5 10 1775 https://omeka.binghamton.edu/omeka/files/original/eda90bda91a09ad2ead303fda6ced6d2.pdf f7399522e718b36a1257f6940764c113 PDF Text Text BINGHAMTON U N I V E R S I T Y State University of  New York wdec [3 D E P A R T M E N T 11,7  _ . LINK ORGAN S ERIES A TANGO F O R  TWO featuring G uest Organists : An nette Richard s David Yearsle y Sunday, February 17, 2008 4:00 p.m. First Presbyterian Church �PROGRAM A Fanc y for two to pla y  pressing Art 8 :  S oul of th e  S outhern Tier a new weekly series featuring art and artists of the local region. T h u r s d a y s a  o i n W  S r K G T  V t S  p   m e ––    LL  ppP U BAL I C  BROADCASTING  P U B L I C  BROADCASTING I. Thomas Tomki ns (1572­1656) A Verse – In N omine  N1colas Carleton Canon Two in One  Benjamin Cook e (1734­1793) (c.1 570­1656) II. ........ Michele Gaggia  Regium........... us super Thema Canon Perpetu (b. 1965) in Contrapunto alla Q uarta  Canon a 4 (super Thema Regi um) from .......Johann Sebastian Bach (1685­1750) A Musical Offering, BWV 1 079  ...Johann Sebastian Bach Sei Lob und Preis mit Ehren..   BWV 51 From Jauchzet Got! in allen Landeri    a v i e r e  F uga a 72, Cl Fuga a 4, a 2 Claviere, i in alio modo, from The Art of Fugue, BWV 1 080 E Concierto para  dos organos  Andante  Allegro 4  Allegretto  . . .   From Sonat a 117A  Op. 18  III. Johann Sebastian Bach Antonio Soler (1 729­1 783) Johann Christian Bach (1 735­1 782) .. Wolfgang Am adeus Mozart .  Allegro molto. .  (1756­1791) From Symphony No. 40 in G M inor  IV. Overture to Wi lliam Tell.........ccccccceevevvvvvvnnnnne.....Gloacchino Rossini (1792­1868) �PROGRAM  NOTES The contrapunta l  works in section two of tonight’s  program  represent abstract music well suited for performan ce by two organ ists.  The two four­vo ice fugues from  Die Kunst  der Fuge (The  Art  of Fugue), in  particular, cann ot be played intelligibly  by  only  one  keyboard  player.  These  are  works  of  astounding The  organ  is  both  the  largest  and  the  loneliest  of musical  instruments.  The organist often plays her instrum ent from a distant gallery high above the churc h floor; often the separate division of the organ  called the Ruckpositiv hides th e player completely from view. A lthough listeners far removed from the console often turn to look up at the organ, not much if anything can  be seen of human music  making.  The  glittering  facade  looks  down  impassively,  if  no  less magnificently, at those in its aural and visual thrall below. The  vast majority o f the  repertoire  for  the  organ  is  made  up  of  solo  works,  and  although  the accompaniment  of  choirs  or  congregations  constitutes  a  rich  part  of  the instrument’s historic and living tradition, a sense of isolation  can occasionall y overtake an organist, alone in a cold and dark church, cut off from listeners and other  musicians.  For at  least  half a  millennium  — and  probably  longer  — organists have played duets, not only to augment what two hands and two feet can do, but because company is a good thing, even at a sometime  keyboard of only four­octaves.  Beyond  the  surviving  duets that  perhaps  document  attempts  to escape this solitary existence, a vast corpus of instrumental and vocal works of all periods are just waiting for two lonely organists willing to arran ge them for their mutual enjoyment and for the pleasure of those who care to listen from close or far. Tonight’s  program  begins  with  two  duets  by  Thomas  Tomkins  and  Nicolas Carleton, close friends and neighbors in renaissance Worcestershire.  These two contrapuntal works, written in the learned style of vocal polyp hony, survive in a manuscript once owned by Tom kins and likely conceived as a pair for the two to play together.  We offer two registrational possibilities for the performance of this type of piece: th e first work is h eard on the plenum, a full registration employing the full range of pitch levels; for the second we draw a single stop, a principal o f singing  quality,  which  recalls  the  vocal  origins  of the  genre.  The  moving grandeur of these two works stands in  contrast  to  the shim mering,  if  flimsy, contrapuntal facade of Cooke’s fi'ivolous Canon. Duets for the keyboard became popular in the 1 8th century, as composers sought to  capitalize  on  the  growing  demand  of  bourgeois  consumers  for  domestic musical recreation.  J.C. Bach’s Allegretto  was composed in London, where such works were part icularly fashionable.  The piece was originally intended for piano or harpsichord,  but  its sweet  elegance sings  through the  flutes of this organ. According to the title page of Soler’s double organ concertos, the composer wrote the works to please the young Prince Gabriel, for performance by him and Soler in a small palace built on the Escorial grounds between 1768 and  1772.  This double  organ  was  a  single  instrument  with  two  separate  keyboards;  their placement is uncertain but sources relate that the organists could see one another. On an organ with two or more manuals, the players have space for their individual parts of this now  lush, now virtuosic music, thou gh they sit next to each other on a single bench rather than at separate consoles. ingenuity, aside from their considerable technical demands on the players.  Both pieces use the same subject and are “counter­fugues,” in  which the successive ­ entries  of  the  theme  alternate  between  the  right­side­up  and  upside­down versions.  Thus on the small scale the fugal subjects mirror each other within each piece,  and  on  a  larger  scale  the  two  fugues are  inverted  images.  We  have included both a canon from Bach’s other late collection of learned counterpoint, 4 Musical Offering, and a modern setting of Frederick the Great’s royal theme by the phenomenal contrapuntist, the Italian composer and organist —and our friend —  Michele  Gaggia,  whose  mastery of Bach’s strictest  style  has inspired  the genius of his late 20™­century students. Bach  himself viewed  the organ as ideal  for transcriptions, and he set  his own concerted vocal works for organ in a printed collection popularly known as the Schubler  chorales.  Our  version  of an aria  from  his  Cantata  51  is  a sort  of Schubler chorale for four hands and two feet, in which the two right hands play the violin parts, a left hand is the bass­line, and the feet are responsible for th e chorale melody, a line sung by a soprano in the cantata. We  conclude  tonight’s  recital  with  our  own  arrangements  of  two  famous orchestral works: the  first movement  of Mozart’s Symphony  in G  Minor, and Rossini ’s Overture to William Tell.  In the first of th ese we have tried to imitate the nature of the 18™­century orchestra with its wind section (called the Harmonie in German): the clarinets, flutes and bassoons were placed distinctly behind the main orchestra and their timbre was used both to enrich the overall texture and to provide an often piquant contrast to the  strings. We hope that our arrangement preserves  the  brilliance  of  Mozart’s subtle  yet  electrifying  writing,  or  even, perhaps, presents this aspect of his genius in a slightly new light. It was Mozart who is said to  have dubbed th e organ the “Queen of Instrume nts”, and we  feel sure he would have approved o f its union with his orchestral masterpiece. The mighty color machine that is the organ is also up to the task of capturing the rich expressive  spectrum  of  Rossini’s  best­known  overture,  from  the  brooding Romanticism of its opening, through the humid electric bluster of its storm to the verdant flutings that follow —and the vivid breathless gallop of the finale. ­David Yearsley �ABOU T T H E  PERFO RMER S Her scholarly ach ievements are no less impressive; she was a Fellow at the Getty Center for the H istory of Art and the Humanities in Santa Monica, Californ ia in Active as  a performer on organ, clavichord, harpsichord, and fortepiano in North America and Europe, DA VID YE ARSLE Y was ed ucated at Harvard  College and Stanford University, whe re he received his Ph.D.  in Musicology in  1994. That same year he became the only musician in the history of the Bruges Early Music Festival  to  win all  its major prizes. His organ  recordings include: Music of a Father and Son: The Organ Works of Delphin and Nicolaus Adam Strungk heard on the A rp Schni tger organ in No rden, G e rmany a nd The Great Contest: Bach, Scarlatti, Handel; and, with Robe rt Bates, In Dialogue, featuring 1 7“­ and  18“ century  music  arranged  for  antiphonal  organs.  His  musical  partnersh ip  with violinist  Martin  Davids  has  yielded  most  recently  the  CD,  All  Your  Cares Beguile: Songs and Sonatas from Baroque London. Energetically engaged with the historical context for his music making, Mr. Yearsley has written numerous articles on European musical culture in the 1 7” and 18™  centuries, and his work has appeared in leading scholarly journals such as the Journal of the American Musicological Society, Music & L etters,  Early Music  and Eighteenth­Century Music.  His  widely­praised  book,  Bach  and  the  Meanings  of  Counterpoint appeared in 2002  from Cambridge University Press. Mr. Yearsley h as been  an Alexander von  Humboldt  Fellow at the  Humboldt  University  in  Berlin  and a Wenner­Gren Foundation Fellow at the Un iversity o f Gothen burg in Sweden. For more than a decade he has been m usic critic for the infamous country weekly, the Anderson Valley A dvertiser . A mem ber of th e pionee ring synthesizer trio, Mother Mallard’s Portab le Maste rpiece Company, he is Associate Professor of Music at Cornell  University, in Ithaca, New York, where he lives with his wife, Annette Richards, the Cornell Un iversity Organist and Professor of Music, and their two daughters. 1994­95, and at th e Society for the H umanities at Cornell in 1998­9. He r scholar ly work  is  marked  by  its  interdisc iplinarity, and  has focused  on  late­eighteenth­ century music and its relationship with the visual  and literary arts. Along with dance historian Mark Franco she edited a volume of essays entitled Acting on the Past:  Historical  Perform ance  Across  the  Disciplines  (which  appeared  from Wesleyan  University  Press  in 2000); her book,  The  Free Fantasia  and the Musical  Picturesque, wh ich explores the  intersect ions between musical fantasy and the landscape garden in late 18™­century Germ an music culture, came out in 2001  from Cambridge University Press.  Ms. Ric hards is  the editor of C. P. E. Bach Studies (Cambridge University Press, 2006) as well as the com plete organ 0 music of C. P. E. Bach for the new Complete Edition of C. P. E. Bach ’s works. In  2003­5  she  took  a  two­year  sabbatical  in  Berlin,  supported  by  a  Mellon Foundation New Directions Fellowship, and a fellowship from the Alexander von Humboldt foundation. She is currently writing a book on the role of the visual arts in  German and English  music around  1800; th is promises to  be a provocative exploration into  the dark hermeneutics of musical  life  in the age of European enlightenment  and  revolution.  She  is  also  preparing  a  CD  recording  of  the complete organ m usic of C. P. E. Bach. Annette Richards is Professor of Music, and University Organist at Cornell University. ANNET TE  RICHA RDS divides  her  time  between  musical  scholarship  and performance. Born in London, Ms. Richards holds a bachelors degree in  English from Corpus Christi College, Oxford where she served as organ scholar. In  1991, she rece ived the prestigious  Performe r ’s Degre e  in  Organ  from the Sweelinck Conservatorium,  Amsterdam and  four years later,  a Ph.D.  in  musicology  from Stanford University (Cali fornia). A specialist in m usic of the Italian and North Germ an Baroq ue, Ms. Richards has concertized on numerous historic and modern instruments in the Netherlands, England,  Ireland,  Spain,  Germany  and  the  United  States.  She  also  regularly performs music from the virtuosic 19th­ an d 20th­century repertories, and prizes she has won at international festivals and competitions incl ude third prize at the 1992 Dublin International Organ Competition and, in 1994 first prize with David Yearsley at the fa mous Bruges Early Music Festival in the competition for organ duo. Her CD recording  “Melchior Schildt and the North G erman Organ  Art", recorded on the h istoric organ at Roskilde Cathderal, Denmark, will be released this spring from Loft Recordings (Seattle). 0 �F riday, F e b ruary 22 – Maste r ’s Recital :  LaToya Lewis, so prano – 8:00  p.m. ­­ Casadesus Recital Hall – free Sunday, Fe bruary 24 – Musica Nova – 3:00 p.m. – Anderson Center Chamber Hall ­ $9 general public; $7 faculty/staff/seniors; $1 students Saturday, March  1 – University O rchestra : Top Talent (Concerto Competition Winners) –  8:00  p.m.  –  Osterhout  Concert  Theater  ­ $9  general  public;  $7 faculty/staff/seniors; free for students Sunday March 2 – South of the Border: Explorations (Lecture and C oncert) with guest artist  Makoto Nak ura, marim ba, an d Binghamton Ph il harmonic Composer­In­Res idence  Carlos Sanchez­G utierrez –  3:00  p.m.  –  Anderson Center Chamber Hall  –  free.  Co­sponsored  by the Music  Department and the Binghamton Philharmonic. Th ursday, March 6 – Mid­Day Conc ert – 1 :20 p.m. – Casadesus Recital Hall ~ free Saturday, March  8 – Hom mage a Casadesus – 8:00 p.m. – Casadesus Recital Hall ­ $9 general pubic; $7 faculty/staff/seniors; $1 stude nts Sunday, March 9 – Wind Sympho ny – 3:00 p.m. – Anderson Center C hamber Hall ­ free Th ursday, March 1 3 – Mid­Day Con cert – 1:20 p.m. – Casadesus Recital Hall – free Saturday, March  1 5 – Senior Recita l :  Alexander Blitste in, tenor – 3:00 p.m. – Casadesus Recital Hall – free Saturday March  1 5 – Music of the  World : Latin America  ( Harp ur Chorale an d Women ’s Chorus) – 8:00 p.m. – Anderson Center Chamber Hall ­ $9 general public; $7 faculty/staff/seniors; free for students Sunday, March 1 6 – Master ’s Recital : Stephanie Le h man, percussion – 3:00 p.m. – Casadesus Recital Hall – free Sunday,  March  1 6 –  International  Contem porary  Ensemble  – 3:00  p.m.  – Anderson Center  Chamber Hall  ­ $9.00 general  public; $7 faculty/staff/seniors; free for students Th ursday, March 20 – Mid­Day Conc ert – 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 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:07:41 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE190108">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE190108</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 A Tango for Two, February 17, 2008 Recital Tape 2008-2-17 Description An account of the resource Works of Tomkins, Carleton, Cooke, Gaggia, Bach, Soler, Mozart, Rossini.Held at 4:00 p.m., February 17, 2008, First Presbyterian Church. Creator An entity primarily responsible for making the resource Richards, Annette Yearsley, David Gaynor Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2008-02-17 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 02268d70-73b2-4bf8-a14a-3f14880a173a https://omeka.binghamton.edu/omeka/files/original/fb7a484c8d70c51d40835d1ef32598e5.pdf 699a96021a45575bf852a1227af0ec71 PDF Text Text BINGHAMTON U N I V E R S I T Y S TA T E   UN I V ER S I T Y  O F   NEW  Y O R K d e [4 e D E P A R T M E N T A TRIBUTE CONCERT IN MEMORY OF P A U L  GOLDSTAU B Martin Bidney, narrator Diane Birr,  piano Bruce Barton, conductor Daniel  Fabricius, percussion jenny Gag, soprano Stacey Geyer, soprano Emily  Goetz, percussion W ill iam La wson, p i a no Timothy LeFebvre, baritone Stephanie Lehman, percussion Georgetta Maiolo, flu te Timothy Perry, clarinet Margaret Reitz, piano Harold  Reynolds, trombone Michael Salmirs, piano J oel  S males, percussion Abigail Smith, soprano University Chamber Chorus Sa tu rday, J a n ua ry 31, 2015 7:30 p. m. Anderson Center Ch am ber Hall �as­  PROG RAM   «s 1.  Six Slick Stix Click Licks (fugue for fun for 3 snare drums)  Every Evening (excerpts) Your Heart and Mine L ll b Daniel Fabricius, Stephanie Lehman, Joel Smales  1 Though t that B a Every Evening Lago di Como, Italia  ll.  {  Lehman,   on;i ­ M r t ’   Bid  ,  tonM  tRe’z ,’ man bereyspom.  arin,  BC Iheh  Tags  PREEERi  ci)  piano Timothy Perry, clarinet; Margaret Reitz, piano  III.  