47 10 1775 https://omeka.binghamton.edu/omeka/files/original/a500c28b571b78124b35bad3b7092e07.pdf aa43e70629e202b049b68e6e9025b2b8 PDF Text Text BINGHAMTON U N I V E R S I T Y State University of  New York .  i  — P B  E P A R T M E N T “ r REUNION R ECITAL with Aaron St. Clair Nicholson, baritone and Todd Robinson, bass­baritione J ody Sch um, piano Saturday, December 1, 2007 8:00 PM Anderson Center Cham ber Hall �PROGRAM I. Don Quichotte a Dulcinée. l.  Chanson romanesque 5 . Chanson epique J . Chanson a boire .Maurice Ravel ~ II. Selected s o n g s o  fl v o r G  u r n e \ 1. Hawk and Buckle ~ By a Bierside Blaweary 4. The Twa Corbies 5 In Flanders “ Ll  U I M S Y   . ~ D e III. Charles Gounod Selected arias from Charles Gounod Operas  1. Sous les pieds d’une femme... La reine de Saba 5 A vant de quitter ces lieux ... Faust 3. Vous qui faites l’endormie... Faust 4. Mab, la reine des mensonges  Roméo et Juliette ~ WINTERMISSION3 D o n   _  2  .  .  #  $  ;  3  1 .   .  —    ­" l i b ' J  Carmen  Giovanni ~  RoNgary Amedens  7  . 3 1  ' – .n S l y :   <5  A  BL y \  L S E ”   1”  l 1 ,.  " ,   ag.  ,  »)  BE  a &   2 0 0 7   F o b r u e r y  1,  2,  §  3,  2 0 0 8   N o v e m b e r  2,  3 0 4,  P d a  a  ] U­CITIES    . . . . . . M , , : _ .   2 0 0 7 ­ 2 0 0 8  S e a s o n   M o y  2.  3 ,  &  4  2 0 0 8 Vr  o '  h a r e E  r g i e r h fob  “ V �Chanson de Don Quichotte I. 1. Chanson du depart 2. Chanson a Dulcinee 3. Chanson du Duc 4. Chanson de la mort de Don Quichotte TRANSLATIONS IL .. Jacques Ibert Don Quichotte & Duleinée Chanson Romanesque I Selected songs... 1. Lonely At The T o p 2. Living Without You 3. Louisiana 1927 4. Marie 5. Old Man 6. Political Science 7. Sail Away II. ...Randy Newman If you told me to be bored by the number of stars in the sky. I would tear the heavens apart, Erase the night in one swipe. If you told me that the, now Empty space, doesn’t please you. Chevalierdieu, with a lance at hand I would fill the passing wind with stars. III. Opera Duets Un segreto d’importanza. .. La Cenerentola........Gioachino Rossini Once again the prince’s valet, Dandini, posing as Prince Ramiro, faces Magnifico, who still believes he is the prince and insists he decide which daughter to marry. Dandini confesses he  is a valet.  When  Magnifico turns indignant, Dandini orders him out of the palace. Falstaff and Ford Duet.. The Merry Wives of Windsor » If you told me the eternal turning Of the world, offended you. I would send Panza: you would see it motionless and silent. ...Otto Nicholai Falstaff has just returned from being hidden in a laundry basket and thrown into the river to avoid  being caught  by the jealous Mr.  Ford  while flirting with Mistress Ford and Mrs. Page. This all results in great embarrassment for Falstaff. Mr. Ford, a.k.a. “Brook,” says he is in love with Mistress Ford but cannot woo her as she is too virtuous. He offers to pay Falstaff to court her, saying that once she  has lost  her honor he  will  be able to tempt her himself. Falstaff cannot believe his luck, and tells “Brook” he has already arranged to meet Mistress Ford while  her  husband  is out. Falstaff leaves to  keep  his appointment and  Ford soliloquies that he is right to suspect his wife and that the trusting Page is a fool. But, my Lady,  if you told me that my blood is more mine, then yours. That reprimand would turn me pale And, blessing you, I would die. Oh, Dulcinée. Chanson épic Dear Saint Michael, who gives me the chance to see my Lady and to hear her. Dear Saint Michael who gracefully choose me to please and defend her. Dear Saint Michael will you decend With Saint George to the altar Of the Virgin in the blue mantle. Bless my sword, with a beam from heaven And his equal in purity And his equal in pity As in modesty and chastity: My Lady. O Great Saint George and Saint Michael The angel who guards my watch My sweet Lady, so much like you Virgin in the blue mantle. Amen. Chanson a boire Fig for the bastard, illustrious Lady Who, for loosing me in your sweet eyes Tells me that love and old wine Put my heart and soul in mourning. I drink to pleasure! Pleasure is the only goal, To which I go straight... When I’ve drunk ! Fig for the jealous, dark­haired mistress who moans, who cries and swears Always being the pallid lover, Watering down his his intoxication I drink to pleasure! III. Selected arias from Charles Gounod Operas A vant de quitter ces lieux O, holy medal Which comes to me from my sister, On the day of battle, To guard against death, Stay on my heart. Before leaving this place, Native soil of my ancestors, To you, Lord and Kind of Heaven My sister I entrust. �Deign from all danger Always, always to protect her, This sister, so dear, Deign from all danger to protect her, Deign to protect her from all danger! Delivered from a sad thought, I will go in search of glory, Glory in the midst of enemies, The first, the bravest, In the heat of the fray, I will go to combat for my country, And if, to him, God calls me back, I will watch over you loyally, Oh Marguerite! Before leaving this place, Native soil of my ancestors, To you, Lord and King of Haven, I entrust my sister! Oh, King of Heaven, look down (on her), Protect Marguerite, King of Heaven! Vous qui faites l’endormie You who are supposed to be asleep, Don’t you hear Don’t you hear Catherine, my sweetheart Don’t you hear My voice and my steps? Thus your lover calls you Thus your lover calls you And your heart believes in him. Don’t open the door, my beauty, Till the jewel is on your finger! Etc. Catherine, whom I adore, Why refuse To the lover who implores you Why refuse such a sweet kiss? Thus your lover pleads Thus your lover pleads And your heart believes in him. Don’t give a kiss, my sweetheart, Till the jewel is on your finger. I. Chanson de Don Quichotte Mab, la reine des mensonges Mercutio’s aria from Romeo et Juliette Mab, queen of falsehoods, Presides over dreams; More frivolous than the deceiving wind; Across space, across the night, She passes, she flees! Her chariot, which the rapid particle Draws through the limpid ether, Made out of an empty nutshell By an earthworm, the Cartwright! The harnesses, a subtle lace, Were carved from the wing Of some green grasshopper By her coachman, the gnat! A bone of a cricket serves as the handle For whip, whose white lash ls taken from a ray of light, which is shed By Phoebe assembling in her court! Each night with this equipment Mab visits, on her travels, The husband who dreams of widowhood And the lover who dreams of love! At her approach, the coquette Dreams of finery and of dressing up, The courtier bows and scrapes, The poet rhymes his verses! To the miser, in gloomy shelter, She opens her treasures without number, And liberty laughs in the shadows At the prisoner burdened with irons. Intermission l . ­ Chanson du depart This new castle, this new building, enriched with marble and porphyry, where love built a castle for his empire and all of heaven added their skills, a rampart, a fortress against vice, is whose virtuous mistress hides herself away, that the eye beholds and the spirit admires, forcing hearts to her service. It is a castle, made in such a way that none may approach its door unless he has saved his people from the Great Kings, victorious, valiant and loving. No knight, no matter how adventurous, can enter without being such a person. Chanson a Dulcinee A day lasts a year if I don’t see my Dulcinea. But Love, to sweeten m y languishing, has painted her face in the fountain and the cloud, in each dawn and each flower. A day lasts a year if I don’t see my Dulcinea. Ever near and ever far, star of my long journeys. The wind brings me her breath when it blows over the jasmine flowers. A day lasts a year if I don’t see my Dulcinea. Chanson du  Duc Here let me sing the lady of my dreams, who raises me above this muddy century. Her diamond heart has never known a lie. The rose hides itself at the sight of her cheek. It is for her that I attempted high adventures. My arm freed the princess from servitude. I defeated the enchanter and confused the forsworn. I bent the universe to pay her homage. Lady for whom I roam alone on this earth, the only one not a prisoner of false appearances, I maintain before any foolhardy knight your peerless brilliance and excellence. Chanson de la mort de Don Quichotte Don’t cry, Sancho. Don’t cry, my good fellow. Your master isn’t dead, he hasn’t left you. He lives on a happy island  where everything is pure and there are no lies. He has found his island at last, and some day you will join him on this long­desired island, Friend Sancho! Books burn to piles of ashes. If books killed me, I just need one to live. A phantom in life and real in death ­ such is the strange fate of poor Don Quixote. �ABOUT T H E  COMPOSERS Jacques Francois Antoine  Ibert (August  15,  1890  ­  February  5,  1962)  was a French  composer  of classical  music.  