trumpet Ensemble and Friends, April 23, 2006
Recital Tape 2006-4-23
Description
An account of the resource
Works of LoPresti, Handel, Pilss, Johnson, Ketting, Arnold. Held at 7:30 p.m., April 23, 2006, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Aldridge, Benjamin
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
2006-4-23
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
dfebed7f-225d-4945-81ea-66df856f6040
-
https://omeka.binghamton.edu/omeka/files/original/d455f08ed423d290e3833307494cad5f.pdf
bb2b6e409f8c607b284f6fb429e7e052
PDF Text
Text
untv Arc
A c c t K
} Y
e
INGH
e
N l \ ' l: R i l
State University of New York
h i d
A N N A
Department of Music
4 – 2 0
N T
SPEC C O )
THURSDAYM
I D D A Y C O N C E R T
April 20, 2006 1:20 p.m. Casadesus Recital Hall
Lascia ch’io pianga, from Rinaldo
Svegliatevi nel core, from Giulio Cesare
Ah! Spietato!, from Amadigi
Fammi Combattere, from Orlando
George Frederic Handel
(16851759)
Kathryn Boczar, mezzosoprano
ChaiKyou Mallinson, piano
Sonata No.2 in E°, Op. 1
Allegro appassionato
2
0
Melissa Lee, viola
Margaret Reitz, piano
Three Pieces for Horn Solo ..
Greg Cecere, French horn
Cinq mélodies populaires grecques.................................. ..
I Le réveil de la mariée
II Labas vers I’église
III Quel galant!
IV Chanson des cueilleuses de lentisques
V Tout gai!
Erin Lahm, soprano
ChaiKyou Mallinson, piano
Johannes Brahms
(18331897)
Timothy Rolls
(b 1967)
..........Maurice Ravel
(18751937)
�
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. <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: <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.)
45:01:00
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204262">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204262</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
Thursday mid-day concert, April 20, 2006
Recital Tape 2006-4-20
Description
An account of the resource
Works of Handel, Brahms, Rolls, Ravel. Held at 1:20 p.m., April 20, 2006, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Boczar, Kathryn
Mallinson, Chai-Kyou
Lee, Melissa
Reitz, Margaret
Cecere, Greg
Lahm, Erin
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
2006-4-20
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
74bd47c5-7d6c-41d7-a1c4-42b1ccf1ba6c