Stephanie Lehman, marimba; M argaret Reitz, piano Adagio (Rothko: Med itating on Color) Toccata (Pollock : Line and Color)   VIIL 1  J  [  i  Aria and Chase  VIL Mallet Palette Portraits (exce rpts)  Prelude (Mond rian: Lines and Colors) Michael Salmirs, piano  Timothy Perry, conductor;  Timothy LeFebure, baritone; Jenny Gac, soprano; Stacey Geyer, so prano; Abigail Smith, soprano;  Daniel Fabricius, Stephanie Harold  Reynolds, trombone; Diane Birr, piano Shakespeare M ix If Music Be the Food of Love University Chamber Chorus; Bruce Barton, conductor Daniel Fabricius, Emily Goetz, Stephanie Lehman, Joel Smales, percussion William Lawson, piano;  Margaret Reitz, piano blnte rm ission b­ V  Pastorale II for Flute and digital delay Georget ta Maiolo, flute ‘  All proceeds from this concert will benefit new music initiatives for Binghamton University Music students. CDs of  Paul Goldsmub’s worlu are available in the lobby for purchase. �PROGRAM NOTES Paul Goldstaub (1947­2014) was professor emeritus of music composition and theory at Binghamton University, retiring in 2012.  His compositions have  received  multiple performances in  such  diverse venues  as  Lincoln Center, Carnegie Hall, off­off Broadway, the G uthrie Theater, Minnesota Opera, Cincinnati Opera and  the Society for New Music, as well as in Canada, Great Britain, German y, Italy, Russia a nd Japan. He was the recipient of grants from the National Endowment for the Arts. the National E ndowment for  the Humanities. Meet the Com poser, the Minnesota State  Arts Board and the  American Society of Composers, Authors and Publishers (ASCAP). He  presented  lectures,  papers  and  workshops  at  the  Chautauqua Institution, Oberlin Conservatory, Syracuse U niversity, St. Olaf College, Wells  College  and  St.  Thomas  University  Institute  of  Contem porary Music  Education,  among  others,  as  well  as  national  meetings  of  the College Music Society, the National Association of Schools of Music and the New York State School Music Association. Prior to coming to Binghamton in 1998, he held teaching positions at the Ithaca College School of Music, the College­Conservatory of M usic of the University  of  Cincinnati,  Mankato  (Minnesota)  State  University  and Eastern Michigan University. He earned a bachelor of music degree from the Ithaca College School of Music, studying under Karel Husa and Warren Benson, and master of music and doctor of musical arts degrees from the Eastman School of Music,  in  the  studio  of  Samuel  Adler.  Schenkerian Analysis with Charles Burkhart. He  com pleted  studies  in His  music  is published  by  Keyboard  Percussion  Publications/Marimba Productions,  Inc.,  Roger  Dean  Publishing  Com pany,  the  International Trombone Press/Southem Music, Ken Dom Publications, Transcontinental Music Publications and Lawson­Gould Music Publishers, Inc. I Six Slick Stix Click L icks ( fugue for fun for 3 snare drums) This snare dmm trio, premiered  in 1991 by the I thaca College School of Music Percussion Ensemble under the direction of Gordon Stout, remains one of Paul’s most performed works.  The indioations in the score include exact placement of the “stix” on the ‘normal” playing position of the head, or the rim of the snare drum, as well as indications to  play silent strokes in  the air,  to  play with  the fingertips, to clap, or to make spoken sounds, The Binghamton University Percussion Ensemble, under the direction of Daniel Fabricius,  performed  the  work  in  1999,  followed by  tonight’s  special  guest percussionist,  alumna  Stephanie  Lehman’s  performance  with  members of  the Binghamton University Percussion Studio in  2008. Six Slick Stix Click Licks has also been perform ed throughout the U.S. as well as in Russia, Japan, Slovenia and the Philippines. 1L Lago di Como, I talia This is program  music, describing  the  serene quality of Lake Como in Italy. Located about 40 miles north of Milan, near the foothills of the Alps, the lake has a special beauty and calmness.  Paul wrote:  “In this composition, 1 reflected on the moods of this lake in Northe rn Italy,  It had a unique serenity that engaged my imagination to ponder the beauties of nature, wherever they are.  There was a special excitement  in  such  calmness.  1 invite listeners to visualize places from their own travels as they hear this music.” Originally  composed  for  saxophonist,  Jamal  Rossi  and  premiered  at  Ithaca College  in  1990  with  Paul  at  the  piano, versions were  created later  for  cello, bassoon or clarinet including performances by Binghamton University  faculty members Stephen Stalker (cello) and Timothy Perry (clarinet) both accompanied by Margaret Reitz (piano). III. Portraits (excerpts) Portraits  is a suite of six short pieces  for  solo piano.  It  was  composed  for Binghamton University faculty me mber Michael Salmirs and premie red in 2008. Paul wrote the following program notes at that time : “For some years, I have been exploring the idea that in a collection of pieces, each can have its own  complete identity and yet still be  part of the larger structure or context in which  it a ppears...Originally, each movemen t had just a musical title, such as “Prelude ” or “Scherzo", and most of the work was done with those titles in mind.  However, late in the process, I became aware of certain analogies to the �VL visual arts, and then to specific artists but not to specific works. Thus, there are two titles for each of the six sections.  The images seen here are meant to remind us of the general style of these artists.  It has been a special delight to compose for Michael Salmirs.  We spoke of the pieces often during the composition phase, and  many of the sketches were shared as the work was in progress.  I hope all composers could have the chance to work so closely with their performers”. IV. Aria and Chase This brief, two­part work was premiered at the Ithaca College School of Music in 2008.  lt was composed for this evening’s guest artists from the Ithaca College School of Music, Harold (Hal) Reynolds, Professor of Trombone and Associate Chair, Performance Studies and Diane Brrr, Professor of Piano and Associate Chair, Performance Studies. Every Evening (excerpts) This work  in  nine  movements, which  Paul  referred  to as. “a sort  of  dialogue between individuals in a relationship”, was inspired by poems first shared with him  in  2005 by Martin Bidney, Professor Emeritus of  English at Binghamton University.  The poems, a series of Spanish folk lyrics, had been translated into Russian by Konstantin Balmont about a century ago, and translated from Russian into English by  Professor  Bidney.  The  composition was  premiered at  the Binghamton University Musica Nova concert in 2009. ll. Your Heart and Mine Your heart and mine Took counsel together And both have decided They can’t live apart. Your eyes are azure, An  opening chord announces a basic sonority,  which  is  used  throughout  the introduction.  A series of short cadenza phrases leads to the song­like first section, featuring rolling chords in the piano and a lyrical melody in the solo trombone. At the climax of this aria, the music dives into the “Chase” section, with both instruments in  pursuit until the end. V. Pastorale II for Flute and digital delay At the premier of Pastorale II  for Flute in  2005 Paul wrote: “Pastorale II  for  Flute, dedicated  to  Binghamton  University faculty member Georgetta Maiolo, begins with a short, introspective phrase that unifies the piece.  The Pitches (C#­G#) and the rhythm (dotted eighth, sixteenth, eighth  in compound time) recur in  many forms as the piece grows to its highpoint and then returns to its origins.” Georgetta  Maiolo  provides some  background:  “Pastorale for  Flute  Alone”  was written in 1984.  Paul and I were assistant professors in the Ithaca College School of Music, at the time.  Paul showed the work to me and we collaborated on  the various tone colors, techniqum, and sound e ffects of the flute.  In 1990, it was performed as a world premiere on my faculty flute recital at Ithaca College.  In 1998, Paul and I  reunited as faculty members in  the  Depart ment of Music at Binghamton University.  We decided to revisit the work. but to add a digital delay or  sort  of  “electronic  reverb”  to the original.  I  premiered  this version,  now entitled Pastorale l l  for Flute on m y  faculty flute recital in 2005, with a subsequen t performance  on  the  Musica  Nova  Concert  in  2007,  and  as  a lecture/demonstration at SUNY Oneonta in 2007.” Your eyes are blessed. My own look and pray And they ask for your mercy. You are the pink of April And you the rose of May, The moon of January, And I beneath your spell. You’re brighter than the sun so bright, More white than whitest snow, You are the Alexandrian rose That blooms the year around. IV. Lullaby Sleep, my little baby, You are barely seen, Sleep, my little star Shining before the dawn. The rose falls asleep, Gleaming with dew. Night’s coming o Sleep, my child. VIL I Thought that Love 1 thought that love Was but a toy, But now I see You go through death. �I can ’t see in the window now The things I saw before. The window I am looking through Opens on loneliness. 1 live without life, To live such a life. Alive, I am not l iving. Living, I die. contribute to the intensity and forward movemen t.  His careful planning of both the accompaniment  and  melody ­  roles which are  shared  by each instrument throughout ­  results in a simultaneously harmonious and combative relationship between both players.  At one moment, a player may introduce the motive and pass it off to the other player who  continues develo pment.  Later, the motive  may be restated only as a fragment before being intercepted by the other player and further developed. Do not kill me, do not kill, Let me live, let me live. Let me pass, let me pass Through the achings of this world. The  harmonies are  not always stacked  but  are  at  times interlocked creating a blended mixture of sound one might not expect to hear from two instruments belonging to the same orchestral family. During the faster sections of the piece, his spacing of these instruments in  regards to register exploits the full range and unique timbre of each.  This piece ends where it began, only as Paul said, “with a finishing touch". IX. Every Evening Every evening I know I will feel your eyes shine, And I’ll know every evening that you will feel mine. And so, truly the moon, in the neamess of night, Will be mirror for us, in oblivion’s light! With this project, Paul decided  to challenge  himself by trying something quite different from his more typical approach to a new work.  “I drew a picture of how I wanted the overall piece to sound.  Usually, I go with a more intuitive approach. I decided in this case to do as much pre­compositional planning and structuring as possible.  ...l decided to take a more architectural approach.  That means that I spent time asking myself a lot of quiet questions.  Now that l have my blueprint, the intuition kicks in.”  Eventually, it became clear to Paul that the work would be written for a baritone soloist, pianist, two percussionists and a chorus of three sopranos.  The  baritone  soloist  at  the  premiere  was  former  Binghamton University faculty member Timothy LeFebvre.  Tim, currently Associate Professor of Singing at the Oberlin Conservatory of Music, has  returned  to perform the work again this evening. VIL Mallet Palette This work for marimba and  piano was composed in  2012 and was Paul’s final com position.  It was premiered at the Musica N ova concert that same year. Composer Christian Martin, a former student  in  Paul’s composition studio at Binghamton University, contributed the following program note: Paul’s taste for consonance and dissonance is evidenced by his playful bantering between pentatonic, chromatic, minor and major.  Agogic and dynamic accents enhance colorful pops of dissonance that permeate the otherwise tonal realm and Shakerpeare Mix (excerpt) Text from Twelfth Night (mostly) This threemovement work for chorus, two pianos and four percussionists, with text  from  Shakespeare’s comedy,  Twelfth  Night,  was  written  in  2002  for  the Binghamton University Chorus under the direction of Bruce Berton, Associate Professor of Music and Director of Choral Studies, and was last performed at the University Chorus concert in the spring of 2014.  The first movement, performed here, is an upbeat introduction.  The second is the lyrical core of the piece, featuring  the  chorus  and  vibraphone,  and  the  last  movement  is  the  most extensive, with two percussion interludes. Shakespeare’s plays fascinated and inspired Paul ever since he began his graduate studies at  the Eastman School of Music  and composed  incidental music  for productions of The Tempest,  Twelfth Night, Two Gentlemen of Verona and Richard H at the Rochester Shakespeare Theater. Later, he composed song cycles, orchestral pieces and choral works based on those plaw. Paul  loved  music, above all else, and  he  wanted  to communicate  that love  of music, the joy of living and pure  fun with this first movement from his often­ performed choral work, Shakespeare Mix. Enjoy! 1. lf Music Be the Food ofbove l f music    be the food of love, play on. Oh, spirit of love, how quick and how fresh thou art! Oh, give me excess of it. (Thanks to William Shakespeare for the  words that g o  w i th  this tune!) �I can ’t see in the window now The things I saw before. The window I am looking through Opens on loneliness. 1 live without life, To live such a life. Alive, I am not l iving. Living, I die. contribute to the intensity and forward movemen t.  His careful planning of both the accompaniment  and  melody ­  roles which are  shared  by each instrument throughout ­  results in a simultaneously harmonious and combative relationship between both players.  At one moment, a player may introduce the motive and pass it off to the other player who  continues develo pment.  Later, the motive  may be restated only as a fragment before being intercepted by the other player and further developed. Do not kill me, do not kill, Let me live, let me live. Let me pass, let me pass Through the achings of this world. The  harmonies are  not always stacked  but  are  at  times interlocked creating a blended mixture of sound one might not expect to hear from two instruments belonging to the same orchestral family. During the faster sections of the piece, his spacing of these instruments in  regards to register exploits the full range and unique timbre of each.  This piece ends where it began, only as Paul said, “with a finishing touch". IX. Every Evening Every evening l know l will feel your eyes shine, And l’ll know every evening that you will feel mine. And so, truly the moon, in the neamess of night, Will be mirror for us, in oblivion’s light! With this project, Paul decided  to challenge  himself by trying something quite different from his more typical approach to a new work.  “I drew a picture of how I wanted the overall piece to sound.  Usually, I go with a more intuitive approach. I decided in this case to do as much pre­compositional planning and structuring as possible.  ...l decided to take a more architectural approach.  That means that I spent time asking myself a lot of quiet questions.  Now that l have my blueprint, the intuition kicks in.”  Eventually, it became clear to Paul that the work would be written for a baritone soloist, pianist, two percussionists and a chorus of three sopranos.  The  baritone  soloist  at  the  premiere  was  former  Binghamton University faculty member Timothy LeFebvre.  Tim, currently Associate Professor of Singing at the Oberlin Conservatory of Music, has  returned  to perform the work again this evening. Vll. Mallet Palette This work for marimba and  piano was composed in  2012 and was Paul’s final com position.  It was premiered at the Musica N ova concert that same year. Composer Christian Martin, a former student  in  Paul’s composition studio at Binghamton University, contributed the following program note: Paul’s taste for consonance and dissonance is evidenced by his playful bantering between pentatonic, chromatic, minor and major.  Agogic and dynamic accents enhance colorful pops of dissonance that permeate the otherwise tonal realm and Shakespeare Mix (excerpt) Text from Twelfth Night (mostly) This threemovement work for chorus, two pianos and four percussionists, with text  from  Shakespeare’s comedy,  Twelfth  Night,  was  written  in  2002  for  the Binghamton University Chorus under the direction of Bruce Berton, Associate Professor of Music and Director of Choral Studies, and was last performed at the University Chorus concert in the spring of 2014.  