He  studied  under  Paul  Vidal  at  the  paris Conservatoire and won the Prix de Rome in 1919 for his cantata Le poéte et la fee. From 1937 he was director of the French Academy in Rome, and from 1955 to 1957 directed Paris’s Opera­Comique. He died in Paris. Maurice Ravel (March  7,  1875 ­ December 28,  1937) was a  French  composer, probably best known for his orchestral work, Bolero. He is also well­known for his famous 1922 arrangement of Pictures at  an  Exhibition.  He was born in  Ciboure, France (near Biarritz, part of the French Basque region, bordering on Spain). He studied music at the Conservatoire de Paris in Paris, under Gabriel Fauré. He was also  heavily  influenced  by  Debussy’s  impressionist  style.  Ravel  was  also  highly influenced from music around the world including American Jazz, Asian music, and traditional  folk  songs  from  across  Europe.  In  1932  Ravel  was  involved  in  an automobile  accident  that  severely  reduced  his  health.  His  output  dropped dramatically  In 1937 he had an operation that he hoped would restore much of his health, but the operation was a failure and he died soon afierwards. He died in Paris. Charles Gounod (June  18,  1818  ­ October  18,  1893)  had  a particularly strong influence on French composers from the middle of the 19th century. He was educated at the Paris Conservatoire, where he won the Prix de Rome in 1837. His return to Paris in 1843, afler developing a wide knowledge of earlier and contemporary music abroad, brought a position as an organist. He achieved considerable success in the theatre, particularly with the opera Faust in  1859, but the Franco­ Prussian War of 1870 and a period spent in England, brought a largely unprofitable interruption.  He dies in Saint Cloud, France. Ivor G urney (August 28,  1890 ­  December 26,  1937) was born  in  Gloucester, England. He began composing music at the age of 14 and won a scholarship to the Royal College of Music in London in 1911. His studies were interrupted by World War I in which he served as a private. He spent 16 months at the Front where he was wounded in April 1917 and gassed in September of the sam e year. During the time he spent in France, his poetic gift revealed itself and his first book of poems, Severn and Somme, was published in the  autumn of 1917. After his discharge from the Army, he returned to London to resume his music studies. His second book of poems, War’s Embers, was published in 19 19. Gurney was regarded as one of the most promising men of his generation, both in music and poetry. He wrote hundreds of poems and composed more than 300 songs as well  as instrumental  music, primarily  for the piano. However, in  1922, the manic depressive  illness that had plagued him  from early  adulthood  prompted  his  family  to  have  him  declared  insane.  He  was institutionalized  for the last  15 years of his  life, and died at the City o f London Mental Hospital. Vincenzo Salvatore Carme lo Francesco Bellini (November 3, 1801 ­ September 23, 1835) was an Italian opera composer born in Catania, Italy  Foremost a lyricist, Bellini, for many opera afic ionados, was the quintessential composer of Bel canto opera. Bellini was a child prodigy and legend has it he could sing an air of Firoavanti at eighteen months, began studying music theory at two, the piano at three, and by the age  of  five  could  play  well.  His  first  composition  dates  from  his  sixth  year Regardless, of the veracity  of these claims, it  is certain the Bellini grew up  in a musical household and that a career as a musician was never in doubt. He died in Puteaux, Paris, France. Carl Otto  Ehrenfried  Nicolai  (June  9,  1810  –  May  1 1,  1849)  was  a  German composer, conductor, and founder of the Vienna Philharmonic. Nicolai is best known for his operatic version of Shakespeare’s comedy The Merry Wives of Windsor (Die lustigen Weiber von Windsor). In addition to five operas, Nicolai composed lieder, works  for  orchestra, chorus, ensemble, and  solo  instruments.  He  died  in  Berlin, Germany. Gioacchino Antonio Rossini (February 29, 1792 — November 13, 1868) was an Italian musical composer who wrote more than 30 operas as well as sacred music and chamber music. Rossini was born into a family of musicians in Pesaro, a small town on the Adriatic coast of Italy  Rossini’s parents began his m usical training early, and by the age of six he was playing the triangle in his father’s band. His best known works include 11  Barbiere di Siviglia (The Barber of Seville), and ‘Guillaume Tell’ William Tell (the overture of  which is popularly known for being the theme song for The Lone Ranger). After intensive work on the opera William Tell, he spent the last 40 years of his life composing almost nothing, possibly in part due to ill health.  He died in Paris, France. Randy Newman  Born on November 28, 1943, in Los Angeles, California. This singer, songwriter, composer is best known for his well­crafted lyrics and appealing melodies, Randy Newman is known for such songs as “Short People,” “I Love L.A.,” “Mama Told Me Not to Come,” and many more. The nephew of three successful Hollywood composers and conductors, he began studying the piano at age seven and was writing songs professionally when he was 17  In addition to career in rock music, Newman  began  composing  film  scores, starting  with Cold  Turkey  in  1971  He received two Academy Award nominations for his score and his song “One More Hour” for the film Ragtime ( 1981). His work on The Natural (1984) also earned him nominations in both categories as well as a Grammy Award for Best Instrumental Composition. Newman also garnered Academy Award nominations for his work on Parenthood (1989), Avalon (1990), The Paper (1994), James and the Giant Peach (1996), and several others. �ABOUT THE PERFORMERS Baritone  AARON  ST.  CLAIR  NICHOLSON  has  established himself as an artist of the first rank, winning praise  for  his superb vocal gifts and the dramatic integrity he brings to his performances. In 2006­2007 he made his Metropolitan Opera debut as Schaunard in La Bohéme conducted by Domingo and, in December, as Papageno in Die Zauberflote, conducted by Levine.  His 2006­2007 schedule also included the title role in Don Giovanni for the Opera de  Montreal, Valentin in Faust for Vancouver Opera, Mercutio in Romeo et Juliette for  Opera  Lyra  Ottawa  and  Faure’s  Requiem  for  the  Atlanta Symphony, a work  he  performed  at  the  Festival  de  Lansaudier  in Quebec.  St.  Clair  Nicholson  opened  his  2007­2008  season  with Mozart ’s roguish Don for New York City Opera, later in the season repeated for Opera Lyra Ottawa.  He returns to the Opera de Montreal for the title  role in II  Barbiere di Siviglia, to Vancouver Opera for Marcello in La Bohéme and will  be heard in Rochester in Carmina Burana  and  with  the  Vancouver  Bach  Choir  in  a  New  York commission from John Estacio. Rigoletto with Pacific Repertory Opera; Frere  Laurent in Roméo et Juliette  with  Sacramento  Opera;  Second  Armored  Man  in  Die Zauberfléte  with Tokyo’s N e w National  Theater ; Dr.  Heidegger  in Beeson’s Dr. Heidegger ’s Fountain of Youth and Luka in The Bear for San Francisco Opera’s Adler Showcase; and Colline in La Bohéme for San Francisco Opera’s Western Opera Theater tour. As a young artist, Mr. Robinson has appeared as Bartolo in 11  Barbiere Di Siviglia, as Colline  in  La  Boheme,  and  as  Mr.  Page  in  The  Merry  Wives  of Windsor with San Francisco Opera’s Merola Opera Program. JODY SCHUM is a  versatile  pianist  and  organist  originally  from Windsor,  NY.  He  is  a  resident  pianist  with  Tri­Cities  Opera  in Binghamton, NY, and has performed with the Binghamton University Symphony  Orchestra,  Tri­Cities  Opera  and  on  numerous  solo  and collaborative  recitals throughout the Greater  Binghamton area.  