The first movement, performed here, is an upbeat introduction.  The second is the lyrical core of the piece, featuring  the  chorus  and  vibraphone,  and  the  last  movement  is  the  most extensive, with two percussion interludes. Shakespeare’s plays fascinated and inspired Paul ever since he began his graduate studies at  the Eastman School of Music  and composed  incidental music  for productions of The Tempest,  Twelfth Night, Two Gentlemen of Verona and Richard H at the Rochester Shakespeare Theater. Later, he composed song cycles, orchestral pieces and choral works based on those plaw. Paul  loved  music, above all else, and  he  wanted  to communicate  that love  of music, the joy of living and pure  fun with this first movement from his often­ performed choral work, Shakespeare Mix. Enjoy! 1. lf Music Be the Food of  Love. l f music    be the food of love, play on. Oh, spirit of love, how quick and how fresh thou art! Oh, give me excess of it. (Thanks to William Shakespeare for the  words that g o  w i th  this tune!) �CHRONOLOGICAL LIST OF  COMPOSITIONS BY PAUL R.  GOLDSTAUB EARTHSHINE (1968), musical score and orchestrations for origin al musical (A) WANDERING ARAMEAN WAS MY FATHER (1969), full­length  musical theatre piece PINK IS FOR GIRLS, score  for musical (1970) THE BIG SHOW (1972), score and arrangements for musical FABLES HERE AND THEN (1973), score for musical ONE FLEW OVER THE CUCKOO’S NEST (1973), electronic music score for the play RICHARD II (1973), incidental music for the play (THE) TAMING OF THE SHREW (1973), incidental music for the play TWO GENTLEMEN OF VERONA (1973), incidental music for the p lay (THE) SIGNIFVING MONKEY AND OTHER TALES (1974), score  for full ­length  musical (THE) TEMPEST (1974), incidental music for the play TEMPEST SONGS (1974), for soprano and piano GRAPHIC IV (1975), for alto saxophone and celeste, published by K en Dorn Publications SERENADE FOR FLUTE AND HARP (1975) SIX LADINO SONGS (1975), for soprano, flute and harp MAY THE WORDS OF MY MOUTH (1976) for solo voice and choru s (a cappella with optional keyboard) published by Transcontinental Music Publica tions, 2008 SACRED SERVICE FOR WELCOMING THE SABBATH (1976), doctoral  dissertation (A) COMMON FEEUNG (1978), score for full ­length  musical CONCERTINO FOR FLUTE AND STRINGS (1978) FANTASIA ON ‘ANGELS WE HAVE HEARD ON HIGH’ (1978), for ch orus, orchestra, brass ensemble, percussion ensemble and organ (THE) MARRIAGE PROPOSAL (1978), chamber opera FESTIVAL PRELUDE (1980), for orchestra (second version for win d ensemble) (THE) STARS S ING A MUSIC (1981), chamber opera FROM ‘THE SONG OF SOLOMON’ (1982), for chorus SONATA FOR SAXOPHONE (1982) CHAMBER MUSIC (1983), for chorus, published by Lawson­Gould M usic Publishers, 1984 (A) CHAMBER SYMPHONY (1983) PEER GYNT (1983), incidental music for the  play GOD IS OUR SHELTER (1984), for contralto and organ PASTORALE (1984), for flute (THE) SILVER SWAN (1984), for chorus, published by Lawson­Goul d Music Publishers, 1984 THREE SISTERS (1984), incidental music for the play VARIATION SONATA: JOURNEY THROUGH PRISMS (1984), for pi ano (THE) TROJAN WOMEN (1985), chamber opera I AM PROSPERO (1986), for chamber orchestra LOVE’S VOICES (1986), for tenor and piano (THE) MOVIE IN MY HEAD (1986), for six instruments ON THE RAZZLE (1986), incidental music for the play COLUMBUS (1987), a theatre piece SONATA FOR FIVE TRUMPETS (1987) PETRUCHIO! (1988), an overture for chamber orchestra CHOOS ING TO BE (1989), for orchestra VENETIAN ECHOES (1989), for trombone ensemble, published by I TA Press, 2004 LAGO dl COMO, ITALIA (1990), for alto saxophone and piano (later  versions for cello and bassoon) SCHERZO (1990), for women’s voices  and piano, published by Roger  Dean Publications, 1997 SIX SLICK STIX CUCK UCKS (1990), for percussion trio, published  by Marimba Productions, Inc., 2001 DRIVING IN MANHATTAN (1992), for brass quintet REVERSE THUNDER (1992), incidental music for the  play by Diane  Ackerman CLAP! TAP! SNAP! (1993), for soprano, guitar, cello, harp and piano (THE) JOURNEY (1994), for harpsichord and nine instruments SCHERZO (1992), for woodwind quintet FOUR VOCAUSES (1995), for soprano, guitar, harp and double bass (A) TIME FOR WONDERING (1995), for chorus, brass and percus sion HALGORHYTHMS (1997), for trombone and percussion ensemb les QUARTET FOR STRINGS (1997) CADENZA (1998), for solo violin PRELUDE AND ALLEGRO (1998), for clarinet and piano SILVER SONG (1998), for flute, percussion and keyboards SIX (1998), a dance score for pianos and percussion THREE PIECES FOR PIANO (1999) TRIPLE ANTIPHONAL SESQUICENTENNIAL OVERTURE (1999), for  brass and percussion CHANUKAH VARIATIONS (2000), for horn ensemble LORD, MAKE ME AN INSTRUMENT OF THY PEACE (2000), for ch orus, trombone and organ MICHELANGELO (2000), film score OUT THERE (2000), song cycle for voice and piano COUNT! (2001), for bassoon  ensemble OPPOS ITES ATTRACT (2001), for saxophone trio REMEMBRANCE AND REFLECTION (2001), for trombone ensemble SHAKESPEARE MIX (2002), for chorus, pianos and percussionists TOCCATA (2004), for organ ARIA AND CHASE, (2005), for trombone and piano FOUR PRELUDES FOR PIANO (2005) PASTORALE II  (2005), for flute and digital delay MUSIC FOR STRINGS (2006), for orchestra YOU CAN HEAR IT (2006), for three choruses, piano and brass PORTRAITS (2007), for piano EVERY EVENING (2008), for baritone, sopranos, percussionists a nd piano (THE) SILVER SWAN (2008) for solo quarte t and chorus DOUBTFUL SOUND (2011) for flute MALLET PALETTE (2012), for marimba and piano, to be  publishe d by Keyboard Percussion Publications/Marimba Productions, Inc. �B ingha m to n  U n iversi ty   m m w De pa rt m e n t of M usic Com ing Even ts m w w t é é n fi b Friday, February 6  ­  Tr i­C ities O pe ra pr 8:00 p.m. ­  The Forum Th eater ­ c esents  R ossini ’s  The Ital all  (607) 772­0400 for ticke ts ian  G irl  i n  Algiers ­ Sa turday, Fe brua ry 7 ­ G uest Artis t : P ian ist G leb Iv anov ­  7:30 p.m . ­  Ande Chamber H all  ­ $20 gene rson Cen ter ral public; $15 faculty/sta ff/seniors/alumni; $10 for  students Sunday, February 8 ­  Tr i­C ities O pe ra  prese nts R ossini ’s  8:00 p.m. ­  The Forum Th The Italian  G irl  in  Algie eater ­ call  (607) 772­0400  rs – for tickets Th ursday, Fe brua ry 26 ­ M id­Day Conce rt ­  1:20 ­  p. m.  – Casadesus Reci tal  Hall  ­ free Th ursday,  Fe brua ry  26  ­  Tri­C ities  Opera   presen ts  Michael  Ching’s  “S pee To night! ” – 8:00 p. m.  ­  d  Da ting Opera  Ce nte r, 315 Clin ton  Stree t, Bingha m ton , N 772­0400 for tickets Y  ­ Call  607­ Friday,  Fe brua ry  27  ­  Tri­C ities  Opera   presen ts  Michael  Ching’s  “S To night! ” – 8:00  p. m.  ­  peed  Da ting Opera  Ce nte r, 315 Clin ton  Stree t, Bingha m ton , N 772­0400 for tickets Y  ­  Call 607­ Sa turday,  Februa ry  28  ­  Joint Ju nior  Recital: Bran don  Young,  tru m pe t  an Beard , trom bone ­  3:00 p d  Chris .m . ­  Casadesus Reci tal H all ­  free Sa turday,  Fe brua ry  28  ­  Tri­C ities  Opera   presen ts  Michael  Ching’s  “S pee To night! ” ­ 8:00 p. m.  ­  d  Da ting Opera  Ce nte r, 315 Clin ton  Stree t, Bingha t mo n, N Y  – Call 607­ 7720400 for tickets. Su nday, March 1 – Sona ta Maste rpieces for  cello  and  pia no with  Stephe Ste phen Za nk  – 3:00 p. n Stal ke r a nd m.  ­  Ande rson Cen ter C ha mber  Hall ­ $10 general p fac ulty/staff /se niors/ alu ublic ; $7 m ni;  $5 fo r stu de nts Th ursday, Ma rch  5 ­ M id­ Day Conce rt ­  1:20 p . m.  ­  Casadesus Reci tal  Hall  ­  free Friday, Ma rch  6 ­  Maste r’s Reci tal : N icholas Foll ett, saxophone ­  7:30 p . Recital Hall ­ free m.  ­  Casadesus é fi é é fl u é b ­ fi m ­ G M W I V M For  tickets  or  to  be  added  to  our  email  list ,  visit anderson.binghamton .edu or  call (60 7) 777­A RT S. For a complete list  of  our  concerts  «cal  (60 7)  77 7­2 59 2,  visit music.binghamlon.edu or b ecome a fan on Facebook. If  you were  inspired by  this   performance, consider suppo rting  the De partment of Music with  a financial gift. Your sup port helps to continue  the work of stude nts, faculty,  and guest artist s and  their contributions  to  our  com munity,  Please  make  you r  donation payable to  the Binghamton  University Music Departm ent , and send  your  check  to  BU   Music  Department,  P.O .  Box 6000,Bin ghamton, NY  13902 . � 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 Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:04:21 15:34 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74875">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74875</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 A tribute concert in memory of Paul Goldstaub Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Held at 7:30 p.m., January 31, 2015, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Goldstaub, Paul R Bidney, Martin Birr, Diane Borton, Bruce Fabricius, Daniel Gac, Jenny Geyer, Stacey Goetz, Emily Lawson, James, William LeFebvre, Timothy Lehman, Stephanie Maiolo, Georgetta Perry, Timothy B Reitz, Margaret A Reynolds, Harold A Salmirs, Michael Smales, Joel Smith, Abigail Publisher An entity responsible for making the resource available Binghamton University Libraries Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/6caa5d740cf59b10dcd4296bef893d58.pdf cddd43e692d8f5b46396fa0a3eb6aede PDF Text Text ap 200 4 -5 SPECCOL State Univ ersity of New York Dep artm ent of Mus ic A Tri but e to Ez ra La der ma n with Geo rget ta Maiolo, flute Ma rlon Tor res, dan cer Cha i-K you Mal lins on, pian o Lar a Lon gsw orth , mez zo-s opra no B·ru ce Bor ton, spe ake r Friday , March 5, 2004 8:00 p.m. Ander son Cente r Cham ber Hall �Program Ezra Laderman, composer (b. 1924) I. *June 29th for Solo Flute (1983) Georgetta Maiolo, flute II. Two arias from Opera-Oratorio Galileo Galilei ( 1967) My friend, you speak too openly I too am woman Lara Longsworth, mezzo-soprano Chai-Kyou Mallinson, piano Bruce Borton, spoken part III. *Sonata for Flute and Piano (1952) Moderato Allegro motto Fugato Allegro Georgetta Maiolo, flute Chai-Kyou Mallinson, piano --Intermission-- �IV. *Ten Pieces for Piano (2000) ("The Circus of My Mind") I. 2. 3. 4. 5. 6. 7. 8. 9. 10. Mercurial Driven & impetuous Andante Andantino Gently Forceful , Brusque Pesante Con amorc Allegro Tenderly Chai-Kyou Mallinson, piano V. *Duet for Flute and Dancer ( 1966) Choreographe d by Marlon Torres Georgetta Maiolo, flute Marlon Torres, dancer *Premiere performances in this region �Program.Notes June 29th 1983) was written for Carol Wincenc. June 29th is our mutual birthday. The two-note motif is a heartbeat. That beat is transformed into a life affirming pulse. The pulse evolves and develqps, extends and contracts and throbs with verve and excitement. ( Galileo was premiered over CBS Television in 1975. Joanna Simon sang the role of the Friend. This role is the only one in the opera that is not historically based. It is a composite person made up of those who befriended Galileo, warned and pleaded with him during his struggles with the Church. The Tri-Cities Opera . Company, directed by Carmen Savoca and conducted by Peyton Hibbitt, gave the first theatrical performance in Binghamton on March 2, 1979. The Sonata for Flute and Piano ( 1952) was written for Sam and Carol Baron. It is the first published piece of mine that I will happily listen to. The four distinctly different movements are filled with youthful verve and drive. The lyricism is unabashedly tonal and the Sonata concise, though it covers a lot of territory. Ten Pieces for Piano was written in 2000. The pieces interlocked by a four-note cell are distinctly disparate. The emotional range is large and the technical challenges demanding. Although these pieces make up the second movement of the Piano Sonata No. 3, the pieces can and have been done as an entity unto itself. Duet for Flute and Dancer ( 1966) was written for Sam Baron and Jean Erdman. The unique aspect of this work is that the dancer's part is rhythmically and dynamically written out and incorporated into the score by the composer. The gestures are created by the choreographer based on the instructions notated. The spatial relationships are also created by the artists, should they both be on stage. --Ezra Laderman �About the Performers EZRA LADERMAN was born in Brooklyn, New York, on June 29, 1924. He attended the Brooklyn Ethical Culture School, the High School of Music and Art, and Brooklyn College. He served in the Field Artillery of the 69 th Division from l 943 to 1946. Laderman studied composition with Stefan Wolpe, and with Otto Luening and Douglas Moore at Columbia University, where he received his M.M. in l 952.His compositions range from solo instrumental and vocal works to dance, large-scale choral and orchestral music. His eleven string quartets and his concertos for piano, violin, viola, cello, flute, clarinet, oboe, bassoon, bass clarinet, string quartet, and double winds are notable contributions to the repertory. His works for orchestra, including eight symphonies, have been conducted by Lawrence Leighton Smith, Eleazar Decarvalho, Ricardo Muti, Andre Previn, Alfredo Antonini, Carlo Maria Giulini, Rostropovitch, Eduardo Mata, Cristof Eschenbach, Sergio Commisiona, Ferrucio Scaglia, Thomas K. Sherman, Herbert Bloomstedt, Michael Tilson Thomas, Hugh Wolff, Arthur Weisberg, Andre Kostelanetz, Gunter Herbig, Jose Serebrier, Dennis Russell Davies, Julius Hegyi, Jesse Levine, Michael Palmer, Peyton Hibbitt, Margaret Hillis and David Hayes. He has also written music to the Academy Award winning films The Eleanor Roosevelt Story and Black Fox. He has written seven operas and six dramatic oratorios with librettos by Ernest Kinoy, Clair Roskam, Joe Darion, Norman Rosten, and Daniel Hofmann. His music for dance has been choreographed by Jean Erdman, Anna Sokolov, Jose Limon, John Butler, and Sophie Maslow. Laderman incorporates a lyrical style into a contemporary context, using tonal material in combination with atonal, polytonal or aleatoric elements, and seeking out unusual formal structures for his music. A compositional process that has evolved through many of his works deals with the transformation of musical material. Whether it be enigmatic or declarative at the outset, the initial musical structure is intrinsic to all that follows. Commissions have come from the orchestras of Chicago, Philadelphia, New York, Los Angeles, Minnesota, National, Louisville, American Composers, Pittsburgh, Dallas, Houston, Fort Worth, Denver, New Jersey, Saint Paul, Detroit, Columbus, and New Haven. He has written many works for CBS TV, the Library of Congress, the Kousevitsky and Barlow Foundations, Meet the Composer, the National Endowment for the Arts, in addition to commissions from such distinguished artists as David Shifrin, Ransom Wilson, Yo-Yo Ma, Emmanuel Ax, Aldo Parisot, Jean-Pierre Rampal, Judith Raskin, Elmar Oliveira, Julius Baker, Robert Bloom, Nathaniel Rosen, Toby Appel, Leonard Amer, Eugene List, Erica Morini, Samuel Baron, Patrick Jee, and the Juilliard, Concord, Lenox, Composers, Tokyo, Audubon, Sequoia, Colorado and Alard Quartets. He has written for the Connecticut Trio, Elm City Ensemble (now Antares), DaCapo Chamber players, the International Society of Contemporary Musicians, the New York Woodwind Quintet, and the Yale Cellos. Laderman ' s opera Marilyn, based on the life of Marilyn Monroe, had its premiere at the New York City Opera in 1993. The dramatic oratorio Brotherly Love, based on a �poem by Daniel Hoffm an , was premiered Mar ch 4, 2000 by the Ph singers under David Ha iladelphia yes. Th e Concerto fo r Ba ss Clarinet an d Orches premiered January 20, tra wa s 2003 with Richard Pa ge. Hsing-ay Hsu prem Piano Sonata No . 