His most recent engagement was performing and studying on fellowship with the  International  Institute of Vocal  Arts in  Chiari, Italy.  Mr. Schum  is the recipient  of the 2007 Virginia Pleasants Collaborative Pianist Award at the Civic Morning Musicals competition for singers. Bass­baritione,  TODD  ROBINSON’S  career  highlights  have included Oroveso in Norma and Capulet  in Roméo et Juliette with Virginia  Opera;  the  Commendatore  in  Don  Giovanni  with  Opera Santa  Barbara;  Méphistophélés  in  Faust,  Dulcamara  in  L ’elisir D ’Amore, John Falstaff in The Merry Wives of Windsor, the Villains in Les Contes  D’ Hoffmann, and Frére  Laurent in  Roméo et Juliette with Tri­Cities  Opera;  Fiorello  in  II  Barbiere  Di  Siviglia, Haly  in L ’Italiana  In  Algeri,  Dr.  Grenville  in La  Traviata, First  Soldier  in Salome, and Second Guard in Dead Man Walking with Opera Pacific; Leporello  in  Don  Giovanni  with  West  Bay  Opera  and  Tri­Cities Opera; Raimondo in Lucia Di Lammermoor  with  West Bay Opera; Leone  in Attila and the Bonze  in  Madama  Butterfly with Sarasota Opera; Bartolo / Antonio in Le Nozze Di Figaro with Syracuse Opera; Alidoro in La Cenerentola  with Arizona Opera; Figaro in Le Nozze and  Bartolo  in  Il  Barbiere  Di  Siviglia  with  Idaho’s  Opera  Plus!; Basilio  in 11  Barbiere  Di Siviglia  with Indiana’s Rising  Star Opera Theater; Horace in Regina with Lyric Opera Cleveland ; Sparafucile in B o a _   of effi'fWNgm  yatst r w vskteg.W K SG  a TV!  orp �Coming  ‘Cents Sunday, Decem ber 2 – University O rchestra : Sounds Behind the Cell uloid – 3:00 p.m. – Anderson Center Concert Theater ­ $9 general public; $7 faculty/staff/seniors; free for students Tuesday, December 4 – Percussion Ensemble – 8:00 p.m. – Anderson Center Chamber Hall – free Th ursday, December 6 – Mid­Day Concert – 1 :20 p.m. – Casadesus Recital Hall free —  Thursday, December 6 – Har pur Chorale and Women ’s Chorus – 8:00 p.m. – Trinity Memorial Church, Binghamton – free Friday, December 7 – Singing Chinese – 7:00 p.m. – Casadesus Recital Hall – free Sunday, December 9 – W ind Symphony – 7:30 – Anderson Center Chamber Hall – free $ t “ * * * # * t ¥ # t # * * # * * * * Spring 2008 Sunday, February 1 0 – Romance, Fantasy, Tragedy – 3:00 p.m. – Anderson Center Chamber Hall ­ $15 general public; $13 faculty/staff/seniors; $7 students Sunday, Fe bruary 1 7 – A Tango for Two: Guest O rganists Annette Richards and David Yearsley – 4 :00 p.m. – First Presbyterian Church, Binghamton. ­ $15 general public; $13 faculty/staff/seniors; $7 students Friday, Fe bruary 22 – Master ’s Recital : LaToya Lewis, soprano – 8:00 p.m. – Casadesus Recital Hall – free Sunday, February 24 – M usics Nova – 3:00 p.m. – Anderson Center Chamber Hall ­ $9 general public; $7 faculty/staff/seniors; free for students Saturday, March 1 – Un iversity O rchestra : Top Talent (Concerto Competition Winners) – 8:00 p.m. – Osterhout Concert Theater ­ $9 general public; $7 faculty/staff/seniors; free for students Th ursday, March 6 – Mid­Day Concert – 1 :20 p.m. – Casadesus Recital Hall – free � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio cassettes 1 audio disc 1 videodisc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 28:48 1:10:47 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196891">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196891</a>h Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Reunion recital with Aaron St. Clair Nicholson, baritone, and Todd Robinson, bass-baritone, December 1, 2007, Recital Tape 2007-12-1 Description An account of the resource Held at 8:00 p.m., December 1, 2007, Casadesus Recital Hall. Works of Ravel, Gurney, Gounod, Ibert, Newman, Rossini, Nicholai. Creator An entity primarily responsible for making the resource Schum, Jody Robinson, Todd 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 2001-12-01 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 bde7b9a4-c7b7-485e-ace9-ce1e291d6d96 https://omeka.binghamton.edu/omeka/files/original/51241034fa64fbe7bbd116b81b0ad095.pdf 0eef9b0d526586699fd8b1e57affc49a PDF Text Text BINGHAMTON U N I V E R S I T Y State University of  N ew York \  ’ l \  . _  V Yang  D E P A R T M E N T V I O L A  PLUS! Roberta C rawford, viola with Jan ey Choi, violin Stephen Stalker, cello Michael Salm i rs, piano November 16, 2007 8:00 pm Casadesus Recital Hall �ABOUT T HE PERFORMERS PROGRA M Five for the Flowers Near the River  Stephen Paulus (b. 1949) The riverside flowers are driving me crazy A few here where the river is deep and bamboos quiet Flowers engulfing the path, thousands weighing the branches Butterflies move pause move pause, It ’s a dance You flowers have pity on a white­haired man Sonata No. 2 in E­flat, Op. 120............................... Johannes Brahms (1833–1897) Allegro amabile Allegro appassionato Andante con moto WINTERMISSION®3 Trio for Violin, Viola and Cello.....................Ludw ig van Beeth oven (1770­1827 ) in E­flat, Op. 3  Allegro con brio Andante Menuetto: Allegretto Adagio Menuetto: Moderato Finale: Allegro ROBERTA  CRAWFORD, violist,  performs extensively as a  recitalist and chamber musician. A s associate director and a founding member of the Finger Lake Chamber Ensemble, Ms. Crawford has participated in over one hundred solo, chamber, and lecture­recital s presented by  the ensemble since its formation in 1990. She has performed with the Catskill Chamber Players, appeared frequently on the Cayuga Chamber Orchestra’s Sunday  Chamber  Music  Series  and  has been  a  guest  artist  with  the Ariadne  String Quartet. Ms. Craw ford’s orchestral experience  includes performances with the Portland and Syracuse symphonies as well  as the Skaneateles Festival Orchestra, and she has served as principal violist for the Cayuga C hamber Orch estra. An adv ocate of new music, Ms. C rawford has premiered numerous works featuring viola and has been the dedicatee o f  several works written speci fically for her. She has participated in  music festivals  throughout  the  United  States  and  in the  Caribbean  and  has appeared in l ive performance broadcasts for public radio and telev ision. A dedicated  teacher, Ms.   Crawford  has  served  as  clinician,  coach,  and adjudicator for numerous music organizations, as Director of ViolaFest at Binghamton  and  is  an  artist  faculty  member  with NYASTA ’s  String Institute at Ithaca College. She has been a guest faculty member at Phillips Academy, the Quartet Program, Ithaca College, and th e Eastman School of Music and is Coordinator o f Strings at Binghamton Uni versity Canadian­born violinist JA NEY C H O I  joined the faculty of Binghamton University in 2006. Dr. Choi attained her Doctor of Musical Arts degree at Rutgers  University,  studying  with  Arnold  Steinhardt,  and  holds  her Bachelor and Masters degrees from The Juilliard School where her major teachers were Joseph Fuchs and Joel Sm irnoff.  She gave her Carnegie Hall recital debut in 1997 as a winner of the Artists International Auditions and continues an active perform ing career as a recitalist, chamber, and orchestral musician throughout the country and abroad. She has participated in such festivals as Mostly Mozart, Juilliard’s Focus Festival, Norfolk, Taos, the Spoleto Festi vals, Festival Musical de Santo Domingo, the Santa Fe Opera and the Sarasota Opera. An avid inter­arts and cross­genre collaborator, she is the Music Director of Thomas/Ortiz Dance, and has performed numerous times with the Parsons Dance Co. at the Kennedy Center in Washington, D.C.  She has recorded and appeared with such mainstream performers as Bono and Quincy Jones, Enya, Elton John, Sarah McLachlan, Lisa Loeb, Kanye West, Jay­Z and Beyoncé. Ms. Choi is a Teaching Artist for the New York Philharmonic, Lincoln Center Institute, Chamber Music  Society of Lincoln Center and the Bloomingdale School of Music in New York City. �Cage, Virgil Thomson, Lou Harrison and George Crumb.  The Chamber Players appeared at Weill Recital Hall,  premiering a set of four string quartets by Henry Brant. With violinist, Janet Brady, and pianist, Walter Ponce, he performed the complete Beethoven Trio cycle at SUNY ­Binghamton. He performed with Solisti New  York  on  their  Alaskan  cruise  of the  Inner Passage  from  Vancouver  to Juneau.  As a member of the Madison String Quartet, he  was a finalist in the Naumberg  Chamber  Music  Competition  in New  York  City  and  the  Evian lntemational String Quartet Competition in Evian, France. He has performed in many recital appearances with pianist, Michael Salmirs. He performs regularly with the  Trio  Amici,  Trilogy, Baroque  ‘n Blue, Early  On and  in concerts  at Binghamton University.  He is a past president of the New York State Chapter o f the  American String  Teachers Association and was Strings  Chair for the New York  State  School Music  Association.  He  is a founder of the  Southern  Tier Music Teachers Association and the Binghamton Cello Festival. He is a graduate of the Manhattan School of Music in New York City Pianist MICHAEL SALMIRS, a founding member and artistic director of the Finger Lakes Chamber Ensemble,  is  well known as a recitalist  and chamber musician. He has appeared as soloist with the Corning Philharmonic, Binghamton University Orchestra, Cayuga Chamber Orchestra, and  is  frequently a featured pianist on their Sunday Chamber Series. In  addition to performing most of the standard  chamber  music  repertoire  for  strings  and  piano,  he  has  premiered numerous solo and chamber works, and recently  gave the  world premieres o f David Liptak ’s and Marek Harris’ Piano Quintets.  He has also participated in such  contemporary  music  series  as  Binghamton  University ’s  Musica  Nova, Cornell University ’s Ensemble X, Chiron, and has toured and recorded for the Syracuse Society for New Music. { n  I ’ . :  § a new weekly series efaturing art and  artiety  fohte local regia. stay tuned ty WSKG  T17 wrskg.org � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:19:58 7:07 Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Viola Plus! Roberta Crawford, viola. November 16, 2007 Recital Tape 11-16-2007 Description An account of the resource Held at 8:00 p.m., November 16, 2007, Casadesus Recital Hall. Works of Paulus, Brahms, Beethoven. Creator An entity primarily responsible for making the resource Choi, Janey Stalker, Stephen Salmirs, Michael Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2007-11-16 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 2bc164be-ce9e-401a-8149-650173079b8e https://omeka.binghamton.edu/omeka/files/original/8a238f81bc18efa45dfc50b4dc719588.pdf 4ac4e3776be414203653ed2dd9238b8c PDF Text Text TON BINGHAM E R S I T Y U N I V State University of  New York Zed eC DNXV  A R C \  Re  oi    O o o D E P A R T M E N T TEX <  S “¥“ Y E N A   P E  \ R — TH UR SD AY MID­DAY CONCERT 8 Thursday, November X  2007 1:20 p.m. Casadesus Recital Hall �–­  wmv  pru gian we present an  afternoon o f dance­drumming  from southern  Ghana.  These  ensem bles  are  the  collective  work  the Beginning  and  Advanced  sectio ns  of  African  Dance  (THEA 289J/389J;AFST 289J/389J) and  both sections of the African Mu sic Ensemble (M US  143B/MUSP 2 57;AFST 188B).  These courses  are off Ad vanced  African  Dance /A fric IV. ered each semester through the De partments of Africana Studies, Music, and Theatre Dance. Be ginnin g A fri can  Dance /A fric I. II. an Music  Ensem ble  Section I Gahu.  Gahu  is  a  neo­tradition al  dan adopted and adapted by the Ewe p ce  that  has  been eople of Ghana. It is an offshoot of the Gome dance,  a Pan­Atlantic African dance  form  that emerged in t he  19™ synthesis of European  hymns  and   century  from  the   marches  with  West African  musical sensibilities. T he  name Gahu suggests an airplane, and represents local  ex technology and culture. The song periences with new s are  often  humorous and fun, suggesting themes of co urtship and celebration. Kpatsa. This dance comes from  a neighboring group of the Ewe, known as the Ga­Adan gbe. They share many linguistic and cultural affinities w ith the Ewe, and these two groups have historically inte racted with each other. The characteristic movement of  Kpatsa is a limping gait that im itates the  movements o f d warfs, a m agical race of beings  which  inhabit  rural  are as  movements were embellished  wit in  Ghana.  These h dance combinations and eventually  became a social a nd recreational dance known  as  Kpatsa,  whose  nam e  is  an  onomatopoeic reference  to  the  mo vem ent  of  dwarfs.  III. ’ Sikyi. This dance is another neo– contemporary dance of the Akan people of southern and  central  Ghana. Sikyi, pronounced see chee, forms the  rhythmic foundation of Ghanaian Highlife music,  the pr imary style of popular music in Ghana. V. an Music  Ensem ble Section I Ag bekor. Agbekor is a war danc e o f the Ewe people of . Ghana.  As  the drummers  and   dancers  proceed  to  the stage  in  traditional  fashion,  the y sing calls the warriors to battle against t  a  war song that he European colonial powers. The second song memori alizes the great warrior Kundo who led warriors into bat tle and has been killed. This was originally a war dance o f the Ewe people. The mo vem ents im itat e m om ents o f th e battl e, and  follow the drum language o f the lead drum,  atsimevu. Sohoun.  Sohoun  is  an  Ewe­Fon  sacred dance  used  to open  a  ceremony  of  the  Yeve  shrine.  The  original movements  danced  at  the  shrine  inspired  the choreography for  this folkloric  version,  created by  Dr. Opoku for the Ghana Dance En sem ble. * * * * t * * * * * * * * * * * * # * * * * * * * * * * * * * * * * PERFORMERS Dances Directed and Choreograph Pierrette Aboadji, Department of T ed by heatre Dance B E G I N N I N G  DANCE­CLASS Kerleen  Beaubrun, Maryam Belly , Treval  Blair,  Susan Chen, Leena Daniel, Lleny De La C ruz , Lauren Fredericks, Delphine Hyppolite,  Jacinta  James,  Mo renike  Jegede,  Angelito  Jusay, Ghita  Laghrari,  Kayla  Lewis,  Qing  Lin,  Adrienne  Martian, Sheena O ’Connor, Katiusca Ortiz , Tamara Pitter, Rubi Ramirez, Larissa Reyes, Ebony Richardson , Sultana Rosario, Ceion Scott, Lauren Scott, Ashley Titus, Geral dine Toussant, Diana Trochez, Krystal Velez, Mariah Watson,  Maame Wentum, Jessica Wilks, Tamara Williams �A D V A N C E D  DANCE­CL ASS Wales  Cruz,  La­toya Alexandria  Blackman,  Tristin  Cadle,  tuska  Im perial,  Laura Foster,  Lisa  Gil,  Sasha  Gordon,  Ka t, Marcel March, Anne Johnson, Tyshema Kindell, Latoya Knigh rre, Paul Reyes, Pamela Mulcahy, Angela Perrier, Vanessa  Pie on, Coralina  Urena, rch To th  rdi Ga s,  are Su ly  ber im  K na, Santa Weeks Elba Vandunk, Sabina Virgilio, Casandra  Drumming directed and arranged by and Africana Studies James Burns, Departments of  Music  AFRICAN MUSIC ENSEMBLE SECTION I ler,  Hannah  Wittmer, Trevor  Ellis,  Brad  Koegel,  Kim  Kreid Samuel Young, Asuno Udoh. AFRICAN MUSIC ENSEMBLE SECTION I I eaton Rood, Theodore Starleana Holmes, Sung­Hoon Hwang, K y, Caroline Todman Trembinski, Amber Rivers, Samuel Yagg > GAN AND  ­ Mixed) GROUPS/ Ee '  e m   e °  n u Sedeed d d ) e M o n ­ w h i n e . � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 33:03:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196879">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196879</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Thursday mid-day concert, November 8, 2007 Recital Tape 11-8-2007 Description An account of the resource Held at 1:20 p.m., November 8, 2007, Casadesus Recital Hall. Traditional dance-drumming pieces from southern Ghana. Creator An entity primarily responsible for making the resource Aboadji, Pierrette Burns, James Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2007-11-08 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 5f3e7cd3-772a-47e2-8ad4-ffb627bd9375 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio cassettes 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 51:40 26:49 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196871">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196871</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 Asian journey, October 26, 2007 Recital Tape 10-26-2007 Description An account of the resource Held at 8:00 p.m., October 26, 2007, Chamber Hall, Anderson Center. Sponsored in part by the Binghamton University Music Department.Works of Seaman, Peidong, Chinese folk songs, Qiufeng, Japanese folk songs, Korean folk songs. Creator An entity primarily responsible for