3 De iered hi s cember 13 , 2003 at the Yale School of M us ic 's Hall. Sprague Laderman was Dean of the Yale School of Mus ic from 1989-1995 and currently Professor of is Music . He ha s be en ch airman of the Natio Endowment for the Ar nal ts composer-librettist pr ogram ( 1973-79), pres American Music Cent ident of the er (1972-75), director of the music program National Endowment of the for the Arts (1979-82), president of the Natio Council (from 1983-87) na l Music , and chairman of the bo ard of the American Co Orchestra (1987-91). He mposers is currently Vice Presid ent of the American Ac of Arts and Letters. ademy He has taught at Sara h Lawrence College ( 1960-61, 1965-66) and State University of N ew at the York at Binghamton (1 97 1-82), where he also he position of composer-i ld the n-residence. He has also held the position composer-in-residence of visiting at Yale University ( 19 88-89). He has receiv separate Quggenheim ed three fellowships (1955 , 19 58, and 1964) the Ro (1963), and has had me Prize residencies at the Be nnington Composers (1952), and at the Am Conference erican Academy in Rome (1982-83), and Rockefeller Foundatio at the n at Bellagio (1986) . He was the directo Bennington Composers r of the Conference (1967 and '6 8) , and was in resid the Israel Philharmonic ence with ( 1982). Recordings of his music include Concerto fo r Do uble Orchestra with Hu W ol ff and the Ne w Jers gh ey Symphony (New W or ld), Citadel, Sanctuary, Violin Concerto with th an d the e Louisville Orchestra and Lawrence Leighton (First Editions), Pentim Smith, ento with the Albany Symphony with Hegy Concerto fo r Orchestra i (CRI), , Baltimore Symphony with Co m m isi on a (Des Etudes with Elana Vere to ), Piano d (Connoisseur) Quartet No. 6 with the Audubon Victor), Quartet No. 7 (RCA with the Colorado (Alb any), and ov er the last five CD 's have been three years released by Albany Re cords of his solo and works. A sixth CD is no chamber w in production. Many of his earlier works publ Ox fo rd University Pres ished by s, are with Theodore Pr esser. His music is now exclusively by G. Schirm published er. Dancer MARLON TO RRES is a member of Company and a featu the Se co nd Hand Danc red dancer with Linc e ol n Amphitheater. He's television appearances made on The Jerry Lewis Te lethon MDA, Por fin es Boy, Los Mini Pops an lunes, Rat d Agatha. Torres has ap peared as an actor or BU in Free Beer, Hot dancer at Sex and The Weight of Gravity and Chicago, an Lincoln Amphitheater d with in The Music Man. He has studied ja zz with Fr Rick Atwell, and Denise ed Weiss, LaPointe , ballet with Ka theryn Sullivan and Al Tresser, tap with Deni exander se Butterfly and moder n dance with Miguel Milton May ers. Lopez and \ �Flutist GEORGETTA MAIOLO is a graduate of Duquesne University, Pittsburgh, Pennyslvania with a Bachelor of Science Degree in Music Education. She attended graduate school at West Virginia University, Morgantown, West Virginia. She has studied with Bernard Goldberg, principal flutist of the Pittsburgh Symphony, Marcel Moyse at Marlboro School of Music, and Victor Saudek. At the age of 15, she made her solo debut with the Pittsburgh Symphony. Maiolo is the recipient of numerous honors. She is the principal flutist with the Binghamton Philharmonic Orchestra, Tri-Cities Opera Orchestra, B.C. Pops Orchestra, Southern Tier Concert Band and Downtown Singers Orchestra. In addition to her playing positions, she concertizes as a soloist, recitalist, and chamber musician. As a soloist, she has appeared with the Binghamton Youth Symphony, Oneonta Symphony, Geneseo Community Orchestra, Hornell Symphony and Symphonette, Elmira Symphony, B.C. Pops Orchestra, and high school orchestras and wind ensembles. She is a member of the Binghamton Woodwind Quintet, The Three Winds, Flute and Harp Duo, Four Flutes for Fun, and the Binghamton University Faculty Woodwind Quintet. Maiolo is a faculty member at Binghamton University and Broome Community College, teaching flute and directing flute ensembles. CHAI-KYOU MALLINSON, on the faculty of the Department of Music at Binghamton University, received a B.M. degree in Piano from Juilliard, Licence d 'Enseignement from Ecole Normale de Music de Paris, France and a M.A. degree from Binghamton University, where she studied with Jean Casadesus. A prize winner in the Korean National Music Competition, she was awarded the French Government Scholarship, Tanglewood Summer Music School Full Scholarship and the Fontainebleau American Conservatory Full Scholarship. She gave a debut Recital in Carnegie Recital Hall and has been active as a recitalist, vocal accompanist and coach, and chamber music performer, as well as an active adjudicator of piano auditions and competitions. By invitation, she appeared in a performance with the Seoul Philharmonic Orchestra, which Eumag Choonchu, one of Korea's most respected music magazines, described as "of rare quality, moving and lyrical----". As a teenager iin her native Korea, she was invited to perform with the orchestra of the Korean Broadcasting System after winning a prize in the Korean National Music Competition in Piano. She made numerous appearances on Korean TV and radio, and has performed in Europe and in the U.S. LARA LONGSWORTH (mezzo-soprano) is from Richmond, VA. She is a member of the Tri-Cities Opera Resident Artist Training Program and a candidate for a Master of Music in Opera at Binghamton University. Longsworth is a graduate of Virginia Commonwealth University where she sang the title role in Rossini's La Cenerentola, Prince Orlofsky in Strauss's Die Fledermaus, and Fidalma in Cimarosa's fl Matrimonio Segreto. She made her Tri-Cities Opera debut as the Mother in Menotti's Amahl and the Night Visitors. �Coming Events Saturday, March 6 - Duke Ellington Orchestra - 8:00 p.m. - Anderson Center Concert Theater - $25 general public; $20 faculty/staff/seniors; $10 students (co-sponsored by the Harpur Jazz Project) Sunday, March 7 - University Wind Ensemble - "Cinematic Signatures II Music by John Williams" - 3 :00 .m. - Anderson Center Concert Theater free Thursday, March 18 - Mid-Day Concert with Faculty and student performers - 1:20 p.m. - Casadesus Recital Hall - free Saturday, March 20 - Harpur Chorale and Women's Chorus - 8:00 p.m. Anderson Center Chamber Hall - free Sunday, March 21 - Mozart Lecture/Recital - Lecture by Alice Mitchell with faculty artists performing - 3:00 p.m. - Casadesus Recital Hall - $8 general public; $6 faculty/staff/seniors ; free for students Thursday, March 25 - Harpur Trumpet Ensemble Concert - 8:00 p.m. Casadesus Recital Hall - free Saturday, March 27 - Songs My Teachers Taught Mc - Soprano Mary Burgess and Friends - 8:00 p.m. - Anderson Center Chamber Hall - $14 general public; $12 faculty/staff/seniors; $6 students l Thursday·,. April 1 - Mid-Day Concert with faculty and student performers 1:20 p.m. - Casadesus Recital Hall - free Thursday, April 15 - Mid-Day Concert with faculty and student performers I :20 p.m. - Casadesus Recital Hall - free Saturday, April 17 - University Chorus and Orchestra - Mozart's Requiem - Bruce Borton, conductor - 8:00 p.m. - Anderson Center Concert Theater $8 general public; $6 faculty/staff/seniors; free for students Sunday, April 18 - The King of the Instruments: Guest Organist David Heller - 4:00 p.m. - First Presbyterian Church, Chenango Street, Binghamton - $14 general public; $12 faculty/staff/seniors; $6 students Thursday, April 22 - Jazz Mid-Day Concert with guest artists - I :20 p.m. Anderson Center Concert Theater - 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 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:04:35 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253430&amp;change_lng=en&amp;select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253430&amp;change_lng=en&amp;select_viewer=metsViewer</a> PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A tribute to Ezra Laderman, March 5, 2004 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2004-3-5 Description An account of the resource Works of Laderman At head of title: Binghamton University Department of Music Creator An entity primarily responsible for making the resource Laderman, Ezra Maiolo, Georgetta Torres, Marlon Mallinson, Chai-Kyou Longsworth, Lara Borton, Bruce Date A point or period of time associated with an event in the lifecycle of the resource 3/5/2004 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/3bb0f8c4464ee9604424a4e1d258918a.pdf a7c17fc73ff5badf3fc2d6640584c3ad PDF Text Text BINGHAMTON U N I V E R S I T Y St ate University of  N e w York U N I V   (BR l,  B E F A  R z e d e c   E N T T M “  “A W O R L D  TOUR ” Thre t Universiy Win d COndemble Daniel Brisk Associate Conductor Robert  Smith Music Director and Conductor with William Gilchrest, tru m pet Sunday, February 25, 2007 3 :00 p.m. A nderson Center Cha mber Hall �PROGRAM 7¥  g i   Conducted by Daniel Brisk /  antasy On Osaka Folk Tunes.................................... Hiroshi Ohguri (1918­1982) / : o  [  ;  ..........  ¥  Concerto for Trumpet . . . . . . . . . . . . . . . . . . . c o e e e e eAlexander Arutuman I,‘  William Gilchrest, trumpet )  \  (b.1920) ­ Danse Final from Est ancia..................................... Ginastera L s  [ ecliacal  O )   l sttles  (1916­1983) Mannin Veen(“Dear Isle o fMan ”) ..............................Haydn Wood (1882­1959) IN T E R M I S S I O N Conducted by Robert Smith Australian Up Country Tune(1928) .............Percy Aldridge Grainger (1882­1961) Arr. Glenn Cliffe Bainum Symphony No. 3  “Slavyanskaya”(1958) ............. Boris Kozhevnikov (1906­1985) I. Allegro  ed. John R. Bourgeois II. Slow Waltz  III. Vivace IV. Moderato I I  Ik  i. �ABOUT THE M USIC . Hiroshi Oh gu ri (1918­1982) .  Fantasy on Osaka Fol k T u n es.  As a musician, Osakan born Ohguri thrived with curiosity and fervor.  After entering Ten noji Commercial H igh School, the 13 year old Ohguri learned to play French horn. With his musical thirst being unquenched by merely playing an instrument, he taught himself composition by the time he graduated, with some of his works being played by the school’s wind ensemble.  After moving to Tokyo in 1941to further his musical career, Ohguri began playing in the Tokyo Philharmonic Symphony Orchestra under the direction of Manfred Gurlitt. Fantasy on Osaka Folk Tunes, originally com posed in 1956, is characterized by a marriage of pentatonic Osakan m elodies with syncopati on to create rhythmic e xcitement.  At times, the wind band encompasses a percussive qual ity, further adding to the general energy of the piece.  Beginning with the mysterious introduction, the work takes on the shape of an elongated accelerando, gradually becoming quicker and quicker until the last two chord Notes by D. Brisk strikes from the ensem ble.  Mannin Veen (“Dear Isle of Man ”) . . . . . . . . . . . . . .Ha ydn Wood (1882­1959) Haydn Wood was a prolific English composer—having written musical comedies, overtures, suites, songs and other orchestra and vocal works—and violinist.  Wood studied at the Royal College of Music when he was 1 5, began touring at age 31, and began serving as director of the Perfo rming Right Society at age 57. Mannin Veen, one of two works Wood composed for wind instrumentation, was founded on four Manx folk tunes.  The first tune, “The Good Old Way” is an air dating back to the l l late 18” century.  “The Manx Fiddler” was a simple, folk dance tune called a “reel,” and introduces a lively section in the work.  The tune, “Sweet Water in the Common” spoke of the practice of gathering m en from each parish in a district to settle dispu tes of the common areas such as waterways and boundries.  “The Harvest of the Sea (Manx Fisherman ’s Evening Hym)” was sung by fishermen in thanks for a safe return from sea. Wood presents these melodies both one­by­on e and played simultaneously.  The piece concludes with a dramatic recapitulation of th e Manx Fisherman ’s Evening Hymn. Notes by D. Brisk Concerto for T ru m p e t . .  . . . . .  . . . . . . . . . . . . Alexan der Aru tun ian (1920­) Armenian composer A lexander Grigoriyevich Arutunian graduated from the Conservatory of Yerevan at the age of 2 1 and continued studies in the field at the Moscow Conservatory with Litinsky, Peyko and Zuckermann.  Arutunian ’s accolades for composition include the State Prize of the USSR for his Motherland Cantata (1949), and the Peoples’ Artist of Armenia (1960). Australian U p­Country Tune . . . . . . . .  Percy Aldridge Grain ger (1882­1961) Born in Brighton, Mel bourne, Australia, (George) Percy Aldridge Grainger became a naturalized American c itizen in 1914. He toured extensively as a con cert pianist  and was invited to Norway by Edvard Grieg to do special study of the Concerto in a minor. Along with Holst and Vaughn­Willams, Grainger extensively collected and notated English folk music and set many of these traditional in a variety of mediums. His Lincolnshire Posey is one of the cornerstones of the wind band literature. Arutunian ’s strong nationalistic feelings are manifest in his compositions through his use of Armenian melodic and rhythmic characteristics.  Arutunian projects his patriotic fervor particularly through his Trumpet Concerto by incorporating rhythmic and melodic characteristics of Armenian folk music. He has enriched this composition by creating dynamic contrasts of m ood ranging from the rough, yet festive passages to delicate lyrical sections with jazzy influence.  The work is traditional ly divided into three sections: Andante­Allergro energico, Meno mosso and a return to Tempo Primo.  The heroic main “This piece (written for chorus in 1928) is based on a tune I wrote in 1905 entitled “Up­ Country Song” In that tune I had wished to voice Australian up­coun try feeling as Stephen Foster had with Ameri can country­side feelings in his songs. I have used this same melody in my Australian ‘Colonial Song’ and in my Australian ‘The Gum­suckers March’. P. Grainger Notes by R. Smith theme is juxtaposed wi th contrasting flowing melodies to create a wo rk with tasteful variety.  . Boris Kohzevnikov ( 1906­1985) Symphony No. 3.  “Slavyanskaya”.  Boris Tikhonovich Kozhevnikov studied composing and conducting at the Kharkov Music– Notes by D. Brisk Danza Final from Estancia . . . . . . . . . . . .  . . . A l berto Ginastera (1916­1983) Though born in Buenos Aires and known as being one of its leading composers, Ginestera was no stranger to Am erican collaboration.  For two years in the mid 1940s, Ginestera studied with the great A merican composer Aaron Copland in Tanglewood.  Fans of the progressive rock group Emerson, Lake and Palmer are most likely familiar with the work, “Toccata” which was an adaptation of the fou rth movement from Ginestera’s Piano Concerto # 1.  Keith Emerson also rel eased an adaptation of Ginestera ’s Suite de Danzas Criollas (“Suite of Creole Dances”). Estancia, composed in  1948 during a period Ginestera himself identified as his “Objective Nationalism” period, is the second of two operas attributed to the composer.  Ginestera ’s “Objective Nationalistic“ period is typified by settings of Argentinean folk motives in straightforward fashion, opposed to the abstract forms he would use in his later compositional periods.  Danza Final is divided into two primary sections:  an Allegro dance section and a Te mpo di Malambo.  Malambo is an Argentinian competition style Each dancer would compete to see who   dance for men with ori gins in the 1 7 Century.  could perform the widest variety, the most complex  and the most difficult mudanzas, or Notes by D. Brisk series of foot movemen ts in a very small area.  Dramatic Institute. Following his graduation in 1933 he attended the Military School of ­ Music in Moscow. Kozhevnikov became a member of the faculty of the Moscow Conservatory in 1940 and also held conducting posts at various theaters. A prolific composer, Kozhevnikov’s  works are well known in Russia but are rarely performed in the USA. Among them are Dance Suite on Ukrainian Themes, Sinfonietta, Joyful Overture, Trumpet Concerto, Intermezzo (for four trombones), songs, and dance pieces. He wrote over 70 pieces for band including  marches, overtures, poems, rhapsodies, suites and 5 symphonies. Completed in 1958. the four movements of “Slavyanskaya” reflect th e folk music of Novgorod. Russia. the composer’s birthplace. The first movement is  based on two folksongs, one rhythmic and furious, the other lyrically melodic. The graceful slow waltz o f the second movement i s in contrast to the “Vi vace” third movement with its technical challenges. The themes of the final movement are reminiscent of the first but are actually quite different. Notes by R. Smith �Members of The Universitv Wind Ensemble ABOUT THE P ERFORM ERS ROBERT  G .  S M I T H   is  Music  Director  and  Conductor  o f the  Binghamton University  Wind  Ensemble.  Professor  Smith  holds  degrees  from  Hartwick College, Binghamton University and is a candidate for the Doctor of Musical Arts in  Music Education  from Boston University. His career includes 3 2 years as a public  school  music  educator.  He  conducts  the  annual  Triple  Cities TubaChristmas  and  is  former  conductor  of the  Maine  Community  Band,  the oldest band of its kind in the United States. He has guest conducted all­county and community  bands  throughout  central  New  York  as  well  as  the  Goshen College(IND)  Wind  Ensemble  and  Orchestra.  In  March,  2007  he  will  guest conduct  the  Ulster  County(NY)  All­County  High  School  Band.  An  active performer, he currently plays principal euphonium with the Southern Tier Concert Band and tuba with the Brass Nickel quintet and  the Crown City Brass sextet. Smith  is  the  immediate past president of the Broome Coun ty Music Educators Association  and  recipient  of the 2005  BCMEA  Distinguished  Service  Award. Professional  memberships  include  The  Broome  County  Music  Educators Association, the New York State School Music Association, the Music Educators National Conference, The National Band Association, The Association of Concert Bands, The Conductors Guild, The World Association of Symphonic Bands and Ensembles,  The  College  Band  Directors  National  Association  and  the International Tuba and E uphonium Association. DANIEL  BRISK  graduated  from  Wilkes  University  in  Pennsylvania  with  a degree in Music Education.  Mr. Brisk is currently I nstrumental Music Educator at Chenango Valley High School where he  has conducted the Symphonic Band, Jazz Band, Pep Band and been heavily involved in the Theatre Guild. Under Mr. Brisk ’s  direction,  the  Symphonic  Band  has  consistently  taken  top  honors  at NYSSMA Majors adjudication festivals. A Tubist, Mr. Brisk has performed as a member of the Southern Tier Concert Band, European Brass and is a free­lance musician.  He  is  currently  enrolled  at  Binghamton  University  where  he  is pursuing a Masters Degree with a  focus on Instrumental Conducting under Dr. Timothy Perry.  He has previously studi ed conducting under Cyril Stratanski, Dr. Alan Baker, Ferdinand Liva, Jerome Campbell and Dr. Richard Brown. Mr. Brisk is member of The Broome County Music Educators Association, The New York State School Music Association, The Music Educators National Conference and was listed twice in Who ’s Who Among America ’s Teachers.  Mr. Brisk lives in Clarks Summit, Pennsyl vania with his new bride, Kristen. GUEST  ARTIST,  WILLIAM  GILCHREST,  trumpet,  completed undergraduate work at Gordon College earning a degree in music education.  He is currently the Choral director and general music teacher at Schenevus Central School. * principal @ graduate conductor Piccolo Alto Saxophone I Flute I Jennifer Weintraub * Sarah Harper Jessica Williamson @ Alto Saxophone II Katherine Navarette Amy Sleeper Flute I1 Julie Liao Sarah Shafer Brenda Courtright Laura Dempsey Steven lnganamort Melissa Voldan Oboe I Ephraim Atkinson Oboe II Jin Jongho C l a ri n e t Eb  Kristen Weiss CB L A R IN E TI   B Daniel Zaccarini* Dong Yoon Shin Margaret Venti Bb Clarinet II Richard Silvagni Kyle Doyle Mitchell Ostrow Bb Clarinet ITI Melissa Klepper Mark Norman Lisa Carpinone Christa Heschke Kristen Sedacca Bb Bass Clarinet Heather O’Gara . l Amy Natiella* Tenor Saxophone Baritone Saxophone Marissa Roe T rumpet I,II,III Cornet I,II,III Andrew Sanfratello Steve Pan Lisa Eppich Harvey Westcott Anne Meyer F H orn I,II,III,I Megan Caruso Robert Muller Alexa Weinberg Trombone I Harris Brenner Trombone II  III Thomas Ignacio E uphoni um Matthew Sanders Tuba Katherine Winchell* Paul Meddaugh Steven Kong David Parnes Percussion Christopher Jacobson* Subin Lim Kelly Tufo Paul Payabyab Timpani Caleb DeGroote Piano Hwang Hyunjin �Th ursday, M a rc h 1 – Mid­Day Con cert ­­  1 :20 p.m. – Casadesus Recital Hall – free Saturday, March 3 – University Symphony O rchestra – 8:00 p.m. – Osterhout Concert Theater –$9 general publics; $7 faculty/staff/seniors; free for students Sunday, M a rch 4 – Absolut(e) Russian with special guests El mar Oliveira, violin and Sand ra Robbins, viola –  3:00  ­p.m. – Anderson Center Chamber Hall ­ $25 general public; $20 faculty/staff/seniors; $10 students Th ursday, M arch 1 5 – Mid­Day Concert – 1 :20 p.m. – Casadesus Recital Hall free —  F riday, M a rch 1 6 – Master ’s Recital – A kiro Maezawa, violin – 8 :00 p.m. – Casadcsus Recital Hall – free Saturda y, M arch 1 7 –  Master ’s Recital : M iriam W right, soprano – 3:00 p.m. – Casadcsus Recital Hall – free Saturda y, M arch 1 7 – Ha rpu r Chorale an d Women ’s Chorus – 8:00 p.m. – Anderson Center Chamber Hall – Free Th ursday, M a rc h 22 – Mid­Day Con cert – 1 :20 p.m. – Casadesus Recital Hall free —  F riday,  M arch  23  –  Neil  Berg’s  1 00  Years  of  Broadway  –  8:00  p.m.  – Osterhout  Concert  Theater  ­  $30  general  public;  $25 faculty/staff/seniors/alumni, $10 students (A Benefit  for  the  Music  Theater and Athletic Departments) 3 S u n d a y ,  M a rch 25 – Millennia Too! Guest O rgan and Oboe Concert : Alison Luedecke,  organist  and  Susan  Ba rrett,  oboist  –  4:00  –  p.m.  –  First Presbyterian, Binghamton ­ $15 general public; $13 faculty/staff/seniors; $7 students Tuesday,  M arch  27  –  Student  Recital :  Melissa  Lee, viola  –  7:30  p.m.  – Casadesus Recital Hall ­­ free Th ursday, M a rc h 29 – Mid­Day Con cert – 1 :20 p.m. – Casadesus Recital Hall free —  Th ursday, A pril 1 2 – Mid­Day Con cert – 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 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 56:23:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196766">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196766</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 A World Tour, February 25, 2007 Recital Tape 2-25-2007 Description An account of the resource Held at 3:00 p.m., Feb. 25, 2007, Anderson Center Chamber Hall. Works of Ohguri, Arutunian, Ginastera, Wood, Grainger, Kozhevnikov. Creator An entity primarily responsible for making the resource Brisk, Daniel Smith, Robert Gilchrest, William 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 2007-02-25 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 8acc3e0c-700b-4058-894f-8d57548610d0 https://omeka.binghamton.edu/omeka/files/original/db6bed19e50d14caecd4779e3b71b4c3.pdf 10c10449c5ae884801cfe8bb068aaaad PDF Text Text BINGHAMTON U N I V E R S I T Y State University of  New York i l l   1  .’  R E o t I  vwdec ,  ,.  s 1  D  E  P  A  R  T  M  E  N  T 2­4 _ — N ( A B S O LU T ( E ) R U S S I A N Janey Chol, violin Roberta Craw ford, viola Stephen Stal ker, cello Michael Salmi rs, piano with guest artists El mar Oliveira, violin Patricia Sunwoo, violin Sand ra Robbins, viola H a k an Tayga­ H romek, cello Sunday, March 4, 2007 3:00 p.m. Anderson Center Ch amber Hall �PROGRAM Five ‘Melodies, O g  33besvvn..........  Andante  Lento, m a non troppo Animato, ma non allegro Allegretto leggiero e scherzando Andante non troppo Ms. Choi, Mr. Salmirs PROGRAM NOTES Sergei Prokofiev (1891 ­1953) As  its  nam e  suggests,  it  is  a  piece  o f utmost  lyricism  and Piano Quintet, Op.  ...........cccorii nsi ri ron i n ii nn i ns Shostikovich Prelude  Fugue Scherzo Intermezzo Finale Prokofiev Five Melodies for Violin and Piano, Opus 3 5 bis  (1925) Composed  in  California  in1925,  Prokofiev’s  Five  Melodies were somewhat  of an  anomaly  in  the composer ’s  more  radical early period, before his move back to his native Russia, where his music seemed to become more settled. (1906­1975) Ms. Sunwoo, Ms. Choi, Ms. Crawford Mr. Stalker, Mr. Salmirs WINTERMISSION Souvenir de Florence, Op. 70.................... Pyotr Ilyich Tchaikovsky (1840­1893) Allegro con spirito  Adagio cantabile e con moto Allegretto moderato Allegro vivace Mr. Oliveira, Ms. Choi, Ms. Robbins, Ms. Crawford Mr. Stalker, Mr. Tayga­Hromek accessibility.  Originally  published  as  a  wordless  vocalise  for soprano and piano, op.35, the work has gained more popularity in its  instrumental  form,  where  its  highly  figured  virtuosity  is perfectly idiomatic to the violin. Shostakovich Piano Quintet, op.57 (1940) Dmitri Shostakovich was born on September 25th, 1906 in St. Petersburg into an affluent family.  He took his first piano lessons from his mother, a concert pianist, and eventually studied at the Petrograd  Conservatory.  Despite  early successes, his  fortunes soon turned as the political heads began to notice and criticize his music.  His monumental Fifth Symphony, subtitled “the creative reply  of  a  Soviet  artist  to  justified  criticism”  reestablished  a favorable  reputation  with  his  officials,  but  one  can  detect  an ironical tone.  Along with Symphony No. 7, a wartime patriotic work called “Leningrad", he won the Stalin Prizes for his famous Piano  Quintet  in  g,  op.57  in  1940.  After  composing these pieces, Shostakovich grew tired of being held back by Stalin and his officials, so he turned to the quieter arena of chamber music to more honestly express himself. One of Shostakovich ’s best­known chamber works, the Piano Quintet was composed for the Beethoven String Quartet, as were most  of  his  string  quartets,  and  premiered  by  them  with Shostakovich himself at the piano on November 23 that same year at the Moscow Conservatory, to great success. The quintet is in  five movements, each with accessible forms and styles referencing past masters, and characterized by clearly etched  and  powerful  melodies.  The  Prelude  acts  almost  as  an operatic ove rtu re, foreshadowi ng melodic motives, counterpoint, basso  continuo  and  dance  forms  to  be  readdressed  in  later �movements.  The  opening statements  also  call  to  mind  Bach ’s Prelude  movements,  both  in  gesture  and  symmetrical  phrase divisions.  The five­voiced Fugue in G minor, the most substantial movement, follows, opening with  muted strings.  Largely tonal and conservative in form, Shostakovich later takes short motives from the subject to gradually distort the counterpoint, becoming increasingly dissonant.  Following a brief general pause, Prelude material is  restated in the piano and then the cello, in an almost heroic role, breaking free from the structured conformity of the fugal structure.  When the fugue subjects return, the atmosphere has  changed.  This  time,  there  are  pedal  tones,  harmonies  in remote  keys,  and  brief  reprises  of  just  the  fugue  fragments. Although the movement closes on a G major chord, the resolution is  dark,  sounding  in  the  lowest  register  of the  piano.  A  brief scherzo and interrnezzo (which takes the place of the conventional slow  movement)  follow  before  the  work  ends  with  a  brilliant finale. Virtuoso scoring and a particularly technical and soloistic piano part continue to make the piano quintet Shostakovich ’s most frequently played chamber work, perhaps overtaken in popularity only by his String Quartet No. 8. Tchaikovsky Souvenir de Florence, op.70 (1890) Tchaikovsky’s  final  chamber  work  was  composed  i n dedication  to  the  St.  Petersburg  Chamber  Music  Society  in response to his being awarded honorary membership.  Though his earliest  sketches  of  this  work  date  back  to  June  of  1887,  he seemed plagued with  inertia or dissatisfaction, and there were a series  of  starts  and  stops  before  the  first  draft  was  finally completed three years later.  Among his greatest challenges was to  write  for  this  unusual  grouping,  creating  what  he  called  an orchestral  work,  scored  for  only  six  (independent  yet hom ogen eous)  string  i nstrum ents.  E v e n  a fter  com pl eting  t he parts,  Tchaikovsky  was  anxious  about  the  piece  (performance tempi, bowing and articulation markings).  He took an active role with  the  performers,  going  through  several  revisions  over  the following  two  years  before  finally allowing  it  to  be  published. The full score appeared in print in June 1892 with a 4 hand piano arrangement in October of the same year. The first performance was  by  the  St  Petersburg  Chamber  Music  Society  on  25 November 1892, in the presence of the composer. The  title  of the  work  reflects  his  adored  visits  to  Florence, though  in  the time  surrounding the composition,  he  was going through a dark period in his life,  In letters to his composer friend Alexander  Glazunov,  he  complained  of  his  fatigue  and disillusionment from life.  Perhaps seeking refuge in his work, his compositional triumphs here certainly alleviated his despair. T he sextet  opens with  a  frenzy o f energetic  accompaniment over which the first violin attacks a descending three­note motive that will be the movement’s building block. Eventually the music eases to a gentle rocking motion over which the first violin spins a soothing  lyrical  melody.  The  descending  three­note  motive germinates  in  his  development  section  with  the  counterpoint, equally distributed  in  all  six  voices,  being carefully controlled, texturally.  The  Adagio  cantabile  second  movement  is Tchaikovsky at his best.  The first violin leads, singing the titular “Souvenir  de  Florence”  melody  over  a  guitar­like  pizzicato accompaniment.  Soon the first cello enters to create a  romantic pas  de  deux  reminiscent  of a beloved  sequence  between  these instruments in his earlier ballet masterpiece, Swan Lake.  All six instruments  eventually  join  in  the  amorous  celebration.  The movement’s  middle  section  is  a  flurry  of  eager  whispers  and palpitations  before the  cello  and  violin  resume their  love  duet. The  intermezzo­like  third  movement  is  full  of  nationalistic nostalgia,  with  the  first  violin  singing a  poignant  little  Russian folksong­inspired  melody.  Passed  among the  instruments, this melody gradually grows intense and passionate. The middle trio section  is  a scampering, feather­light scherzo.  The sonata­form finale also harkens back to the Russian countryside with a lively principal theme in Russian folk­dance spirit.  Tchaikovsky flexes his  contrapuntal  muscles  here,  and  soon  a  lively,  almost­fugal canon breaks out among the instruments.  The true fugue begins after  the development  and  recapitulation  of the  dancing theme. Then using that theme as a  fugue subject  presented  by the two violins,  he  adds  further  complexity  by  layering  on  his  earlier canon theme as a second subject.  The piece comes to a vibrant, full­bodied conclusion that seems to summon the orchestral forces of this chamber ensemble. ­­Janey C h o i �ABOUT T H E  P E R F O R M E R S Canadian­born violinist, JA NEY C H O I  gave her Carnegie Hall recital  debut  in  1 997  as  a  winner  o f the  Artists  International Auditions  and  continues  an  active  performing  career  as  a recitalist,  chamber,  and  orchestral  musician  throughout  the country and abroad. The recipient of numerous awards including the  Ontario  Arts  Council’s  Chalmers  Performing  Arts  Training Grant and First Prize in the National Finals of the Canadian Music Competition, she has partic ipated in such  festivals as Juilliard’s Focus Festival, Norfolk, Taos, the Spoleto Festivals in  the U.S. and Italy, Festival Musical de Santo Domingo, the Santa Fe Opera and the Sarasota Opera. presented  by the  ensemble since  its  formation  in  1990.  She  has performed with the Catskill  Chamber Players, appeared  frequently on the Cayuga Chamber Orc hestra ’s Sunday Chamber Music Series ’ : .) An avid inter­arts and cross­genre collaborator, she is t he Music Director of Thomas/Ortiz Dance, a partnership  recognized by the American Music Center wit h a Live Music for Dance G rant, and has performed numerous tim es with the Parsons Dance Co., most notably at the Kennedy Center in  Washington, D.C., and at t he New  Victory Theater  in  Times  Square.  She  has  recorded  and appeared with such mainstream performers as Bono an d Quincy Jones,  Enya,  Elton  John,  Sarah  McLachlan,  Lisa  Loeb,  Kanye West, Jay­Z and Beyoncé, o n MTV, Saturday Night Live, at Live 8 Philadelphia, Radio City  Music Hall  and Royal Albert Hall  in London, England. Dr. Choi attained her Docto r of Musical  Arts degree at Rutgers University, studying with A rnold Steinhardt as the recipient of the Graduate  Fellowship  Award.  She  holds  both  Bachelor  and Masters  degrees  from  The  Juilliard  School  where  her  major teachers were Joseph Fuchs and Joel Smirnoff. She is a Teaching Artist for the New York Ph ilharmonic, Lincoln Center  Institute, Chamber Music Society of Lincoln Center and  the Bloomingdale School  of Music  in  New  York  City.  