making the resource Cotten, Anne Boyer Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2007-10-26 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 4f2aa28a-8131-4f7c-ade9-f8ddf63c4d75 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 32:50:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196868">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196868</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 An evening of clarinet music Gregg Ackerman, Bethany Bonhoff, Alexander Vincenzi, November 3, 2007, Recital Tape 11-3-2007 Description An account of the resource Held at 8:00 p.m., November 3, 2007, Casadesus Recital Hall. Works of Weber, Reade, Crusell, Strauss. Creator An entity primarily responsible for making the resource Ackerman, Gregg Bonhoff, bethany Vincenzi, Alex 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 2007-11-03 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 751b807a-ede1-4c52-a90c-f7362f451157 https://omeka.binghamton.edu/omeka/files/original/c5abb48f406737a8cc817c5b34e32824.pdf b87e0f46fa2ae420a83dff8628dd8b63 PDF Text Text BINGHAMTON U N I V E R S I T Y State University of  New York N x  “l  f  ­ ’ ’ wdec \  0 2 X  A Y   D E P A R T M E N T , f ; ,  L B INGHAMTON  UNIVERSITY MUSIC DEPARTMENT AND INDIAN P ERFORMIN G ARTS S OCIETY O F  B I N G H A M T O N PRESENT AN E VENING O F  H INDUSTA NI CLASSICAL MUSIC FEATURIN G: KAIVALYA K UMAR , VOCAL with Sham Kan e, tabla Ravindra Katoti, Harmoni um Wednesday October 31, 2007 7:00 p.m. Anderson Center Chamber Hall �PROGRAM singing will be extremely fast and virtuosic. The whole performance Note: In Indian Classical Music, the performer will announce the of khyal may last from 20­40 minutes depending on the inspiration of the artist. chance to choose pieces which reflect the mood of the event and the feelings of the artists. Nevertheless, the performance will follow this basic format: Most bada khyal bandish are set 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: specific  program  at  the  time  o f  performance  t o  allow  them  the Khyal (Raga to be announced) I.  Alap II.  Bada Khyal usually in tintal III. Chota Khyal usually in ektal One or more ‘light’ classical pieces to conclude­ see below. Hindustani Classical Music The origins of Indian classical music can be traced to the Vedas, a set of four texts that comprise the foundation of the Hi ndu religion, and  were  passed  down  orally  until  around  1500  BC  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 AD, 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 of 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 I  $ 2 9 8 y  &  g B l TEE R E   E e Nn L ­ I x ­ ­ ­ o ­ ­ ­ ] x ­ ­ ­ Most chota khyal bandish are 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 l 3  4 1 5   1 a HERE  1 A ­  J X ­  J O   ­  1  X  ­  [  X  EEE & ‘Light’ Classical Pieces After  an  intense  performance  of  khyal,  both  performers  and audience  normally  wind  down  the  intense  emotional  level  by enjoying  one  or  more  light  classical  pieces.  These  allow  the performer  to  draw  on  popular  melodies  from  folk  and  religious sources, which do not have the same type of demanding structures as khyal. Some possible genres the artist might choose from include: Thumri, a genre of “light” classical music that evolved from songs performed  to  accompany  erotic  dances  by  courtesans  to  a  more serious style  that  came to  accompany the kathak  classical  dance during the period of about 1770­1870 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 20” century the courtesan tradition  fell  into disrepute, under the pressures of the British colonial regime as well as in the eyes of the largely Western­educated Indian middle­class. Thumri  singers  could  no  longer  support  themselves,  so  khyal performers took over the artistic singing of thumri. Th umri bandish �ABOUT THE MUSIC Khyal 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 ofien 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 meant 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 tones is tuned to a specific note o f the raga, and thus contributes to and  complements the melody. The larger  drum, played  with the other hand, is called bayan and is made of metal. It has covers a lower range than the other drum. The playing technique for both drums involves extensive use of the fingers and palms in various configurations to create a wide variety of different sounds. On the bayan the heel of the hand is also used to apply pressure, in a sliding motion, so that the pitch is changed during the sound’s decay. Sham  Kane  has  accompanied  many  legendary  Indian  musicians including Ali  Akbar Khan, and has also worked in  fusion groups such as blues saxophonist John Handy’s group which included Ali Akbar Khan and L. Subramaniam. Ravindra Katoti­Harmoni um The harmonium is not a native Indian instrument, but was imported from Europe during the 1 9” century. It is a reed organ with hand pumped bellows. Although it is a relatively recent introduction, it has spread throughout the subcontinent. Today, it is used in virtually every musical genre except the south Indian classical music, which uses extensive microtonal notes that cannot be played on a fixed pitch  instrument.  While  the  keyboard  is  European,  the  Indian harmonium has added a number of extra drone reeds. Born in a family of music lovers in the year 1969, Ravindra started learning Hindustani classical Harmonium at the age of eight. Since then  he  has  been  the  disciple  of  Pandit  Rambhau  Bijapure,  a Harmonium exponent of our times. The blessings and guidance of his  Guru,  and  his  own  sincere  efforts  have  molded  him  into  a versatile  and  brilliant  Harmonium  player.  Ravindra  has  also established  himself as an able  accompanist  and  received  acclaim from  many  of  the  top  performing  vocalists,  organizers  and connoisseurs as well. He has several cassettes and CDs to his credit. He  has performed  throughout the country and  abroad,  both as a soloist and an accompanist. He has accompanied many of the top ranking vocalists of the country including Dr. Gangubai Hangal, Pt. Bhimsen Joshi, Pt. Jasaraj, and  Pt. Yashavantbua Joshi, Pt. Ajoy Chakraborty, Pt. Ganapati Bhat, Ustad Rashid Khan, Smt. Ashwini Bhide, Smt. Shubha Mudgal and Smt. Jayashree Patnekar. �Comin g Even ts Thursday,  Novem ber  1  –  Mid­Day  Concert  –  1 :20  p.m.  –  Casadesus Recital Hall – free Friday, Novem ber 2 ­­ M aster ’s Recital – Daniel Sofer, piano – 8:00 p.m. – Casadesus Recital Hall – free Saturday,  Novem ber 3 – C larinet Trio Recital – 8:00 p.m. – Casadesus Recital Hall – free Thursday,  Novem ber  8  ­  Mid­Day  Concert  –  1 :20  p.m.  –  Casadesus Recital Hall ­ free Thursday, Novem ber 8 – Binghamton Baroque  Ensem ble – 8:00 p.m. ­­ Casadesus Recital Hall – $9 general public; $7 faculty/staff/seniors; $1 for students Saturday,  Novem ber 10 – U niversity Chorus : Words and Music – 8:00 p.m. ­­ Anderson Center Concert Theater – free Thursday,  Novem ber  1 5 –  Jazz Mid­Day  Concert  with  bassist  Tony Marino – 1:20 p.m. – Osterhout Concert Theater – free Th ursday, N ovem ber 1 5 –  Har p ur Jazz M id­Day Co ncert with   bassist Tony Marino – 8:00 p.m. – Osterhout Concert Theater ­ $9 general public; $ 7 faculty/staff/seniors; free for students Friday, N ovem ber 1 6 – Viola  Plus!  Ro berta Cra wford Viola  Recital – 8:00  p.m.  –  Casadesus  Recital  Hall  ­  $9  general  public;  $7 faculty/staff/seniors; $1 for students Sunday, Novem ber 1 8 – Conce rto Competition Auditions – 7:00 p.m. – Casadesus Recital Hall – free Thursday, Novem ber 29 –  Mid­Day  Concert –  1 :20  p.m. – Casadesus Recital Hall – free Friday, Novem ber 30 –  Flute Stud io Recital –  10:30 a.m. – Casadesus Recital Hall – free Saturday,  Decem ber 1 – F lute Ensem ble Recital – 12 noon – Casadesus Recital Hall ­ free Saturday,  Decem ber 1  – Reunion Recital :  Aaron Nicholson, baritone and  Todd  Robinson,  bass­barit one  –  8:00  p.m.  –  Anderson  Center Chamber Hall ­ $15 general public; $13 faculty/staff/seniors; $7 students � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio cassettes 3 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 55:35 1:06:15 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196875">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196875</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource An evening of Hindustani classical music featuring Kaivalya Kumar, vocal, October 31, 2007 Recital Tape 10-31-2007 Description An account of the resource Held at 7:00 p.m., October 31, 2007, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Kane, Sham Katoti, Ravindra Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2007-10-31 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 5e4ab33e-3bd1-4fcd-bf51-525b9ea27e34 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound cassette 1 sound disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 39:16:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196865">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196865</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, Thursday, November 29, 2007 Recital Tape 11-29-2007 Description An account of the resource Held at 1:20 p.m., November 29, 2007, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Parnes, David Reitz, Margaret Maezawa, Akira Sargent, Griffin Sterling, Sarah Chen, Jeniifer Agar, Holly DeGroote, Caleb Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2007-11-29 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 ccda6f89-fece-42a4-a208-8fefc5341055 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 49:20:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196862">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196862</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, November 1, 2007 Recital Tape 11-1-2007 Description An account of the resource Held at 1:20 p.m., November 1, 2007, Casadesus Recital Hall.At head of title: Binghamton University Music Department.Works of Chaminade, Browne, Rosauro, Chopin. Creator An entity primarily responsible for making the resource Leo, Erica Reitz, Margaret Browne, Peter Lehman, Stephanie Hsu, Nicole Mackiewicz-Wolfe, Ewa Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2007-11-01 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 c0864c75-36e9-4329-9244-a5665004446a https://omeka.binghamton.edu/omeka/files/original/cc32c3c9e24680fab8d83afa14422aee.pdf dce7c3244db18f0f3da32f036265e8a6 PDF Text Text BINGHAMTON U N I V E R S I T Y State University of  New York Uk  ® wdec @ B E F  A R   E N T T M T HURSDAY MID­DAY C ONCERT October 25, 2007 1 :2 0 p. m. Casadesus Recital Hall �T ranslatio ns 1 Stefano Donoudy F reschi luogh i, prati aule nti Cool places, fragrant meadows, Remain always in flowe r; Let not summ er sow seed in you, PROGRAM Freshi luoghi prati aulenti .. ...........Stefano Donoudy Vaghissima sembianza (1879­1925) Quando ti rivedro Venuto e l’aprile Alexander Blitstein, t enor Chai­Kyou Mallinson Let not autu mn carry yo u away, Let not the dead season take away So much magical splendor. I want one day to ramble with her Amidst softness so green, When at last my pangs She will show h e r s e l f understand. Cool places, fragrant meadows, Remain always in flowe r. Let not any season take a way Aria from C osi fan tutte In uomini, in soldati Una donna a quindici anni Wolfgang Mozart (1 756­1 791) Sigbonile Boyd, soprano Margaret Reitz, piano Sonata, Op. 31, no. 1 I.  Allegro vivace III.  Rondo, All egretto Danielle So fer, piano Ludwig van Beethoven (1770­1827) So much magical splendor. And you then, clear streamlets, Which already are runni ng to the sea, Don’t be miserly with your waters In the late season of the year, Don’t you join also the deception Of a prosperity so brief. I want one day to be reflected with her In your clarity, When at last my pangs She will show h e r s e l f understand. Vaghissima sem bianza Very charmi ng image o fa  woman formerly loved, who, then, has portrayed you with so much sim ilarity that l look, and I speak, and I believe to have you before me as in the beautiful days of love? The dear remembrance which has been awakened in my heart so ardently has revived my hopes, so that a kiss, a vow, a c ry of love? more I do not ask of her who is silent foreve r. Quando ti r ivedro When shall I see you again, Unfaithful lover, who were so dear to me? So many tea rs I have wept Now that an other separates us, That I fear that may be fled Every joy forever from my life. And yet the more I despa ir, The more I return to hoping. The more I hate you in my mind, The more m y soul turns again to loving you. When shall 1 see you again, Unfaithful lover, who we re so dear to me? Ven uto é I’aprile April has come, weaving garlands, And bringing together nymphs and sylvans on t he meadow. The alders are tuning their instruments And at the first melodies of the wind Among the branches the dance begins. First a faun advances... His nymph looks at him... Sighs... And they rush away together! �The couples frolic among the fountains and the streams, And then vanish furtively in the woods... But Cloris, who meanwhile is jealous of Nice, Waits unhappy and alone, in tears, For the dance to cease. But a shepherd advances... And now Cloris looks at him... Sighs... And they rush away togethe r! Aria from Cosi Fan Tutte Wolfgang Mozart In uomini, in soldati In men? In soliders, you hope for fidelity? For goodness sake, don’t let anyone hear you! They are all made of the same dough, Windblown branches, changeable breezes Have more stability than men! False tears, suspieious glances Deceiving voices, lying vices Are the foremost of their qualities! They only love us when it suits their delight. Then disparage us and deny us affection. It is useless to ask their pity! Let ’s pay them back in their own coin. This accursed, indiscreet race. Let ’s love for our convenience and vanity! 5 w Una donna a quindici anni A woman of fifteen years Must know all the good met hods, Where the devil keeps his tail, What’s good and what’s bad.  She must know the little malices : That enamour lovers: To feign laughter, to feign tears, And invent good reasons. She must pay attention to a h undred at a time. Speak through her eyes with a thousand. Give hope to all, be they handsome : or ugly,  Knowiliow to obfuscate without” gettinggconfused. And know how to lie without blushing. " And this queen from her high throne,  * can make them obey with, “I can,” and “I want.” (It seems they like this doctrine) Long live Despina, who knows llow to serve!) � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 38:34:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196859">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196859</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Thursday mid-day concert, October 25, 2007 Recital Tape 10-25-2007 Description An account of the resource Held at 1:20 p.m., October 25, 2007, Casadesus Recital Hall. Works of Donoudy, Mozart, Beethoven. Creator An entity primarily responsible for making the resource Blitstein, Alexander Mallinson, Chai-Kyou Boyd, Sibongile Reitz, Margaret Sofer, Danielle Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2007-10-25 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 428d7e4f-457b-4ce8-93b0-815ea762cea9 https://omeka.binghamton.edu/omeka/files/original/7fd3eee4e13be0d04be3a8e05be45c8d.pdf 07a03d7add71f892737c0501e64b41f5 PDF Text Text BINGHAMTON '  N  l  \  l1  R  N  l  T \ State University of  New York de c [4 D E P A R T M E N T 2007­2008 C H A M B E R  S E R I E S “ T H E  ORIENT EXPRESS” T I M O T H Y  PERRY, C L A R I N E T M ARGARET  REITZ, P IANO Assisted by Janey Cho i, Violin Stephen Stalker, Violoncello Ivy Gaibel, Mezzo­So prano Saturday Evening at 8:00 September 8, 2007 A nderson Cent er Chamber Hall �l PROGRAM Solo de Concours (1899)  .  .  .  . .  .  .  .+ .  .  André Messager (1853­1929) Aria: ‘Parto, ma tu ben m io’ (Clemenza di Tito). .  .  .  W.A. Mozart (1 756­1 7 91 ) Ivy Gaibel, Mezzo­Soprano Adagio from Violin Concerto.  .  .  .  .  .  .J. Brahms, arr. Langenus (1833­1897) Contrasts for Violin, Clarinet and P ia no   .  .  . .  .  .  .  Bela Bartok I. Verbunkos II. Piheno 111. Sebes (1881­ 1945) Janey C hoi, Violin WINTERMISSIO N®3 Marko Tajcevic Seven Balkan Da nces  .  .  .  