She  joined  the  faculty  of Binghamton University in Fall ’06. R O B E R T A   C R A W F O R D ,   violist,  performs  extensively  as  a recitalist  and  chamber  musician.  As  Associate  Director  and  a founding member of the Fin ger Lake Chamber Ensembl e, Crawford has participated in one­hund red solo, chamber, and lectu re­recitals and  has been a  guest performer with the A riadne String Quartet. Crawford has played with t he Portland and Syracuse s ymphonies and  is  Associate  Principal  Violist  for  the  Cayuga  Chamber Orchestra.  An  advocate  of  new  music,  Crawford  has  premiered numerous  works  featuring  viola  and  has  had  several  works dedicated to her. She has pa rticipated in music festivals throughout the  United  States and  in  the Caribbean and  has appeared  in  live performance broadcasts for public radio and television. A dedicated teacher, Crawford  has served as clinician, coach, and adjudicator for numerous music organizations and is Director of ViolaFest at Binghamton.  She  has  been  a  guest  faculty  member  at  Phillips Academy, the Quartet  Program, Ithaca  College, and  the  Eastman School  of  Music  and  is  currently  Coordinator  of  Strings  at Binghamton University. ST E P H E N  ST ALKER, cellist, teaches at Binghamton University. He  formerly  taught  at  Colgate  University,  Mansfield  University, Ithaca College and the Binghamton City School  District. He  was the  principal  cellist  of the Cayuga Chamber Orchestra  in  Ithaca, NY,  and  has  performed  extensively  with  the  Catskill  Chamber Players of Oneonta, NY, and in concerts at Binghamton U niversity. Performing  with  the  Catskill  Chamber  Players  he  has  presented Meet the Composer concerts with prominent American  composers including John  Cage, Virgil  Thomson,  Lou  Harrison  and George Crumb.  The  Chamber  Players  appeared  at  Weill  Recital  Hall, premiering  a  set  o f  four  string  quartets  by  H en ry  Brant.  With l 2 violinist, Janet Brady, and pianist, Walter Ponce, he performed the complete  Beethoven  Trio  cycle  at  SUNY­Binghamton.  He performed  with  Solisti  New  York  on  their  Alaskan  cruise  of the Inner  Passage  from  Vancouver  to  Juneau.  As  a  member  of  the Madison  String  Quartet,  he  was  a  finalist  in  the  Naumberg Chamber  Music  Competition  in  New  York  City  and  the  Evian International String Quartet  Competition in  Evian, France. He has performed  in  many  recital  appearances  with  pianist,  Michael Salmirs.  He  performs  regularly  with  the  Trio  Amici,  Trilogy, Baroque‘n  Blue,  Early  On  and  in  concerts  at  Binghamton University.  He is a past president of the New York State Chapter , �of the American String Teachers Association and was Strings Chair for the New York State School Music Association.  He is a founder of  the  Southern  Tier  Music  Teachers  Association  and  the Binghamton  Cello  Festival.  He  is  a  graduate  of the  Manhattan School of Music in New York City. Pianist  M I C H A E L   SALMIRS,  a  founding  member  and  artistic director of the Finger Lakes Chamber Ensemble, is well known as a recitalist and chamber musician  performing extensively throughout the  region.  He  has  appeared  as  soloist  with  the  Corning Philharmonic, Binghamton  University Orchestra, Cayuga Chamber Orchestra, and has been a featured pianist on their Sunday chamber series. As a performer of contemporary music, he has participated in such  series  as  Binghamton  University’s  Musica  Nova,  Cornell University’s  Ensemble  X,  and  has  toured  and  recorded  for  the Syracuse  Society  for  New  Music.  Salmirs  studied  at  the  New England  Conservatory and  Eastman School  of Music;  his teachers have  included  pianists  Leonard  Shure  and  Rebecca  Penneys  and composer Karel Husa. Salmirs has taught at the Syracuse University School  of Music  and  Hobart  and  William  Smith  Colleges.  He  is currently  a  faculty  member  at  Binghamton  University  and  an Affiliate Artist at Cornell  University. He maintains a  private piano studio in  Ithaca and enjoys teaching students of all ages and levels. This  season,  Salmirs  will  perform  Poulenc ’s  Aubade  with  the Cayuga Chamber Orchestra. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * GUEST ARTISTS E L M A R  OLIVEIRA  has  taken  his  place  as  one  of the  most commanding  violinists  of  our  time.  with  his  unsurpassed combination of impeccable artistry and old­world  elegance.  Mr. Oliveira 1s  on e o f  t h e fe w major artists com m itt ed t o t he entire spectrum  of the  violin  world.  constantly  expanding  traditional repertoire boundaries as a champion of contemporary music and rarely­heard  works  of  the  past.  devoting  energy  to  the developm ent  o f  t he  young  artists  o f   tom orrow,  a n d enthusiastically  supporting  the  art  of  modern  violin  and  bow makers. Among  his  generation’s  most  honored  artists,  Elmar  Oliveira remains  the  first and  only American  violinist  to  win  the  Gold ? ) Medal at Moscow ’s Tchaikovsky International Competition. He is also the first violinist to receive the coveted Avery F isher Prize, in addition to capturing First Prizes at the Naumburg international Competition and the G.B. Dealey Competition. Mr. Oliveira has become a familiar and much­adm ired figure at the  world ’s  foremost  concert venues. His  rigorous international itinerary  includes  appearances  in  recital  and  with  many  of the world’s  greatest  orchestras,  including  the  Zurich  Tonhalle, Cleveland,  Philadelphia,  Leipzig,  Gewandhaus  Orchestras;  the New  York,  Helsinki,  Los  Angeles  and  London  Philharmonic Orchestras;  and  the  San  Francisco,  Saint  Louis,  Boston,  and Chicago  Symphony Orchestras.  He  has also  extensively toured the  Far  East, South  America, Australia  and  New Zealand.  Mr. Oliveira’s upcoming engagements include performances with the Philadelphia  Orchestra,  the  San  Francisco  Symphony,  the Montréal  Symphony,  the  Royal  Liverpool  Philharmonic,  the Hong  Kong  Philharmonic,  the  Moscow  State  Academic Symphony, and many more. Recent and upcoming recitals include National  Gallery  in  Washington  DC, Alice  Tully  Hall  in  New York, Sanibel (Florida), Kansas City, Johns Hopkins University and Caramoor. Mr.  Oliveira’s  repertoire  is  among the  most  diverse  of any  of today’s  preeminent  artists.  While  he  has  been  hailed  for  his performances of the standard violin literature, he is also a much sought­after  interpreter  o f  the  music  o f  our  time.  H e  has premiered  works  by  such  distinguished  composers  as  Morton Gould, Ezra Laderman, Charles Wuorinen, Joan Tower, Andrzej Panufnik, Benjamin Lees, Nicholas Flagello, Leona rd Rosenman, Hugh  Aitken, and Richard  Yardumian.  He has also  performed seldom­heard  concerti  by  Alberto  Ginastera,  Einoujuhani Rautavaara, Joseph Achron, Joseph Joachim, and many others. He recently  gave  the  Spanish  premiere  of  Krzysztof  Penderecki ’s Second Violin Concerto, conducted by the celebrated composer. A  prodigious  recording  artist,  Elmar  Oliveira  is  a  two­time Grammy  nominee  for  his  CD  of  the  Barber  Concerto  with Leonard Slatkin and the Saint Louis Symphony. His discography �on Artek, Angel, SONY Masterworks, Vox, Delos, IMP, Ondine, and Melodiya ranges widely from works by Bach and Vivaldi to the Present. His best­selling recording of the  Rautavaara  Violin Concerto with the Helsi nki Philharmonic (Ondi ne) recently won a Cannes  Classical  Award  and  has  appeared  on  Gramophone ’s “Editor ’s  Choice”  and  other  Best  Recordings  lists  around  the world.  Other recordings include the Brahms and Saint­Saens B minor Concerti with Ge rard Schwarz and the Seattle Symphony (Artek), the Respighi B minor and Pizzeti A Major Violin Sonatas (Artek),  “Favorite Encores” with pianist  Robert Koenig (Artek), the Three Brahms Sonatas with pianist Jorge Osorio (Artek), the Joachim Concerto  “in the Hungarian  Manner” with the  London Philharmonic (IMP) and  the Tower Concerto (written  for  him) with the  Louisville Orchestra (daNote), the Chausson  Concerto for  Violin,  Piano,  and  String  Quartet,  and  the  Lekeu  Sonata (Biddulph).  Of  great  historical  significance  are  two  unique projects: a CD released  by  Bein & Fushi  of Chicago, featuring Mr. Oliveira performing on some of the world ’s greatest violins (fifteen  Stradivaris  and  fifteen  Guarneri  del  Gesus),  and  a recording of short pieces  highlighting the  rare violins  from the collection of the Library of Congress. Artur  Balsam,  Sascha  Jacobsen,  Lillian  Fuchs,  and  Raphael Bronstein at the Kneisel Hall Chamber Music School in Blue Hill, Maine. v 1 Ms.  Robbins  has  been  a  member  of  the  Ysaye  Quartet,  the Paganini Trio, and the Bronx Arts Ensemble, and has performed in  chamber  music  concerts  with  such  prominent  artists  as Nathaniel  Rosen,  Julius  Baker,  Elmar  Oliveira,  Zara  Nelsova, Laszlo  Varga,  Carol  Wincenc  and  Paul  Doktor.  She  has participated  in  the  festivals  of Aspen, Caramoor, G rand  Teton, Vermont Mozart, Seattl e Chamber Music, Bard Festival, Festival Musicades  in  Lyon,  France,  Kneisel  Hall  and  Bowdoin  and Amelia  Island.  Ms. Robbins is currentl y principle violist of the Atlantic  Classical  Orchestra,  Florida  and  a  member  of  the American Composers O rchestra, The Westchester Philharmonic, and  freelances  in  New  York  City.  She  has  taught  viola  and chamber music on the  faculties of Cornell, SUNY Geneseo and Syracuse University. on the juries o f some o f the most prestigious v iolin competitions, Ms.  Robbins  has  recorded  for  Newport  Classics,  New  World Records, and  can  be heard on the  world  premiere  recording of Max Bruch ’s recently published viola quintet in  A minor (1919) on Premier Recordings with the Bronx Arts Ensemble, as well as on  the  Elan  label  in  a  performance  of  the  Martinu  Three Madrigals for Violin and Viola with violinist Elmar Oliveira. She also  plays  on  the  recently  released  recording  of  Chausson’s Concerto  for  Violin,  Piano,  and  String  Quartet  with  violinist Elmar  Oliveira  and  pianist  Robert  Koenig  on  Biddulph Recordings. SANDRA ROBBINS graduated  from the  Manhattan  School  of Music  after studying  viola  in  both  the  preparatory and  college divisions with Lillian Fuchs. At an early age, he r love and special interest  in  chamber  music  was  fostered  by  studies  with  the Budapest  String Quartet  and  with  such  renowned  musicians  as PATRICIA  S UNWOO  made  her  New  York  debut  in  1995, performing Alban Berg’s Violin Concerto at Alice Tully Hall with the  Juilliard  Orchestra.  As  a  member  of  the  Whitman  String Quartet,  winner  of the  1998  Naumburg  Award,  she  performed across the United States and Europe to critical acclaim, including appearances at Carnegie Hall, the Kennedy Cent er, Kravis Center, and  Spoleto  Festival  USA.  With  the  quartet  and  new  music ensembles Sequitur and Continuum, she worked  frequently with composers  in  presenting  world  premieres.  She’s  recorded  the works  of  Michael  Whalen  for  Arabesque,  and  the  premiere The son of Portuguese immigrants, Mr. Olivei ra was nine when he  began  studying  the  violin  with  his  brother  John.  He  later continued his studies with Ariana Bronne and  Raphael Bronstein at the Hartt College of Music and the Manhattan School of Music, where  Mr. Oliveira  also  received  an  honorary doctorate.  Other honors include the Portu guese Order of Santiago.  He has served including  the  ones  in  Montréal,  Indianapolis,  Naumburg,  and Vianna  da  Motta.  Elmar  Oliveira  performs  exclusively  on  an instrument  known  as  the  “Stretton ",  made  ca.  1 729­31  by Giuseppe Guarneri del  Gesu, and on an exact copy of that violin made by Curtin and A l f 1  993. �recording of Artur  Schnabel’s String Q uartet No.  1  for  Musical Observations. Ms.  Sunwoo  earned  her  doctorate  degree  from  the  Juilliard School, studying with  Sally  Thomas.  Ms.  Sunwoo  was  on  the faculty  of  Binghamton  University  until  2006,  has  also  been  a teaching artist for th e Midori Foundation in New York City, and the ASTA String Institute in  Ithaca. She currentl y tours with the Bard  Festival  String  Quartet,  Quartos  in  Rochester,  and  is  a member of the Roc hester Philharmonic Orchestra. This season’s highlights include performances with clarinetist David Krakauer and pianist Peter Serkin, and a reunion c oncert with the Whitman String Quartet. She  is also celebrating her third season with the Finger Lakes Cham ber Ensemble, with  whom she recently gave world  premiere performances of piano quintets by David Liptak and  Marek  Harris. Ms. Sunwoo is now a resident of Rochester, with husband David Brickman and daughter Claire. Cellist  HAKAN H R O M E K  was trained in music performance at Ithaca College, S UNY Purchase, and Binghamton University. His  teachers  include  Peter  Wiley,  Marion  Feldman,  Daniel Phillips, Stephen Sta lker, Einar J eff Holm, and Fritz Wa llenberg. He  has attended  the  International  Congress of Strings,  Round Top lntemational Festival, Chamber Music at the 92nd Street Y­ NYC,  Spoleto  Music  Festival,  Skaneateles  Festival,  and  the Kenai Peninsula Music Festival In Alaska. An active perform er, Mr. Hromek is principal cellist of the Bi nghamton Philharmonic, Tri­Cities Opera Orchestra, and The Orchestra of the Sout hern Finger Lakes. He has also performed with the Cayuga Cham ber Orchestra, Bach  Works in  NYC, and the Syracuse Symphony. During the summer of 2006, Mr. Hrom ek completed his fourth season as cellist in t he DeVere Quartet, which serves as resident quartet for the Kena i Peninsula Festival in Alaska and at present is cellist  for the Novo Quart et. An avid chambe r musician  Mr. Hromek  enjoys collaborating  in  a  cello  and  piano  duo  on  a regular basis with M argaret Reitz and va rious local artists in  the Central New York a rea. — � 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.) 46:27 34:38 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196772">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196772</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 Absolut(e) Russian March 4, 2007 Recital Tape 3-4-2007 Description An account of the resource Held at 3:00 p.m., March 4, 2007, Anderson Center Chamber Hall. Works of Prokofiev, Shostakovich, Tchaikovsky. Creator An entity primarily responsible for making the resource Choi, Janey Crawford, Roberta Stalker, Stephen Salmirs, Michael Oliveira, Elmar Sunwoo, Patricia Robbins, Sandra Tayga-Hromek, Hakan 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 2007-03-04 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 60caac3c-5db9-4821-9171-a5acb9eb51f0 https://omeka.binghamton.edu/omeka/files/original/849fdcf2afa4e919e385c1943cd0f49e.pdf b496ad15d8e70bd34f83624976c52fba PDF Text Text WILLIAM S. EWMA �State University of New York at Binghamton Harpur College Convocations Committee and the Department of Music present THE ACCOMPANIED CLAVIER SONATA --AMissing Link in Classic Chamber Music- LECTURE-RECITAL by WILLIAM S. NEWMAN Assisted by Marianne Wa llenber g, violin Fritz Wa llenberg , cello Anic a Carlton , piano The recita l port ions will include excerpts fr om t he fo llowing sonatas : Sonata in G " for the Harpsichord or Piano Forte with an accompaniment for the Violin or German flute ," Op. 16, No. 2 .. .... .... .. ........ .. .......... J ohann Christian Bach (ca . 1776) Allegretto Andante gra zioso Sonata in C Minor "pour le Clavecin " w ith the accompaniment "ad libitum ," Op. 14, No. 3 . .... ... .. .. .. ...... Johann Schobert (ca . 1765 ) Allegro m oderate Andante cantabile Menuetto grazioso Sonata in F fo r Two Perform er upon one Instrument ... ............ ... . Largo Allegro .... ..................... Charles Burney (1777 ) Sonata in A per Cem balo o P iano-for te con Accompagnamento ...... ...... Franz An ton Rosetti (Rossler ) (ca . 1781 ) d' un v iolino ............... . Allegro m olto Andante stacatto Rondo allegretto Sonate pour le Piano avec Accompt. de Flute on Violon ad Libitum .. .. .... .................. ......... Ferdinand Ries (ca . 