I Con moto II. Rustico IV Sostenuto e cantabile V. Allegro ritmico VI. Allegretto III. Vivo VII. Allegro, quasi pesante ( 1 900­1 984) This evening’s program is a travelogue in sound, tracing the route of that most famous of luxury trains, the Orient Express, which ran – at least in its  earlier  years  –  from  Paris  through  Vienna  and  Budapest  into  the Balkans and ended in Constantinople (present­day Istanbul). This theme appealed to me bec ause i t  i s  also a route that runs to the outer reaches o f the world of the clarinet, before it gives way to double­reed instruments such as the Turkish zurna and the Indian shehnai. You will, I  think, be able to follow the changes in this son ic scenery as well  – how melody, harmony, rhythm and form transmute as West becomes East. We open with a c lassic solo de concours (contest solo) by the Parisian composer Andre Messager (1853­1929). Messager studied for a time with Saint­Saens and  held  the  important  post as organist of St. Sulpice,  but excelled in  ballets and operatic works. A highly respected conductor, he directed the orchestra o f the Conservatoire d u Musique, and appeared on the podium o f the Opera Comique in Paris as wel l as Covent Garden in London.  Messager’s Solo de Concours,  while adhering to  the formula stipulated for these examination pieces, is one o f the best o f its kind.  I t begins  with  a  principal  theme  quickly  dissolving  into  virtuoso passagework ;  a  singing  slow  section  in  the  clarinet ’s  difficult  ‘throat tones’ leads to a dramatic and florid cadenza; and a return o f the main theme concludes in an effervescent coda which  might have served  as a finale to one of the composer’s ballets. Like Paris, Vienna  was an  imperial capital ci ty whose  vast resources brought the best composers to test their skill in the most demanding of musical  communities.  Unlike  the French, the  German  clarinetist  and composer has always been  concerned  first  with beauty  of timbre  and subtlety of phrasing, with virtuoso technical possibilities a distinct second. First, we present M ozart ’s aria ‘Parto, m a  t u  ben m i o ’  for basset clarinet Stephen Stalker, Violoncello and soprano from his final stage work, L a  Clemenza di Tito. In  his final months of life, com pleting the Clarinet Concerto aside th e opera, Mozart Per egiV er b u n k......................L eoWeiner (1885­196 0) Hristiankova Kop anitsa  .  .  .  .  .  .  .  .  About the Music Ivo Papasov, arr. Perry (b. 1952) seems to fully disc over the clarinet a s the truest dramat ic substitute for­ and partner to­ the female voice. The aria’s several moods, from revenge to compassion  to self­sacrifice, are brilliantly distributed  from  voice to instrument, making full use of the basset clarinet’s extended low range to provide lines of enormous sweep and power. �For our second Viennese work we jump forward almost a century for the rarely heard transcription of the Adagio from Brahms’ Violin Concerto by the  Belgian/American  clarinetist  G ustave  Langenus.  Langenus  was  to clarinet  transcription  what  Fritz Kreisler  was  to  works  for violin – a master player and teacher whose complete knowledge of his instrument brings out new and wonderful levels of beauty  from the originals.  The movement  is one  of Brahms® most  pure and profound.  Of course  the composer,  ever  self­deprecating,  described  it  as  ‘feeble’,  and  Sarasate refused to play it because he didn’t want to “stand around while the oboe played the only melody in the piece.” No problem here – Langenus lets the clarinet do both. Bartok, here we hear the individual melodies retained as miniatures, a set o f several  verses  with  short  interludes that  get  their interest  from  the constant  variation  o f  orchestration.  Each  movement  thus  retains  its 1 1 Just  as  the  Rhine  separates  French  from  German  sound,  the  Danube moving east towards Budapest marks a new soundscape, one firmly in the Slavic  orbit.  Formal  traditions  give  way  to  folk  influence  ever  more strongly  now,  with  the  clarinet  (and  violin)  as  folk  melodists  par excellence. Harmonies simplify, but rhythms become ever more complex. We  close  the  first  half  with  Bela  Bartok ’s great Contrasts  for  Violin, Clarinet  and Piano.  This  incredible  potpourri of Hungarian  folk  tunes (with some Rumanian and Bulgarian influences) opens with a Verbunkos dance whose march­like theme betrays its use for recruiting soldiers who have had a bit too much to drink. One might imagine the unhappy new recruit  awaking  during  the  clarinet’s  closing  cadenza.  The  second movement,  entitled  Pihené  (relaxation)  seems  nearly  motionless  by In  the music of Leo Weiner we find again the attempt to blend the folk (here, Magyar ‘Gypsy’) tradition with a bit more formal rigor, no doubt influenced  by  Weiner’s position as a  Professor of Theory in  Budapest. This Peregi Verbunk is true to Magyar form and style with its linked slow and fast sections, and the writing for both clarinet and piano is superbly crafted.  Difficult,  yes,  but  Weiner’s  music  is  always  interesting  and represents a fine marriage of classical and folk­based traditions. Music reflects our world, and sometimes as the world changes new and exciting  musics  are  developed. On  the  outer  frontier  of the  European clarinet comes the source for our last piece, a bit of Bulgarian Svatbarska muzika, or “wedding music,” This existed in a tamer traditional form until the  1970’s  when  increasingly  anti­authoritarian  sentiments  brought western jazz and rock elements into the mix. Mixed with native Gypsy, Magyar,  Bulgarian  and  Turkish  melodic  elements,  Balkan  musicians produced an electric new genre that exploded worldwide with Ivo Papasov and  Yuri  Yunakov ’s  1991  CD  Balkanology.  We  finish  our  musical journey,  in  an  insanely  fast  meter  of  11/8  (2+2+3+2+2)  with  a  short example  of this  manic  musical  cry  for joy  and  freedom,  Hristiankova Kopanitsa. N.B. As none of us are as yet experts, we perform a transcribed version  of  the  improvised  solos.  Actually,  you  may  get  some improvisation anyway.  Welcome  to the East, and have a pleasant  trip home! com parison, but with all the m ystery and tension we come to expect from Bartok’s other pieces of “night music ’.  The set finishes with a Sebes (fast dance) whose folk credentials are assured by the use of a violin “mistuned’ (scordatura) in folk style for the opening bars. This is high­energy dance music, and a break is provided in the middle with a slower section  in (8+5)/8, or thirteen­eight time (!) Once rested, however, the manic pace resumes and runs to the end. One difficulty of performing music from beyond Vienna and Prague is the relative  paucity  of  published  materials  as  we  move  increasingly  to unwritten  folk  performance.  A ll  of Eastern  Europe  has  undiscovered treasures  which  are  only  slowly  coming  to  light  for  western  players. Marko  Tajcevic ’s  Seven  Balkan  Dances, originally  composed  for  solo piano  in  1927 and  later arranged  for Clarinet, Cello and  Piano. are an excellent case in point. Tajcevic draws upon the songs and dances of his native Serbia, but rather than building a complex formal structure as does character,  and  we  can  better  appreciate  their  shifting  meters  and increasingly oriental timbres. ­Timothy Perry Aug 2007 or �ABOUT T H E  PERFORMERS TIMOTHY  PERRY,  conductor  and  clarinetist,  is  Professor  of  Music  and currently  Chair  of  the  Department  of  Music  for  Binghamton  University.  A graduate  of the  Manhattan and  Yale  Schools of Music, Dr.  Perry  joined the Binghamton  University faculty  in  1986, becoming  Professor of  Music  in  2002 and  receiving  the  Chancellor’s  Award  for  Creative  Activities  in  2005.  As Conductor Dr. Perry has directed the University Orchestra since  1986, directed the  University  Wind  Ensemble  from  1986­2005  and  led  the  Binghamton Community Orchestra from 1994­2004. In May­June 2007 he conducted the joint Music/Theater production of West Side Story in Santiago, Chile.  Widely known as a clarinetist in virtuoso solo and chamber music, he toured Latin America and the Caribbean as a United States Musical Ambassador and has presented recitals at three world conferences of the International Clarinet Association. His recent clarinet appearances include a July program at Cornell University, an upcoming appearance at Ithaca College, and a week of both Clarinet and Conducting Master Classes at the Universidad Nacional de Columbia (Bogota) in October 2007. MARGARET REITZ, pianist, is a native of the Binghamton area.  She received her Bachelor and Master of Music degrees in piano performance with Seymour Fink and Walter  Ponce and accompanying emphasis, studying piano with Jean Casadesus,  Victor  Rosenbaum,  Seymour  Fink  and  Walter  Ponce  and accompanying with Allen Rogers. She has accompanied throughout the United States,  Europe  and  South  America:  she  was  an  official  accompanist  for  the MTNA State and Eastern Division Competition  held at  Ithaca College  in  2001 and  2006,  has  been  a  guest  chamber  music  artist  in  Morges,  Switzerland, attended  the  Northwestern  Workshop  with  Chicago  Lyric  Opera Faculty  and Coaches, was an official pianist at the International Double Reed Competition and Convention in June 2007 at Ithaca College and was selected to accompany at the Interpretation of Spanish Music  Festival in Grenada, Spain  in July 2007, where she performed at several concerts and masterclasses coached by Teresa Berganza. A guest artist on the Cornell Summer Series this past summer, she will perform Beethoven’s  Triple  Concerto  with  Binghamton  Community  Orchestra  and  is nominated for the Heart of the Arts Award sponsored by the BC Arts Council. Ms. Reitz is currently on the faculty at Binghamton University and Ithaca College School of Music.  She is on the Executive Board of the New York District MTNA organization,  is  past  President  of  the  local  Southern  Tier  Music  Teachers Association  and  is  an  active  adjudicator  for  the  National  Piano  Guild Organization. Canadian­born  violinist  J A N E Y   CHOI  joined  the  faculty  of  Binghamton University in 2006. Dr. Choi attained her Doctor of Musical Arts degree at Rutgers University, studying with Arnold Steinhardt, and holds her Bachelor and Masters degrees from The Juilliard School where her major teachers were Joseph Fuchs and Joel Smirnoff.  She gave her Carnegie Hall recital debut in  1997 as a winner of the Artists  International  Auditions  and  continues  a n  active  perform ing  career  as  a recitalist, chamber, and orchestral musician throughout the country and abroad. She has  participated  in  such  festivals  as  Mostly  Mozart,  Juilliard’s  Focus  Festival, Norfolk, Taos, the Spoleto Festivals, Festival Musical de Santo Domingo, the Santa 7 Fe Opera and the Sarasota Opera. An avid inter­arts and cross­genre collaborator, she  is  the Music  Director of Thomas/Ortiz Dance, and has performed numerous times with the Parsons Dance Co. at the Kennedy Center in Washington, D.C.  She has recorded and appeared with such mainstream performers as Bono and Quincy Jones,  Enya,  Elton  John, Sarah  McLachlan,  Lisa  Loeb, Kanye  West, Jay­Z and Beyoncé. Ms. Choi is a Teaching Artist for the New York Philharmonic, Lincoln Center Institute, Chamber Music Society of Lincoln Center and the Bloomingdale School of Music in New York City. l 5 STEPHEN STALKER, cellist, joined the faculty of Binghamton University in 1982. He is a graduate of the Manhattan School of Music in New York City. He formerly taught at Colgate University, Mansfield University, Ithaca College and for  the  Binghamton  City  School  District.  He  was  the  principal  cellist  of the Cayuga Chamber Orchestra in  Ithaca, NY, and has performed extensively with the Catskill Chamber Players of Oneonta, NY, where he has presented Meet the Composer concerts with  prominent  American  composers  including John Cage, Virgil Thomson, Lou Harrison and George Crumb and premiered a set of four string quartets by Henry Brant at Weil Recital Hall. He performs regularly with the Trio Amici, Trilogy, Baroque ‘n Blue, Early On and performed the complete Beethoven Trio cycle with  violinist Janet Brady and  pianist  Walter  Ponce. He performed with Solisti New York, and as a member of the Madison String Quartet was a finalist in the Naumberg Chamber Music Competition in New York City and the Evian International String Quartet Competition in Evian, France. A past president  of  the  New  York  State  Chapter  of  the  American  String  Teachers Association,  Mr.  Stalker  is  a  founder  of the  Southern  Tier  Music  Teachers Association and the Binghamton Cello Festival and was past Strings Chair for the New York State School Music Association. IVY  GAIBEL, mezzo­soprano  most  recently  performed  at  the  Spoleto,  USA festival  in  Chartleston,  SC  in Kurt  Weill’s  The Rise and Fall of the  City  of Mahagonny.  Ms.  Gaibel  is  a  graduate of the Tri­Cities  Opera  Resident  Artist Training  Program,  where  she  performed  numerous  roles  including  her “precocious” Cherubino  in  Le  Nozze  di  Figaro and Nicklausse  in  Les Contes D’Hoffmann. Her TCO performance of Dido in Dido and Aeneas  was noted as “beautifully performed with exquisite phrasing.”  Ms. Gaibel made her debut at Syracuse Opera in 2004 and was awarded Artist of the Year in a supporting role. Since then she has been an active performer on the main stage as  well as the ensemble, including her role as Mercedes in Syracuse Opera’s 2007 production of Carmen. Performance  Awards  include First  Place,National  Association of the Teachers of Singing, 2001  and the  George L. Hinman  Award  from  Tri­Cities Opera 2004. In  the Summer of 2006 Ms. Gaibel  was a member of Des Moines Metro Opera’s Apprentice Artist Program. She has appeared with many regional orchestras  including  the  Binghamton  Philharmonic  and  the  Orchestra  of  the Southern Finger lakes. This year Ms. Gaibel will be Assistant Professor of Voice at Ithaca College. She has upcoming engagements with the Binghamton Baroque Ensemble and numerous recital appearances in the area. �P art o,  m a  t u  be n  m io :  Translation: I leave but you, my beloved , will ret urn to me in peace ; I will be what most pleases you; what you want, I’ll do. Look at me and I’ll forget everything, and I’ll rush to avenge you ; Give only a glance and the deed by me will be done. Ah, what power, oh Gods did you bestow on Beauty! * # * * * * t t i t fi ttttttt l ttt i tt fi tt i tttttt $ tttt fi tttttt fi # # * * * # * * * * * * * * * # * Comin g Musi c Events Sunday, Septem ber 9 – A Sonic Blast : Thrilling Works  for Organ, Brass and Percussion – 4:00 p.m. – Frist Presbyterian Church, Binghamton ­ $15 general public ; $13 fac ulty/staff/seniors; $7 students Sunday, Septem ber 30  –  Romanti cism  Unleashed : A facu lty  recital  by cellist St ephen Stalker – 3 :00 p.m. – Casadesus Recital Hall ­ $9 general public; $ 7 faculty/staff/sen iors; $1 students Th ursday, October 4 – Mid­Day Conc ert ­­ 1 :20 p.m. – Casadesus  Recital Hall – free Th ursday,  October   1 1   –  Mid­Day  Concert   –  1 :20  p.m.  –  Casadesus Recital Hall – free Sunday,  October  1 4 – University Or chestra : Suite D iversions – 3 :00 p.m. –  Anderson  Center  Concert  Theater  ­  $9  general  public;  $7 faculty/staff/senio rs; free fo r student s Th ursday,  October  1 8  –  Mid­Day  Concert   –  1 :20  p.m.  –  Casadesus Recital Hall – free F riday, October  1 9 –  Sunday, Octobe r  21  –  New  York  State  Music Teachers Association (NY SMTA) – Anderson Center Chamber Hall and Casadesus – free Sunday, Octobe r 20 – Family W eekend C oncert – 3:00 p.m. – Osterhout Concert Theater – free Th ursday,  Octo ber  2 5  –  Mid­Day  Concert   –  1 :20  p.m.  –  Casadesus Recital Hall – free Th ursday, October  2 5 – Jazz  Scholarship Con cert (In  memor of Ro bert Terrell) – 8:00 p.m. – Osterhout Concert Theater ­ $1 8 general public ; $16 faculty/staff/seniors; $ 10 students � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:00:02 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196856">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196856</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "The Orient Express," September 8, 2007 Recital Tape 9-8-2007 Description An account of the resource Held at 8:00 p.m., September 8, 2007, Anderson Center Chamber Hall. Works of Messager, Mozart, Brahms, Bartok, Tajcevic, Weiner, Papaosv. Creator An entity primarily responsible for making the resource Perry, Timothy Reitz, Margaret Choi, Janey Stalker, Stephen Gaibel, Ivy Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2007-08-09 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 c59dce28-dbe5-41cc-9c93-9af2d32865ef