1830 ) Allegro Allegre tto vivace Thursday, July 14 , 1966 8:15 p.m . College Theater Sonata in B- fl a t "per cembalo con violin o obbligato," Op . 5, No . 3 .. . ..... Moderate Allegro .. ... ...... Luigi Boccherini ( 1768 ) �EVENTS CALENDAR WILLIAM S. NEWMAN : Dr. Wi lliam S. Newman is na t i ona ll y kn own as pi a nis t , teac her , re searc her and a ut ho r (T H E P I I T ' S PROBL E M , UN O E RST ANDING MUSIC , seve ral c ri t ical e di t i on s o f mu s ic incl uding T HIRTEE N KEYBOARD SO AT AS a nd numerou s s cho l arl y a rt icles in Am eri can a nd fo reign p ublic a t i on s , and period i cal s) . As Alu mni Di s t ing uished P ro fe ssor of Music a t the n1 versit y of North C aro li na , he ha s re ce ntly comple t ed the fi rs t t wo vo lu mes (Baroq ue , C l ass i c ) in his monumen t a l s t udy d e a ling with t he " His t ory of th e Son a ta Ide a " which ha s been in progre ss fo r more th an t we n ty years . • A reception honorin g the perf orm e rs w ill be h eld in the Fa c ulty Lounge adjacent to the the at e r immediat e ly /o llo ing the rec ital. The audien c e is cordially in v i ted to a tte nd . A ll prog ram s are at 8: 15 P. M. in th e Co llege Th e at e r un less oth e rw is e ind ic ate d. J ULY 15 Fri d a y Admi ss i on Free F ILM: "ALL Q IE T ON T H E WE TE R FRONT" s tarrin g L ew Ay res , Lo ui s Wolheim . A grim s a ga of war a s se en th rough German e yes , tra c in g th e adventure s o f s e ve n youn g boys who ente r th e Imperia l Arm y in 19 14 a nd le a rn o f fear , fi lth , a nd destruction durin g four year s o f c ombat. Spon sored by the C on voca ti ons C omm i tte e . J U LY 1 Admis s i on Free YO UNG ARTI STS SE RI ES Spons ore d by th e C on vocati ons C ommitt e e . J U LY 22 F rida y Admission Free "POT E MKI " (Ode ss a Steps Sequen c e ) "AL EX AND E R NEVS KY" "Potemkin recreates the s pirit of the 1905 revolution through the d epicti on of one of its in c i dents , utilizing ne w technique s o f man ipulati on o f film ma terials to communicate ph y sical s en s ati on . " Alexand er Ne vs ky , " an e pic film monument , deals with the in vasion of Russia by the pow e rful Ord er o f Teutonic Knight s , as c rusa d er s, and the decisi ve battle of the Ice where Nevsky won a brilliant victory . FILMS: � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 29:18 30:54 32:06 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54452">Accompanied Claver Sonata: A Missing Link in Classic Chamber Music: Lecture-Recital by William S. Newman</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 Accompanied Claver Sonata: A Missing Link in Classic Chamber Music: Lecture-Recital by William S. Newman Recital Tape 1966-7-14 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works of J.C. Bach, Schobert, Burney, Rosetti, Ries. Creator An entity primarily responsible for making the resource Newman, William S. Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Bach, Johann Christian, 1735-1782 Schobert, Johann, -1767 Burney, Charles, 1726-1814 Rosetti, Antonio, approximately 1750-1792 State University of New York at Binghamton. Department of Music Date A point or period of time associated with an event in the lifecycle of the resource 1966-07-14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context Accompanied Claver Sonata_A Missing Link in Classic Chamber Music_Lecture-Recital by William S. Newman Recital Tape 1966-7-14.pdf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Binghamton Community Poets' Big Horror Reading Series Subject The topic of the resource American poetry -- 20th century; Oral interpretation of poetry Description An account of the resource <p>The Binghamton Community Poets were founded in 1983 by native Binghamton poet, educator, and Harpur College alum Richard Martin. That year he started the <em>The Big Horror Reading Series</em> at a local coffee house. People associated with the series changed throughout the years but always included local writers who were dedicated to the idea of creating a space where literary art could flourish. For fourteen years, readings took place at various venues around the Triple Cities featuring nationally and internationally known writers while continuing to provide “open mike” time for local community writers and sometimes musicians. The series received funding from the New York State Council on the Arts, the Broome County Arts Council, and Poets and Writers, Inc., as well as public donations.<br /><br />Many of the readings between 1987 and 1996 were videotaped. Some of the writers who are featured on the videotapes include (in alphabetical order) Tish Benson, Charles Bernstein, Barney Bush, Wally Butts, Adrian Clarke, Suzanne Cleary, Robert Creeley, Joel Dailey, Jim Daniels, Jack Dann, Diane di Prima, Safiya Henderson-Holmes, Lance Henson, Bob Holman, Pierre Joris, Dave Kelly, Sylvia Kelly, Bill Kemmett, Peter Kidd, Dorianne Laux, Ed Ochester, Kate Rushin, Pamela Sargent, Patricia Smith, Lloyd Van Brunt. Also featured are former and current members of the Binghamton University faculty (in alphabetical order): David Bartine, Martin Bidney, Milton Kessler, Bob Mooney, Liz Rosenberg, Jerome Rothenberg, John Vernon. People associated with the series at one time or another (in alphabetical order): Ken Bovee, Alexis Cacyuk, Jerry Caswell, Tom Costello, Gerry Crinnin, Terry Day, Paul Dean, Zack Grabosky, Tom Haines, Connie Head, Michael Kelly, Tom Kolpakas, Richard Martin, Kate McQueen, John Miller, Bern Mulligan, Doug Paugh, Susan Prezzano, Phil Sweeney, Mike Tarcha. Venues for recorded readings (in chronological order): Swat Sullivan’s Hotel*, Benlin’s, Mad Murphy’s, The Tazmanian Embassy, The Amsterdam, Java Joe’s, Amp’s.<br /><br />The collection also <a href="https://omeka.binghamton.edu/omeka/collections/show/31">includes twelve excerpted poems</a> that serve as an introduction. They are linked not only to the full individual readings in Rosetta but also to the catalog records for the books in which they are published. This creates a unique convergence experience, as the catalog record “comes alive” and users can see the writer and hear a poem from the book before they take it off the shelf to read.</p> <p><strong>Digitization and DVD Production</strong> <br />After the series ended in 1996, the videotapes sat in boxes for ten years. In 2006, since they were most likely degrading and losing both video and audio fidelity, a Memorandum of Understanding between the BCP and the Libraries was agreed on and the process of converting the videotapes to DVD-quality MPEG files for preservation and access purposes was begun. Many of them had glitches and dead spots and several others were not originals but copies, further adding to loss of video and audio fidelity. After the conversion, both the video and audio quality were enhanced to a degree from what was on the tapes.&nbsp; Phase Two involved producing individual DVDs from the MPEG files. The files were literally “raw”: they started when the camera was turned on and continued without interruption until it was turned off, which meant there was often video of silent microphones and audio of irrelevant crowd noises and conversations. Editing these out made the DVDs much better than the raw files. <br /><br /><strong>Preservation and Expanded Access</strong> <br />Due to copyright restrictions, the DVDs have been housed in Special Collections and had to be viewed there. This has definitely curtailed their usage. However, a recent development in Rosetta, our digital preservation system, has allowed us to offer a new form of access. Rosetta added a built-in video viewer, which allows the videos to be both preserved and streamed at the same time. In order to accomplish this, the DVDs had to be converted to MP4s to be compatible with the new viewer. The streaming versions are copies of the DVDs, which is why they contain menus and chapters which are not functional but are continuous play. The streaming versions will allow more users to be able to view and listen to this diverse, wide-ranging collection of readings. <strong>(N.B.: They are only accessible on campus or via campus VPN.)</strong><br /><br />*The image on the item records is the iconic Swat Sullivan's Hotel, which was located on Binghamton's South Side. Swat's was the venue for the earliest readings in the video collection. The building was torn down in 1990. This image was downloaded from <a href="https://www.pinterest.com/pin/548805904585058425/">Pinterest</a>. If you are the rights holder, please contact The Libraries.</p> Creator An entity primarily responsible for making the resource Binghamton Community Poets Publisher An entity responsible for making the resource available Digital publisher: Binghamton University Libraries Rights Information about rights held in and over the resource In copyright Language A language of the resource English Contributor An entity responsible for making contributions to the resource Bern Mulligan Erin Rushton Ben Coury David Schuster Rachel Turner David Floyd Sasha Frizzell Aynur de Rouen Nicholas Eggleston Alexxa O Bisnar (Student worker) Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 videodisc (35:33 min.) sound, color 4 3/4 in. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 35:33 min. Collection Big horror reading series (Binghamton Community Poets) Date of Digitization 10/7/22 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243920">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243920</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 Adrian Clarke at Swat Sullivan's Hotel, November 11, 1987 Subject The topic of the resource American poetry -- 20th century Oral interpretation of poetry Description An account of the resource Features poetry readings from Adrian Clarke at Swat Sullivan's Hotel in Binghamton, N.Y. The event was held on November 11, 1987 and the readings were sponsored by the Binghamton Community Poets as part of their Big Horror Reading Series. Video edited by Bern Mulligan. Creator An entity primarily responsible for making the resource Clarke, Adrian Source A related resource from which the described resource is derived DVD created from VHS recording of the event Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Binghamton Community Poets Date A point or period of time associated with an event in the lifecycle of the resource 1987/11/11 Rights Information about rights held in and over the resource In copyright Language A language of the resource English Type The nature or genre of the resource Moving Image Identifier An unambiguous reference to the resource within a given context PS615 B56 1987 11-11 Format The file format, physical medium, or dimensions of the resource video/mp4 https://omeka.binghamton.edu/omeka/files/original/d53d0c7430229dfe5a569c625e4c97ef.pdf 9d5271af6a1778c009c8689284b42b40 PDF Text Text S @ R S T 4 i NaC 3) + 3 . EA NDT \ Aha a ar PP { N & x. ~ ~ T H E UNIVERS ITY CHORUS A N D ORCHES TRA o f the STATE UNIVERS ITY O F N E W Y O R K AT BINGHAM TON directed by ALFRED M O R R I S pre s e n t MAGNIFICAT by CARL I’HILII’I) EMANUEL BACH FANTA SIA O N CHRIST MAS CAROL S hy RALPH VAUGHAN WILLIAMS CHRIST MAS CONCE RTO ANGELO CORELLI MONDAY . DECEMB ER 18 8:15 p. m . WATTER S THEATE R, SUNY - BINGHAM TON �T H E HARPUR SYMPHONY ORCHESTRA and UNIVERSITY CHORUS CHORUS : Magn ifica t anima mea Dominum. My soul doth magni f y the Lord . And my sp i ri t hath re joiced i n God my Saviour . E t e xu l t av i t s p i r t us me us i n Deo sa lu t ar i meo . Alfred Clinton Morris, conductor Nico la Maris i , assistant conductor SOPRANO: Q u i a respe xi t h umi l i t a t em A N ADVENT CONCERT PROGRAM Concer to grosso, Op us 6, No . 8 (Chris t mas Conce r to) For he hath regarded the lowl iness of h is handmaiden . For behold , f rom henceforth a l l generations sha l l ca l l me b lessed . anc i l lae suae : ecce enim ex hoc beatam me dicen t omnes genera t iones . A rcange lo Core ll i ! (1653-1718) Vivace, grave Allegro Adagio, allegro, adagio For he that i s migh ty hath magn ified me ; and holy i s h is Name. po tens es t ; e t sanc t um nomen e j us . \ Vivace TE‘IV OR : Quia f ec i t mih i magna q u i CHORUS: Et misericordia e j us a And h is mercy i s on them that fear h im throughout a l l genera t ions . progenie i n progenies t imen t ib us eum . Allegro Pastorale ad libitum BASS Feci t potentiam i n brach io suo . Dispers i t superbos mente cordis s u i . so lo is ts Benjamin Hudson, first violin Browning Cramer, second vio lin Carolyn MacIntosh, violoncello Fan tas ia on Ch r is t mas Ca ro ls ALTO and TENOR: Deposui t potentes de sede , e t e xa l t avi t h umi les . Esurien tes i mp levi t b on is ; e t d ismis i t inanes . He hath put down the migh ty f rom their seat, and hath exal ted the meek and h ud l le . He hath fi l l e d the hungry w i th good th ings ; and the rich he hath sent empty away . Ra lph Vaughan Wi l l i ams (187 2-1958 ) Brannon Hall , baritone soloist INTERMISSION C ar l P hi lipp E manue l Bach Magn ifica t He ha th showed s t rength w i th h is arm. He hath scattered the proud i n the imagina t ion of their hear ts . (1714-1788) ALTO: l l l Suscepi t Is rae l puerum suum, recordatus misericordiae suae . S icut locut us es t ad pa t res nos tros , Abraham e t semin i He remeabering h is mercy hath holpen h is servant Is rae l ; as he promised to our forefathers, Abraham and h is seed, for ever . ejus in saecula. CHORUS Gloria Pa t ri , et Fi l i o , e t Sp i r i t ui Sancto. Glory be to the Father, and to the Son , and to the Holy Ghos t . CHORUS S icut erat i n p r inc i p io, As i t was in the beginning , is now, and ever sha l l b e : World wi thout end . Amen . e t nunc , e t sempe r . E t i n saecula saeculorum. Amen . s olo is t s Mareda Graves, soprano Carole O ’Hara, mezzo-soprano Jack Horton, tenor Brannon Hall , baritone i e The Gospel according to Luke , I : 4 6-5 5 -3- �ABOUT THE SOLOISTS PROGRAM NOTES Mareda Gai ther–Graves , a na t ive of Bal t imore , Mary land , was awarded a Mary– land State Scholarsh ip to the Jui l l iard School of Mus ic , f rom wh ich she graduated w i th a Bachelor of Science Degree . Later , she was awarded a John Hay Wh i tney Oppor tuni ty Fe l lowsh ip to con t inue her s tud ies w i th Es te l le L ieb l ing . Under the sponsorsh ip of a Fulb ri gh t Fe l lowsh ip Gran t , she s tudied i n Paris and was awarded fi r s t prize i n f our compe t i t ions . Recen t ly , she acquired a Master of Mus ic Degree f rom I thaca Co l lege and i s presen t ly teach ing and con t inuing stud– ies toward an advanced degree . Mrs. Graves has appeared i n New York ’s Town Ha l l Arcangelo Co re l l i par t icipa ted vi t a l ly i n the c rys tal l iza t ion of the con– certo technique i n the Baroque Era . Born i n 1653 , Co re l l i was famed both as a composer and as a performer, and was cer tainly noted f or h is advances on bow ing techniques . The Concerto Grosso , composed of two un i ts (a sma l l body of ins t ru– ments opposed to a larger one ) , reached i ts defin i t i ve form w i th Co re l l i . The eigh th of the twelve Concertos bears the des igna t ion ”Concerto composed f or the n i gh t of the N a t i vi ty . ” O r i g i na l ly perf ormed as par t of the church ceremony , i n modern t imes i t has become known as the “Chris tmas Concer to . ” The Fantasia on Christmas Carols f or bari tone so lo, chorus and orchestra was fi r s t performed i n 19 1 2 . Ralph Vaughan Wi l l iams , an Eng l ish composer, based h is f an tas ia upon four t rad i t iona l caro ls : The truth sent f rom above , Come a l l you worthy gen t lemen , On Chris tmas n i gh t , and There i s a f oun tain . He a lso used f ragmen ts of o ther caro ls . i n concer t ; was gues t so lo is t w i th the Mo te t s inge rs , the Binghamton Symphony , and has performed w i th the T r i - Ci t ies Opera . Las t year she sang the soprano so lo for the Univers i ty Chorus perf ormance of Brahms ’ Requiem . ' ! In the open ing sec t ion the b ar i tone so lo is t ac ts as a theologian dea l ing w i th the Crea t ion , the Fa l l , and the Redemp t ion . As the p iece progresses , the mus ic i n t e ns ifies w i th the orches t ra , chorus and so lo is t expressing the joyousness of the new born King . i ’ Carole O ’ Hara was born i n Wheel ing , West V i r g in ia . She received her Bach– elor degree i n Mus ic at Capi tal Univers i ty i n Columbus, Oh io, and started her mus ical career as a pian is t and accompanist and later made her fi r s t pub l ic appearances as a singer i n church and oratorio arrangements. She made her op– erat ic debut w i th the New York Ci ty Opera Company and was a member of the NBC Televis ion Opera Theatre un t i l i ts demise in 1960 . Miss O ’Hara has appeared as a concert so lo is t throughout the United States and has had three appearances w i th the NBC Concert Orchestra. She has sung w i th the New York Oratorio Soci– e ty i n Carnegie Ha l l , the Cap i ta l H i l l Choral Soc ie ty i n Alb any , and a lso a t Dar tmouth , Queens Co l lege and Wesleyan Un ive rs i ty . Car l Ph i l ipp Emanuel Bach , born i n 1 714 , i s cons idered one of the most impor tan t composers during the t rans i t ion period between the Baroque and Class– i ca l Eras . Noted as the most impor tan t exponent of keyboard mus ic , he was also a master of vocal forms and techniques . His M agnificat , composed i n 1749 , was based on h is f ather ’ s model of the same work and thus refle c ts some of the more conservat ive elemen ts of the Baroque Era . Some of the choruses, however , reveal h is progress ive a t t i t udes and po in t to h is h is to r ic pos i t ion as a l i nk be tween J . S . Bach and the C lass ica l composers Mozart and Haydn . program notes by Larry Zukof Jack Horton was graduated f rom West V irginia Univers i ty Creative Arts Cen– te r , where he was a West V i r g i n i a Me t ropo l i tan Opera A ud i t ions w inne r . H is pro– ABOUT THE CONDUCTOR Al f red C l in ton Morris was born in Pi t tsburgh , Pennsy lvania on the seventh of March, 1 946. Being the son of a concert p ian is t , Martha Skinner Morris , h is mus ical t raining began at an ear ly age . Al f red Morris began h is vio l i n s tud ies a t the age of ten and during the summe r of 196 1 , John Krueger, former conduc tor of the Youngstown (Oh io) Ph i lharmon ic , heard Al f red conduct the orchestra at a f es t iva l in Pennsy lvania and was ex tremely impressed w i th h is ta len t . From that t ime un t i l 196 4 , Al f red worked w i th Mr . Krueger and was appoin ted the conductor of the Youngs town Youth Symphony . Mr . Morris had h is f orma l t ra in ing at the Mannes Conservatory of Mus ic i n New York C i ty , where he s tudied w i th S tef an Bauer–Mengelberg, and f rom wh ich he gradua ted w i th d is t inc t ion i n conduc t ing . In 1969 Mr . Morris received a gran t f rom the North Caro l ina Schoo l of the Arts to s tudy i n S iena , I ta ly at the Accademia Ch i g i ana . I t was then tha t he met Maestro Franco Ferrara w i th whom he s tudied i n 1969 and 19 70 . Mr . Morris has also received in terna t ional recogni t ion in France , I ta ly , and Denmark . In January he has engagemen ts i n Sw i t ze r land and I t a ly . a le 5 1 1 f ess ional credits inc lude three seasons w i th the Lake George Opera Fes t ival and the Goldovsky Opera Theatre. He has toured and recorded w i th the Robert Shaw Chorale , was f eatured so lo is t w i th the New York Sextet f or communi ty concerts f rom coas t to coas t , and i s w e l l known throughout the coun try f or h is so lo work w i th the Man of Concert Quar te t . He i s a 197 2 winner of the Wi l l i am Matheus S ul l i van Founda t ion Award for outs tanding s ingers , and i s curren t ly the lead ing tenor i n a concert attraction cal led Mus ic for the Theatre f rom Opera to Broad– way . In December he w i l l s ing the ro le of L ione l i n the opera Martha for the Miami Fami ly Opera Soc ie ty , and i n March , he w i l l have the lead tenor ro le i n their production of Madame Bu t t erfly . Brannon Ha l l was graduated f rom Howard Univers i ty in Washington, D . C . w i th a major i n Drama and a minor i n Mus ic . He has since s tudied voice w i th Professor Leonard Rudko i n New York, and has been coached voca l ly by Maestro Wi l l iam Spada . He also has attended the New York Opera Theatre of the Manhat tan School of Mus ic . i B �UNIVERSITY CHORUS ORCHESTRA PERSONNEL Firs t Vio lins Ce l los Horns Ben jamin Hudson, concertmaster Andrea A . Andros Dan Mowrey Mary Barton Eve l ina Chao Mar i jane Wo j tow i t z Paul Goodman Oscar Maxwel l Barbara Duffo rd Paul Friedman Carolyn MacIn tosh , princi pa l David Heiss Rache l Abby Ho l l y Wi lson Fred Ra imi Lo is Lawson Myra Greenstein Sa l ly Riemersma Rob in Jackman Mi chae l Barnard Mar t in Burk i Pa t Dowden Trumpets Brian King Robert Lindstrom Fred Backlund Basses Browning Cramer , principa l Sydna Strassberger Michae l S turm Joan Tanenhaus Carol Zeavin Lydia Verbizky Diane Fe i g in John Ho j tow i t z Ed Hie lunsk i Marty Goldman Ri t a Orzelek El len Vavra Vio las Joe l Rosenberg , I 1 princi pa l Peggy Acker Zelman Bokser Jennie Hansen El len Wei l Jan ice L ub insk i sf I Trombones Second Vio lins . Michae l Sanders , princi pa l Mark Bergman Rober t Sw id le r Richard Thomas Rober t Ko lbe r Michael Rosen Danny Addison S teve Howe l l o ’ Tuba Flutes Tom Wood V incen t Tuf o David Schapiro Timpani Pa t Ho l lenbeck Oboes Chimes Dan ie l Cross Nancy Ranger Anna Hemmendinger Dorian Schwartz Joe Roma Harpsichord C larine ts Charles E . Brewer Heady Os teyée Sheldon Berkowi tz Organ Bassoons Edward Gob rech t Tom Closser Orchestra O ff i c e rs President , Brian King Vice Presiden t , Nancy Range r Secretary , Peggy Acker Librarian and Personne l Manager , Anna Hemmendinger ro M . Lee Sui t o r Fred Jones 1] Kl l SOPRANOS ALTOS TENORS Lynn Addison Mar ia Belva Kathy Calantone L o i s Fis ch thal E l l en Golds te in L e s li e Green Grace Houghton Ann Hudock Joan Janus zkiewic z Joan Juri ch Laur ie K i e ff e r Janice Keenan S tephanie K l e in P h y ll i s Kr i s t al I le ene Mi t t leman Madlyn Nathanson Nancy Perkins Angela Pe tronio Karen P is c io t ta C lara Por ter Barbara Ri ck le r Jess ica R i le y Adele R o lide r Ri c a Rutmanowi t z Chris ta Schafer Susan Seppala Karen A dle r Joan Apple ton Joan Aronow Ann Baer Adele Bass Cyn thia Benne t t Mery l Blackman Cara Browne ll Chery l Brozos t C lara Budin Jane t Cahn Margare t Donelian Jeanne F alinsk i Marla Frazer Karen Fung Gl o r i a Gaumer Sharon Gelf and Mi r i am Gi lb e r t Jess ie Godfrey T e rr i Goldri ch Susan Hami l t on Susan Hi tchens Zack Bowen Anthony Brienza Gregory Gibbs Thomas Glauber Jackie Jacobs Luciano Lama Craig Russe l l Paul Suozzi Richard Toulson Jay Tran Floyd West Anna Sperr Es ter S t e rling Sherri S trichman Denise Trautman Linda Uhly Louise U l r i ch Karen Haskow A l i c e Weintraub Mar cia Wellwar th Sara Whitmore Nadene W i l l c o x Judy Hoak A l l i s on Jameson Ka therine Kadish E l l en Klarman Nancy Lazeski Mona Margari ta Sandra Menter Helen Ot taway Irene P ap oulis Gre tchen Pe terson N i ck i Pokow i t z Mar la Se li gs ohn Jane Shear Theresa Vaughan S t ac ie W i l l i ams Grace Hu s » Rehearsal Accompanist Jane Y ule Chorus Offi cers Presiden t , Mi t ch e l l Mendelson Vice Presiden t , Kenneth Mar t in Secretary , Jeanne Fa l insk i Treasurer, Richard Toulson Librarian , Louise U l rich Pub lici ty , Clara Budin P h i l i p Wu John Ying BASSES Richard Berent Richard Caves H i l l e l Dolgenas John Howard Mar t in Kass Thomas Lamphere Kenneth Martin Mi t che l l Mendelson Malcolm Ottaway Andrew Rosing Randy Sei f er t Russe l l Sen t i Bernard Sheredy Roger S tein R . James Vivyan Laurence Hexer Geoffrey wheeler Larry Zukof �I p Acknowledgements U . S . G . f or i ts support Ka th ie Kad ish f or her ar twork Un ive rs i ty P ub l ica t ions f or i t s ass is tance Fred Thayer f or h is ass is tance i n conduc t ing 1 l i A concert f or two orchestras w i l l be presented by the Harpur Symphony Orchestra, conducted by Al f red Cl in ton Morris , w i th the Lenox Quartet on March 15 , 1973 , i n Watters Theater , perf orming works by J . C . Bach , V i va ld i , Ives , and Schoenberg . 1 The Univers i ty Chorus w i th the Harpur Symphony Orchestra w i l l presen t a concer t on May 9 , 19 7 3 , i n Ha t ters Thea ter w i th Ha l te r Ponce, piano so lo is t . There w i l l be works by Verd i , Mozart, and Bee thoven . l l ’ - 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/. 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 audiotape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 19:24 53:22 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243549">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243549</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 Advent Concert, State University of New York at Binghamton, University Chorus and Orchestra, December 18, 1972 Recital tape 1972-12-18 Description An account of the resource Works of Corelli, Vaughan Williams, and C.P.E. Bach. Held at 8:15 pm, December 18, 1972, Watters Theater. Creator An entity primarily responsible for making the resource Harpur College Orchestra 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 1972-12-18 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/80fccd8772dd6ee7e97d570a8cb1858a.pdf af7f2cbad6f4f20ddc220f6c0235f7cc PDF Text Text BINGHAMTON U N I V E R S I T Y VERSI  S TAT E   O F  N E W   Y O R K D E P A R T M E N T O I  a  R _. , w  i!)  fi  s ‘ A daQ Q ’4455  A   ‘m  MAT  B E Y ,  x  ) A (ra   W L ( ”C3 1 9o   a d Q',’ q y ‘ . ’ l ’ “ §  N oy a AFRI CAN  DRUMMING & DANCE MID ­DAY CONCERT Thursday, November 8, 2012 1:20 p.m. Anderson Center Chamber H all �PROGRAM In this program we present an afternoon of dance­drumming from southern Ghana. Th ese ensembles are  the collective work  the Beginning  and  Advanced  sections  of  African  Dance  (THEA 289J/389J;AFST  289J/389J)  and  the  African  Music  Ensemble (MUS 143BIMUSP 2 57;AFST 188B).  These courses are offered each  semester  through  the  Departments  of Africana  Studies, Music, and Theatre Dance. V.   Ghana Dance Ense mble arranged this  series o f  atisa movements  into  a  performance  piece,  which  they dubbed Togo Atsia, in recognition of their origin within Ewe groups in Togo. VI. Kpatsa. This dance comes from a neighboring group of the Ewe, known as the Ga­Adangbe. They share many linguistic and cultural affinities with the Ewe, and these two groups have historically interacted with each other. The characteristic movement of Kpatsa is a limping gait that imitates the movements of dwarfs, a magical race of beings  which inhabit rural  areas in Ghana. These movements were embellished with dance combinations l.  Invocation from the dance Agbekor. Agbekor is a war dance of the Ewe people of Ghana. The opening song calls the warriors to battle against the European colonial powers.  The  second  song  memorializes  the  great warrior Kundo who led warriors into battle and has been killed. The movemen ts o f  the dancers imitate  moments of the battle, and follow the drum language of the lead drum,atsimevu. Il. Gahu. Gahu is a neo­traditional dance that has been adopted and adapte d by the Ewe people of Ghana. It is an offshoot of the Gome dance, a Pan­Atlantic African dance form that emerged in the 19th century from the synthesis o f  European hymns a nd marches with W est African musical sensibilities. The name Gahu suggests an airplane, and represents local experiences with new technology and culture. The songs are often humorous and  fun,  suggesting  themes  of  courtship  and celebration. III.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 Ensemble. IV.Togo Atsia. This dance piece is made up of a series of choreographed  dance  sequences  known  as  atsia. These sequences are cued by drum language phrases [vugbe] played by the lead drummer on atsimevu – the tall drum leaning on  the stand – which a re answered by the response drum  kidi – the medium–sized drum. In the 1960s, expert choreographers and drummers in the and eventually beca me a social and recreational dance known  as Kpatsa, whose  name  is  an onomatopoeic reference to the movement of dwarfs. VII. Gota. Gota is another Ewe  dance that was adapted from their linguistic c ousins the Fon of Benin. Originally it was played on different sized gourds and calabashes, but the Ewe typically play it using their standard drum set. A popular social/recreational dance, for this piece we would like to invite members of the audience to come up and join in the dancing! fi m w m w m a I f  y ou like the music please fo llow our Facebook page (Nukporfe African Dance­Drumming Ensemble) f o r  u pcoming p erformances. We are also an SA Chartered group. and welcome students and faculty to join our group at:  http://paws.binghamton.edu/organization/Nukporfe. All of the music and dance that you see today is performed by students at Binghamton University who are taking a course in the Departments of Music, Africana Studies  and/or Theatre Dance. If you a re interested in leaming the dancing please register for the Beginning (THEA 289J / AFST 289J) or Advanced (THEA389J / AFST389J) sections of African Dance. If you are interested in drumming and singing, register for the African Music Ensemble (MUS 143B / AFST 188B). Don’t miss our final performance in Watter’s Theater o n  Friday, December 14, 2012 at 7:00 p.m. �Binghamton University Music D epar tment’s fi w m U PC O M I N G  E V E N T S w w m w w w w w m m Conc er tCanc elled­ w­e.  Nevember–10­  “Colorful  Collaborations” Sunday, November 11 – Mu Phi Epsilon Candidate Recital ­ 12 noon ­ Casadesus Recital Hall ­ Free Sunday, November 11 ­ University Chorus, directed by Bruce Borton, and the Binghamton Philharmonic Orchestra: Verdi ’s Requiem ­ 3 p.m. ­ Osterhout Concert Theater ­ Call the Binghamton Philharmonic Orchestra at (607) 723­3931 for tickets Thursday, November 15 ­ Jazz Mid­Day Concert with guest artist ­ 1:20 p.m. ­ Osterhout Concert Theater ­ free Thursday, November 15 ­ Harpur Jazz Ensemble Concert with guest artist ­ 8:00 p.m. ­ Osterhout Concert Theater­ $6 general public; $3 faculty/staff/seniors; free for students Friday, November 16 ­ String Orchestra Concert ­ 4:00 p.m. ­ Grand Corridor free Friday, November 16 ­ Alumni Recital Series with Briana Sakamoto, soprano and Margaret Reitz, piano ­ 8:00 p.m. ­ Casadesus Recital Hall ­ free Sunday, November 18 ­ Mu Phi Epsilon Fall Semester Recital ­­ 12noon ­ Casadesus Recital Hall ­ Free Sunday, November 18 – An Enchanted Italian Evening (Italian Diction Class Recital) ­ 7:00 p.m. ­­ Casadesus Recital Hall ­ free Thursday, November 29 ­ Mid­Day Concert ­ 1:20 p.m. ­ Fine Arts Room 21 ­ free Friday, November 30 ­ Flute Studio and Flute Chamber Concert­ 10:15 a.m. ­ Casadesus Recital Hall ­ free for Organ, Brass and Percussion”   Saturday, December 1 ­ “Holiday Concert  featuring Jonathan Biggers and the Ithaca Brass ­ 4:00 p.m. ­ United Presbyterian Church, 42 Chenango Street, Binghamton ­ $9 general public; $6 faculty/staff/seniors; $3 students é w m w w w w w m w w e m For  tickets  or  to  be  added  to  our  email  list,  visit anderson.binghamton.edu or call (607) 777­ARTS. For a complete list of   [ 5 ] —  = E  our concerts call (607 ) 777­2592, visit musi c.binghamton.edu o r  become a fa n  on Facebook. If  you  were  inspired  by  this  performance,  consider  supporting  the Department o f  Music w i t h  a financial gift. Your s upport helps t o  continue the work o f  students, faculty, and guest art ists and their contribu tions to E  our community. Please make your donation  payable to the Binghamton University  Music  Department,  and  send  your  check  to  EU  Music Department, P.O. Box 6000, Binghamton , NY 13902. � 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.) 39 minutes :55 seconds Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE140934">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE140934</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 African drumming & dance mid-day concert, November 8, 2012 Description An account of the resource Held at 1:20 p.m., November 8, 2012, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Nukporfe African Dance-Drumming Ensemble 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 11/8/12 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound 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 disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 56:29:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145386">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145386</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 African drumming, November 9, 2011 Recital Tape 2011-11-9 Description An account of the resource Held November 9, 2011. Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2011-11-09 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound