50
10
1775
-
https://omeka.binghamton.edu/omeka/files/original/44bb397ab4f7bd4cbe767f0359bb4768.pdf
8112c159d26908d2edae80256e9c7fe8
PDF Text
Text
uv
~
BINGHAMT(
,\
U N I V E R S T T Y
State University of New York
Binghamton University Department of Music
THURSDAY MIDDAY CONCERT
March 29, 2007 – 1 :20 p.m. Casadesus Recital Hall
Sonata V, Op. 2, No. 5
Larghetto
Allegro
Adagio
ceeeenenneennenn. GeOTgE Frederick Handel
(1685 1759)
Allegro
Allegro
Alexan der Ba ron, recorder
Micah BannerBaine, violin
Emily Creo, cello
Peter Browne, harpsichord
Sonata for Timpani
............John Beck
(b. 1971)
Caleb R. DeG roote, timpan i
Sonata in B—T1at; op. 12 0
Allegro Amabile
pies
Appassionato, ma non troppo Allegro
Melissa Lee, viola
Micha el Salm irs, pia no
Johannes Bra hms
(18331897)
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
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In copyright.
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Original Format
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1 audio disc
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
37:53:00
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196789">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196789</a>
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Title
A name given to the resource
Thursday mid-day concert, March 29, 2007
Recital Tape 3-29-2007
Description
An account of the resource
Held at 1:20 p.m., March 29, 2007, Casadesus Recital Hall. Works of Brahms, Handel, Beck.
Creator
An entity primarily responsible for making the resource
Baron, Alexander
Banner-Baine, Micah
Creo, Emily
Browne, Peter
DeGroote, Caleb
Lee, Melissa
Salmirs, Michael
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
2007-03-29
Rights
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In copyright
Type
The nature or genre of the resource
sound
IIIF Item Metadata
UUID
b01abbb2-b7e3-4fb4-a9ed-a75ee6e331bc
-
https://omeka.binghamton.edu/omeka/files/original/d62d666be001bb7d071044607fe7df06.pdf
2267dd7fc8596dd1c92466f81bd1fdf2
PDF Text
Text
BINGHAMTON
U N I V E R S I T Y
State University of N e w Yo r k
L
T
V F Jr
" i
:
Yop
o
w
[4
D E P A R T M E N T
s
g
MILLE NNIA Too!
with
Alison Luedecke, organ
and
Susan Ba rrett, oboe
Sunday, March 25, 2007
4:00 p.m.
First Presbyterian Church
�ABOUT THE PERFORMERS
PROGRAM
Partita in C
e ........Johann Hertel
EW
o
(17271789)
Sonata in Eflat major..
...J.S. Bach
(16851750)
oboe, organ
t
s
y
Chant m
u
q
i
Veni Creator Spiritus.....
e Mary Beth Bennett
(b. 1954)
John Karl Hirten
oboe d’amore, organ
Variations on Veni Creator
(b. 1956)
..Maurice Duruflé
(1 9021 986)
F
i.
il.
iii.
iv.
.J.S. Bach
(16851750)
h
g
r
N
o
Sprung
Ate
Fell
Went
l
t
i
o
s
a
n
g
Susan Barrett (oboe/oboe d’amore/English horn) is a native of East
Hartford, Connecticut. She has performed extensively as a solo and
chamber musician in the United States and Europe, recording for radios
in France, Israel, Austria and Yugoslavia. She is principal oboe of the
San Diego Chamber Orchestra and is a member of the San Diego
chamber group Camarada. She freelances in San Diego, performing
with such venues as the San Diego Symphony/Opera Orchestra, Classics
4 Kids Philharmonic, Cabrillo Orchestra and various musicals at the
Civic Theatre, Old Globe, and La Jolla Playhouse. She has toured the
U.S. with guitarist Randy Pile in the ensemble Duo Cantilena.
® IN TERMISSION 3
Piece d’ Orgue.
Millennia Too! is the small ensemble of Millennia Consort, one of the
country’s premiere organ plus ensembles. This intimate recital duo
performs repertoire from Renaissance to Modem, including several
premieres by contemporary American composers. Their performances
explore the varied timbres of oboe, oboe d’amore and English horn with
the broad range o f pipe organ colors. Susan and Alison have a musical
rapport born of over a decade of close collaboration, creating
spontaneous and highly nuanced musical performances. The ensemble
can be heard on two compact discs recorded in churches in San Diego:
Paradise Found: Reflections for Oboes and Organ (A ll Souls Episcopal
and St. Brigid’s Catholic), and in works by Copland and Koetsier on
Transformations: 20” Century Music for Organ and Other Instruments
(St.Paul’s Cathedral). www.millenniaconsort.com
g .........Craig Phillips
(b. 1961)
e ............Jon Naples
(b. 1954)
Alison J. Luedecke (organ and harpsichord) is a native of Galveston,
Texas. She is active across the United States as a solo concert organist
and has played in Canada, Mexico and Germany. She has been heard
numerous times on the nationally syndicated radio show Pipedreams. As
an ensemble musician Dr. Luedecke has performed with the Mainly
Mozart Festival Orchestra, San Diego Chamber Orchestra, and with
other chamber ensembles. She is a founding member of Millennia
Consort, a brass quintet. percussion and organ ensemble. She received
the Doctor of Musical Arts degree in Organ Performance at the Eastman
School of Music as a student of David Craighead.
Discography
oboe, organ
Paradise Found: Reflections for Oboes and Organ
Millennia Too! with Susan Barrett and A lison Luedecke
�Coming
‘Crents
Thursda y, March 29 – MidDay Concert 1 :20 p.m. – Casadesus Recita l Hall
free
Thu rsda y. April 1 2 – MidDay Con cert – 1:20 p.m. – Casadesus Recital Hall
free
Friday, April 1 3 – Master’s Rec ital: M a ry Aimon iot is, sopra no – 8:00 p.m .
Casadesus Rec ital Hall free
Saturday, April 1 4 – Master’s Recital: Jessica Barkley, soprano – 4:00 p.m.
Casadesus Rec ital Hall free
7
Sa t u rda y, April 1 4 – Joint Junior Voice Recital: Ja na K ucera, sopra no a nd
A lex ander Blitstein, tenor – 8 :00 p.m. – Casadesus Recital Hall – free
Sunday, April 15 – University Ch orus and Orc hest ra : Bach B Minor Mass –
3:00 p.m. – Osterhout Concert Theater $9 general public; $7
faculty/staff/seniors; free for students
Tuesday, April 1 7 – Student Recital: Melissa Lee, v iola 7:30 p.m. Casadesus
Recital Hall free
Thursda y, A pril 19 – MidDay Concert 1 :20 p.m. – Casadesus Recital Hall
free
Sa t u rda y, April 2 1 – Master’s Recital: Katrina Cox, sopra no – 4 :00 p.m. –
Casadesus Rec ital Hall free
Sunday, April 22 – Master‘s Recital: Elizabeth Duh r, mezzosoprano – 3:00
p.m. Casadesus Recital Hall free
Sunday, April 22 – Master ’s Recital: Soon Young Pa rk, baritone – 8:00 p.m. –
Casadesus Rec ital Hall free
Thu rsda y. April 26 – Jazz MidDay Concert – 1:20 p.m. – Osterh out Concert
Theater free
Thu rsda y. April 26 – Jazz Ensemble wit h guest a rt ist – 8:00 p.m. – Osterhout
Concert Theater $9 general public; $7 faculty/staff/seniors; free for students
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF / Rosetta
PDF with Rosetta audio/video link
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
2 audio disc
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
40:30
26:55
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196785">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196785</a>
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Title
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Millennia Too!, March 25, 2007
Recital Tape 3-25-2007
Description
An account of the resource
Held at 4:00 p.m., March 25, 2007, First Presbyterian Church. Discography (1 work) included in program.Works of Brahms, Schumann, Mendelssohn, Bach, Schubert.
Creator
An entity primarily responsible for making the resource
Luedecke, Alison
Barrett, Susan
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
2007-03-25
Rights
Information about rights held in and over the resource
In copyright
Type
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sound
IIIF Item Metadata
UUID
c2f3574d-3964-4c8f-a1ac-e1d5967d9914
-
https://omeka.binghamton.edu/omeka/files/original/c741dfb27810351e65922b69bb58db5c.pdf
055660c7c887e3ae54beeeb78636f82f
PDF Text
Text
U N I V A R C
vo
Ke Q
Binghamton University De partment of Musi c
THURS DAY M IDDA Y CON CERT
“lo t il ,
20077
~
2
—
~
1 :20 p.m.
Casadesus Recital Hall
~
CEC C
—
March 22, 2007
SCHE NKER RAMA : THE C URE T O MUSIC THEO RY PH OBIA
s rnhans
odannne H
ssvsvsss
sess
Salamander, Op. 107 No. 2....c.ce osi sii scsssses io rssa n nsssassn
(18331897)
Jessica Barkley, soprano; Nicole H su, piano
There sat a salamander
upon a cold stone,
when an e vil girl
threw him into the fire.
—
She thought he should burn up,
but he began to be of good ch eer,
just as on me, a cold devil,
hot love does.
ee...... humann
Ich kann ’s nicht fassen. nicht glauben.................ccccceeeveev eeieeneeRobert Sc
(1 81 01 856)
(Frauenliebe und Leben, Op. 42 No. 3)
Danielle McCo rmick, so prano; Danielle Sofer, pia no
I can’t grasp it, nor believe it,
a dream has bewitched me,
how should he, among all the others,
li ft up and make happy poor me?
lt seemed to me, as if he spoke,
“ l am thine eternally",
It seemed I dream on and on,
It could never be so.
O let me d ie in this dream,
cradled on his breast,
let the most blessed death drink me up
in tears ofi n fi n i t e bliss.
nnnn ndelssoh n
Songs without Words, Op. 53 No. 4.......cccceeevrverreecrnesesiescessessesseeneeF€liX Me
(18091847)
Danielle Sofer, piano
Am leuc htenden SOMME rMOrge n.......... .cccee ve ve vieee r iesese reeie Sc humann
(18101856)
(Dichterliebe, Op. 48 No. 12)
A ria na Z b rzezny, m ezzosop ra no; Nico le Hsu, p ia no
On a shining summer morning
I wander around m y garden.
(please turn over)
�The flowers are whispering and speaking;
I, however, wander silently.
The flowers are whispering and speaking
And look at me sym pathet ically.
“Do not be angry with our sister,
You sad, pale man.”
Gigue ...
..
(Suite No. 2 in D minor,
B W V 1 008)
Johann SERMMIRRAE Bach
(16851750)
Emily C reo, cello
Nur wer die Sehnsucht k
e
n
(Lied der Mignon, Op. 62 No . 4)
n
t
F
r
a
n
z Schub
ert
(1 7971 828)
LaToya Lewis, sopran o; Nicole H su, piano
Only he who know s what yearning is
Know how I suffer!
Alone and cut o ff
From all happiness.
I look up into the sky
Towards yonder side.
Alas! he who loves and knows me
Is far away.
I grow dizzy .
My insides are burning,
Only he who know s what yearning is
Know s how I suffer!
Songs without Words, Op. 30 No. 6.........ccccccvverrennrnrnssnssnssnsceecnsnn
eneen.
FElIX Mendelssohn
Nicole Hsu, pian o
lch grolle n icht...
(Dichterliebe, Op. 48 No. 7)
Soon You ng Pa rk, ba ritone ; Dan ielle Sofer, piano
I bear no grudge, e ven when my heart is breaking!
Love lost forever! I bear no grud ge.
Although you shine in diamond splendor,
No beam falls into the night of your heart.
I will know that for a long time.
I bear no grudge, and when my heart is breaking!
I truly saw you in my dreams
And saw the night in the room of your heart,
And saw the snake that bites your heart;
I saw, my dear, how truly miserable you are.
I bear no grudge.
Robert Schu mann
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF / Rosetta
PDF with Rosetta audio/video link
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
1 audio disc
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
19:11
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196782">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196782</a>
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Dublin Core
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Title
A name given to the resource
Thursday mid-day concert, March 22, 2007
Recital Tape 3-22-2007
Description
An account of the resource
Held at 1:20 p.m., March 22, 2007, Casadesus Recital Hall. Works of Brahms, Schumann, Mendelssohn, Bach, Schubert.
Creator
An entity primarily responsible for making the resource
Barkley, Jessica
Hsu, Nicole
McCormick, Danielle
Sofer, Danielle
Zbrzezny, Ariana
Creo, Emily
Lewis, LaToya
Park, Soon Young
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
2007-03-22
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
295da44e-aec8-4105-a402-a2fc10ede2bd
-
https://omeka.binghamton.edu/omeka/files/original/543647be4fb5f2f424db43856807f445.pdf
855fc2782a210d3edb6c94870aed5e82
PDF Text
Text
BINGHAMTON
UNIVERSES?
State University of New York
’
1
D
2
E
P
A
R
T
M
W INTER CONCERT
\N L V
—
with
Women ’s C ho rus
K ristina R uffo, cond uctor
Assisted by
Jody Schum. piano
and
Mary Schappert. harp
Harpur Chorale
Peter Browne. cond uctor
Saturday, March 17, 2007
8:00 p.m.
Anderson Center ( ‘hamber Hall
E
N
T
�PROGRAM
TRANSLATIONS
I.
I.
Women ’s Chorus
Kristina Ruffo, conductor
Jody Schum, piano
Oddi Ol lpe p i m i cmsi nd ia i l is i
:
r
i
s
Odi Odi
“Untold millions of people run and run. constantly seeking, grow
desperate and die looking for the light that is within them.”
.. Tamil Song
A rr by Stephen Hatfield
1
Herbstlied
(Aut u m n Song)
Oh. how soon the c ycle ends,
Spring turns into wintertime!
Oh how soon all happiness
Turns to sad silence!
.. T raditional Celtic
“Am. by David Fanshawe
C H E D I E
The last sounds soon fade!
The last songbirds are soon flown!
The last green is soon gone!
They all want to return home!
Felix Mendelssohn
Hetbstlicd
(18091847)
Choral Hymns from the Riglula
Group l l l : For Women ’s Voices & Harp
Oh. how soon the c ycle ends,
Merriness turns to longing sorrow.
. Gustav Holst
(l874 l 934)
Were you a dream, you thoughts o f love?
Sweet as spring and fast disappearing?
Only one thing will never wane :
l. Hymn to the Dawn
2. Hymn to the Waters
3. Hymn to the Vena (The Sun Rising Through the Mist)
4. Hymn to the Travellers
Las Amallllas
The longing that never goes.
Ah, how soon the c ycle ends!
Oh how soon all happiness
Turns to sad silence!
Las Amarillas
The yellow calandras fly from the cactus
No longer w ill the cardinals sing happily
To the song na na
To the song na no
Traditional Mexican
Stephen Hatfield
WINTERMISSIONOS
}
Because the tress on the hillside have not come back to li fe
For that the calandras will either sing or crush their nests.
You are small and beautiful and l love you just the way you are
You are like a little rose from the coast of Guerrero
Everybody has their own farewell, but there’s non like this one
F our t imes fi v e i s t went y, three t imes se v en 1s t went y one.
�11.
H a rp u r Chorale
Peter Browne. conductor
Now é T e m p o . . . aiviinelaitaie a
Fugitiva Mia Speranza
Translations
i
i
. Marco C
orl
(d.c. 1530)
Non 6 Tempo
There’s no time for idle waiting.
Sixth Evening Service
l. Magnificat
Thomas Weelkes
(15761623)
Jaclyn Hochreiter, Lynsey Zuar. A llison Metcal fe; sopranos
Sophie Nusinov, Corinne l’aull and Jennifer Paull; altos
Alexander Blitstein. tenor; Adam Hess, bass
ll. Nunc Dimittis
Rachel Newby, Emily Creo, Sophie Nusinov; altos
The BIuebird...........cowiviiamessisinse
n i a : Charles Villiers Stanford
( l852 1924)
. A rthur Sullivan
(1842 l 900)
Echoes
Cantique de Jean Racine........................ecccosureeeunnene... Gabriel Fauré
(18451924)
DUMCIUE i s riniprvsssrasirmionsisssiersiissastpasisasessnasseserarty Fauré
from Requiem
Eliazabeth Sterling, violin
Hamba LuLu.
Oh What a Beautiful City
ZuL u Wedding Song
arr. by Mike Brewer
Spiritual arr. by Jeffrey Webb
Whether calm or stormy weather,
See the moment as it happens
B e l l rising or abating.
Fugiti va M ia Spera nza
Hope, you cannot escape me ever.
Though you may think you are leaving ;
You’ll remain with me with no more grieving,
Feters so strong you cannot sever.
I know full well all your displeasure
In my unhappy condition.
Secking a far richer treasure
Is your heart ’s ultimate mission;
I shall not heed your petition.
Cantique de J ea n Racine
Word equal to the most high, our sole hope, eternal day of
the earth and heavens, o f the peaceful night. we break the silence.
Divine Saviour, cast your eyes on us! Shed on us the fire o f your
powerful grace, so that all hell flees at the sound of your voice,
disperse the sleep o f languishing soul that drives it to forget your
laws! O Christ be favorable to this faithful people now gathered
together to bless you. Receive the songs that they offer to your
immortal glory that they may ret urn in total joy.
Sanctus
Holy, Holy, Holy
Lord God of Hosts.
Heaven and earth are full of thy glory.
Hosanna in the highest.
Hamba L ulu
Go Lulu, listen to all the things they are telling you.
�Woman ’s Chorus
ABOUT T H E PERFORMERS
?
Women ’s Chorus
Sop rano I
K R I S T IN A RUFFO 1s a graduate choral conducting student at
Binghamton Universit y. She received her BA from Ithaca College
in Music Education. This is her second semester conducting the
Women’s Chorus and is very proud of their success as an ensemble.
She is a member of the University Chorus, and also teaches a sight
singing class to help students improve in their reading abilities and
confidence in singing. She is also involved in an African Drumming
class with Professor James Burns. She was awarded the Keeler
Scholarship this year that has helped her continue with her
education. During the day, she teaches fulltime at the Maine
Endwell High School and is director of the Mixed Chorus, Madrigal
Choir, and Quartet, as well as teaching a theory course. Kristina
resides in Binghamton, NY with her husband and is looking forward
to a successful semester with the Women ’s Chorus.
>
Sop rano II
Boccuzzi, Dina
Bose, Anjuli
Choi, Esther
EspinosaThomas, Eliza
Haigney, Stephanie
Hassfurter, Katherine
Havener, Crista
Indovino, Shaina
Manukian, Denise
J O D Y S C H U M is a versatile pianist, organist and vocal coach
originally from Windsor, NY. Currently on faculty at SUN Y
Cortland and Binghamton University, he also is resident pianist with
Tri Cities Opera in Binghamton, NY. Mr. Schum has performed
with the Binghamton University Symphony Orchestra, TriCities
Opera and on numerous solo and collaborative recitals at
Bi ngha m ton Uni versit y.
Murphy, Maria
Pouchic, Priscilla
Press, Amanda
Wallach, Jaclyn
Welby, Kate
H is most recent engagement was
performing and studying on fellowship with the International
Institute of Vocal A rts in Chiari, Italy last summer. Upcoming
engagements include a sacred music concert with soprano Julia
Ebner and a recital with baritone Timothy LeFebvre at Elebash
Recital Hall in New York City. Mr. Schum is Music Director at the
First United Methodist Church of Endicott, N Y.
Cheng, Hiu Nam Wien
Cohen, Rebecca
Epstein, Jodi
Haines, Alex
Karp, Jillian
Kucera, Jana
Liebowitz, Liann
Rabideau, Erin
Sones, Melissa
Winnett, Desiree
q
Alto I
Bass, Desiree
Colah, Perin
Groteke, Laura
Maughan, Carly
Navarette, Katherine
Weiss, Elisa
Alto l l
Barbanell, Danielle
Blake, Daron
Caruso, Alicia
Courage, Katherine
Golden, Sarah
Wong, Randall
�Translatio ns
Non é Tempo
There’s no time for idle waiting,
Whether calm or stormy weather,
See the moment as it happens
Be it rising or abating.
Fugitiva Mia S pera nza
Hope, you cannot escape me e ver,
Though you may think you are leaving;
You’ll remain with me with no more grieving,
Feters so strong you cannot se ver.
I know full wel l all your displeasure
p
ln my unhappy condition.
Seeking a far richer treasure
I s your heart ’s ultimate miss ion;
l shall not heed your petition.
Cantique de J ea n Racine
Word equal to the most high, our sole hope, cternal day of
the earth and heavens, of the peaceful night, we break the silence.
Divine Saviour, cast your eyes on us! Shed on us the fire of your
powerful grace, so that all hel l flees at the so und of your vo ice,
disperse the sleep of a languishing soul that d rives it to forget your
laws! O Christ be favorable to this faithful people now gathe red
together to bless you. Receive the so ngs that they offer to your
i m mortal glory th at t hey ma y ret urn in total joy .
Sanctus
Holy, Holy, Holy
Lord God of Hosts.
Heaven and carth are full ot ’thy glory.
Hosanna in the highest.
Halnba Lulu
Go Lulu, listen to all the thing s they are telling you.
1
l
�
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Coverage
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1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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Original Format
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1 audio disc
Duration
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57:42:00
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196779">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196779</a>
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Title
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Winter concert, March 17, 2007
Recital Tape 3-17b-2007
Description
An account of the resource
Held at 8:00 p.m., March 17, 2007, Anderson Center Chamber Hall. Program includes translations of songs.
Creator
An entity primarily responsible for making the resource
Ruffo, Kristina
Schum, Jody
Schappert, Mary
Browne, Peter
Publisher
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Binghamton University Libraries
Date
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2007-03-17
Rights
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In copyright
Type
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sound
IIIF Item Metadata
UUID
1bed6357-120f-4679-8d17-771a59780940
-
https://omeka.binghamton.edu/omeka/files/original/f1bd7ad0e11dbeb6447baf98a5713791.pdf
10037eeb9b8e23ce5378e7beb9f6f88e
PDF Text
Text
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D N I V R
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State University of New York
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Binghamton University Department of Music
'
THURSDAY MID–DAY CONCERT
5X <C COL
March 1 5, 2007 – 1 :20 p.m. Casadesus Recital Hall
Bel piacere
O bellissimi c
a
p
e
l
l
i
A
n
Vaghe stelle.....
.....George Frideric T R
(1685 1 759)
d
r
e
aT E
(1 585 1 656)
..Francesco Cavalli
(1602 1 676)
Miria m A. Wright, sopra no; Ma rga ret Reitz, pia no
Bel piacere
‘Tis great pleasure to enjoy,
to enjoy a faithful love!
This makes the heart content.
The splendor of beauty has no value if
it does not come from a faithful heart.
Vaghe stelle
Lovely stars, beautiful eyes, do not sleep.
Open the serenity of your beautiful eyes.
Let the god of love fling his arrows into my bosom.
Eyes, oh open your beautiful bright glances.
O bellissimi capelli
Oh most beatiful hair,
My sweetest delights!
Lovely little serpents curling into little rings,
you fall upon rosy cheeks.
Dark tresses where hides the winged archer in ambush:
blond locks must yield to your black tresses which playing around your face
are night, and your eyes are the day.
In Alto Mare (from Sei Melodie)..
Latoya Lewis, soprano; Ma rga ret Reitz, pia no
ln alto ma re
The sail is torn,
the anger of the waves gives no mercy.
Now the clouds have broken the last antenna,
Lord have mercy!
For the arrows of heaven resound,
splittin here and there;
«eee. Ottorino Respighi
(1879 1936)
His roaring throat opens the abyss;
Lord have mercy!
Hope flees from the choruses; Death is here!
Not even a shadow of a soul in in the distance;
Lord have mercy!
Che faro senza Euridice...(Orfeo)
Christoph Willibald von Gluck
(1714 1787)
Aria na Zb rzezny, mezzosopra no; Ma rga ret Reitz, piano
Orfeo is despondent and desparate, having lost his wife for the second (and final) time. When Euridice first died,
Orfeo used his famed power of music to soflen the heart of Pluto, lord of the underworld, and succeeded in freeing
her from Hades, on the condition that he not look back at his wife until they reach the outer world once again.
Euridice, however, not understanding this c ondition pleads and berates her love to look at her, and Orfeo, distracted,
turns to her only to watch her dissolve slow ly into the realms o f death. In this lament he calls out to her pleadingly
but to no avail, for she is lost forever and there is no help or counsel from either heaven or earth.
(please turn over)
�Two Shakespeare Songs
O Mistress m ine
Blow, blow, thou winter wind
IDGET O i l e r
(1 877 1 953 )
Soon Young Pa rk, baritone ; ChaiKyou Mallinson, piano
Malinconia, N infa gentile....
Per pieta, bel l’idol mio
.. Vincenzo Bellini
(1801 1835 )
Ma ry Aimoniot is, soprano; Ma rga ret Reitz, pia no
Malinconia, N infa gentile
Melancholy, gentle nymph,
l devote my life to you.
One who despises your pleasures
is not born to true pleasures.
l asked the gods for fountains and hills;
They heard me at last ;
I will live satisfied
Even though with my desires, I never
G o beyond that fountain or that mountain
Per pieta, bell’ idol mio
For pity‘s sake, my beautiful idol
do not tell me that I am ungrate ful;
unhappy and un fortunate enough
has heaven made me.
That I am faithful to you,
that l languish under your bright gaze,
Love knows, the gods know,
my heart knows, and yours knows.
By such faithful affection
that makes me languish for you?
But pitiless, you do not realize that
You scorn a lov ing soul,
whom you wish to betray.
It doesn’t ma tter
Damaged
Richard Pearson Thomas
(b. 1957)
Eliza beth Duhr, m ezzosopran o; Ma rga ret Reitz, pia no
La c i darem la mano...(Don Giovanni)...
saasea ries A. Moza rt
(1756 1791 )
Soon Young Pa rk Don Gio vanni; Latoya Lewis – Zerlina ; Dua ne Skra balak pian o
In full seductive overdrive, the rake Don Giovanni “proposes” to the young peasant girl, Zerlina, and invites her to
accompany him to his mansion. Zerlina at first rejects him, saying that she feels sorry for her husbandtobe,
Masetto. ( I t is their wedding day after all!) Worn down by the Don‘s skillful seductive powers, Zerlina finally gives
in, and they sing of the joys to come.
Card Trio and Aria: “En vain pour eviter...” (Carmen)
G Bizet
(1838 1875 )
Ma ry Aimoniot is – Frasq uita ; Ariana Zbrzezny – Mer cedes; Eliza beth Du h r Ca rmen
Dua ne Skra balak pia no
Carmen and her companions are on a smuggling mission in the mountains near Seville. To pass the time, she and her
two friends amuse themselves by reading their fortunes in the cards. Frasquita is destined to find a great love – a
handsome soldier who will carry her away. Mercedes is overjoyed to see a very rich and very old man who marries
her and dies, leaving her wealth beyond imagining. When Carmen turns her cards she sees only one message –
death. For her and for her current love, Don José. in her aria she states that it is futile to avoid the future the cards
predict, and every succeeding turn of the cards spells the same message, again and again, always death, inexorable
and unavoidable.
�
Dublin Core
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Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF / Rosetta
PDF with Rosetta audio/video link
Original Format
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1 audio disc
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
38:40:00
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196776">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196776</a>
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Title
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Thursday mid-day concert, March 15, 2007
Recital Tape 3-15-2007
Description
An account of the resource
Held at 1:20 p.m., March 15, 2007, Casadesus Recital Hall. Works of Handel, Falconieri, Cavalli, Respighi, von Gluck, Quilter, Bellini, Thomas, Mozart, Bizet.
Creator
An entity primarily responsible for making the resource
Wright, Miriam
Reitz, Margaret
Lewis, LaToya
Zbrzenzy, Ariana
Park, Soon Young
Mallinson, Chai-Kyou
Aimoniotis, Mary
Duhr, Elizabeth
Skrabalak, Duane
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
2007-03-15
Rights
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In copyright
Type
The nature or genre of the resource
sound
IIIF Item Metadata
UUID
330d773e-669c-460c-b411-1e9c822fe108
-
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
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D E P A R T M E N T
24
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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.
—
�
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
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Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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2 audio discs
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46:27
34:38
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196772">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196772</a>
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Absolut(e) Russian March 4, 2007
Recital Tape 3-4-2007
Description
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Held at 3:00 p.m., March 4, 2007, Anderson Center Chamber Hall. Works of Prokofiev, Shostakovich, Tchaikovsky.
Creator
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Choi, Janey
Crawford, Roberta
Stalker, Stephen
Salmirs, Michael
Oliveira, Elmar
Sunwoo, Patricia
Robbins, Sandra
Tayga-Hromek, Hakan
Publisher
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Binghamton University Libraries
Date
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2007-03-04
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In copyright
Type
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sound
IIIF Item Metadata
UUID
60caac3c-5db9-4821-9171-a5acb9eb51f0
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https://omeka.binghamton.edu/omeka/files/original/d968924e9bf404c5a42877761e9ac462.pdf
71186227d9e048effa14f5fb2988b3e2
PDF Text
Text
U N I V i at ; i ,
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BU INNI GV HE
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R S I T Y
State University of New York
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Binghamton University Department of Music
TH U RS DAY MID DAY CO NC E RT
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March 1, 2007 – 1 :20 p.m. Casadesus Recital Hall
Icibas!a dc sare.
B
.............Gabriel Faure
(18451924)
Les berceau x
Jessica Bar kley, soprano
Jod y Schum, piano
Gabriel Faure was an influential french composer, organist, pianist and teacher. Often considered to be the master of
the French a rt song, Faure’s graceful melodic lines, simple strophic forms and masterful accompaniments influenced
many composers. His style embodied the French style of music. His text painting ability and affinity for choosing
meaningful poetry was second to none. These three early Faure pieces include poetry from Nobel Prize winner Sully
Prudhomme, a French poet and essayist.
leihas! H e re Below
Here below all the lilacs die,
All the songs of the birds are short,
l dream of summers that remain
Forever!
Here below lips touch lightly
Without leaving any o f their velvet behind,
I dream of kisses that remain
Forever!
A u Bord de I’eau At the water ’s edge
To sit together beside the passing stream
and watch it pass ;
i f cloud glides by in the sky,
together to watch it glide;
but, having no deep passion
except adoration for one another,
without concern for the world’s quarrels,
to ignore them; and alone together, in the face
of all wearying things,
unwearyingly, to feel love (unlike all things
that pass away) not passing away
Les berceau x The C radles
Along the quay, the great ships,
that ride the swell in silence,
take no notice of the cradles.
that the hands o f the women rock.
But the day of farewells will come,
if a thatched house sends up smoke on the horizon,
to watch it smoke;
i f flower spreads fragrance nearby,
when the women must weep,
and curious men are tempted
towards the horizons that lure them!
under the willow where the water murmurs,
And that day the great ships,
sailing away from the diminishing port,
feel their bulk held back
by the spirits of the distant cradles.
to ta ke o n its fragra nce ;
to listen to it m u rm u ri ng ;
for the time that this d ream endures,
not to fee l its d urat ion ;
�Chanson d’Avril
Apres I’hiver
Ouvre ton coeur
..Georges Bizet
(18381875)
Ma ry Aimoniotis, soprano
Margaret Reitz, piano
George Bizet, best known for his opera Carmen, also wrote many wonderful French art songs. These three mélodies
represent my admiration for springtime. “Chanson d‘Avril” sets the mood of this set with its wonderful, clear and
bright accompaniment, which represents the buzz of the earth before all the flowers and animals awaken. The
second piece, “Apres I’hiver” describes how all the earth’s creatures awaken, and with them, love. The set ends with
“Ouvre ton coeur", a rhythmical explosive piece describing the chase of love.
Chanson d’Avril
(Song of April)
Wake up! Wake up! Spring has just been bo rn!
Over those valleys a rosy mist is floating!
Everything in the garden trembles and sings ; your
window is full of sunshine, like a joyful gaze.
Around the bunches of purpleflowering lilac
butterflies and bees flutter and hum togethe r,
and the little shaking bells of lilyoftheval ley
have woken up Eros who was sleeping in the woods.
Now that April has scattered its white daisies,
go without your heavy cloak and coldweather muff!
The birds are already calling you, and the periwinkles
(your sisters) will smile in the grass when they see your
blue eyes.
Let’s get going! The stream is clearer in early mo rning.
Get up! Let’s not wait for the day’s burning heat.
I want to wet m y feet in the moist de w and talk to you
of love under the blossoming peartrees.
Apres L ’hiver
(After winter)
All awaken, my dear friends, The grey sky is
loosing her paleness.
When the earth gives o ff her fragrance the hear of
men is best.
Come, come an invisible flute sighs its song in the
groves.
The most tranquil song is the song of the shepherds
The air intoxicates me, it wraps its arms aro und my neck
victorious!
It blows through the blooming rose trees, that awaken the
sighs in our hearts
Come, come the wind rides the somber mirror of the water
under the oak tree.
The song the most joyous is the song of the birds.
With clarity and perfume we happily bathe out hearts. In
the supreme emanations. Elements in love.
Come, come we love always there is not torment.
The song the most charming is the song of love.
Come, come we love always!
Ouvre ton coeur
(Open yo u r hea rt )
The daisy has closed its petals,
The shadow has closed its eyes for the day.
Beauty, will you speak with me?
Open your heart to my love.
Open your heart,
oh young angel, to my flame
So that a dream may enchant your sleep.
I wish to reclaim my soul,
As a flower t urns to the sun!
�Sonata in E flat, Op. 120, No. 2 » cere ssssnmsrsesinnicrsinonnssssessonisemmnssnnissd Brahms
(18331897)
Andante Con Moto
Melissa Lee, viola
Michael Salmirs, piano
The Sonata in E flat is one of the last pieces by Brahms. It was a time of despair in which Brahms had decided to
stop composing entirely, noting in his will that all his music be “left behind in manuscript [and] burnt”. Through the
support of clarinetist Richard Mfihlfeld, Brahms began composing again, dedicating to him the E flat Sonata.
Although this piece was originally written for the clarinet, the viola sonata is not a transcription but an actual piece
that Brahms himself adapted for the viola. The viola sonata may also have been inspired by another friend of his,
violinist Joseph Joachim, who Brahms confessed to, saying that “. . .both pieces are perhaps still a litle awkward and
unsatisfactory as viola sonatas”. This third movement, a theme and variation form, is the last movement of the
sonata.
°
Selections from Wesendonk Lieder ........
Im Treibhaus
Traume
Elizabeth Du hr, mezzosoprano
Margaret Reitz, piano
Richard Wagner
(18131883)
These two songs from Wagner’s set of five “Wesendonk Lieder” were written between 1857 and 1858. The poetry is
that of Mathilde Wesendonk, said to be Wagner’s lover at the time. Both “1m Treibhaus” and “Traume” were written
as studies for Wagner’s later operatic composition, “Tristan und Isolde.” Wagner initially wrote the songs for female
voice and piano alone, but produced a fully orchestrated version of “Tridume", to be performed by chamber orchestra
under Mathilde’s window on the occasion of her birthday on December 23, 1857. The cycle was first performed in
public near Mainz on July 30, 1862 under the title “Five Songs for a Female Voice.”
Im Treibha us (In the Hothouse)
Highvaulted crowns of leaves,
Canopies of emerald,
You children of distant zones,
Tell me, why do you lament?
Tra ume (Dreams)
Tell me, what kind of wondrous dreams
are embracing my senses,
that have not, like seafoam,
vanished into desolate Nothingness?
Silently you bend your branches,
Draw signs in the air,
And the mute witness to your anguish
A sweet fragrance rises.
Dreams, that with each passing hour,
each passing day, bloom fairer,
and with their heavenly tidings
roam blissfully through my heart!
In desirous longing, wide
You open your arms,
And embrace through insane predilection
The desolate, empty, horrible void.
Dreams which, like holy rays of light
sink into the soul,
there to paint an eternal image:
forgiving all, thinking of only One.
A
I know well, poor plants,
A fate that we share,
Though we bathe in light and radiance,
Our homeland is not here!
Dreams which, when the Spring sun
kisses the blossoms from the snow,
so that into unsuspected bliss
they greet the new day,
And how gladly the sun departs
From the empty gleam of the day,
He veils himself, he who suffers truly,
In the darkness of silence.
so that they grow, so that they bloom,
and dreaming, bestow their fragrance,
these dreams gently glow and fade on your breast,
and then sink into the grave.
It becomes quiet, a whispered stirring
Fills uneasily the dark room:
Heavy drops I see hovering
On the green edge of the leaves.
�
Dublin Core
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Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF / Rosetta
PDF with Rosetta audio/video link
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
1 audio disc
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
33:39:00
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196769">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196769</a>
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Title
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Thursday mid-day concert, March 1, 2007
Recital Tape 3-1-2007
Description
An account of the resource
Held at 1:20 p.m., March 1, 2007, Casadesus Recital Hall. Program includes translations for songs. Works of Fauré, Bizet, Brahms, Wagner.
Creator
An entity primarily responsible for making the resource
Barkley, Jessica
Schum, Jody
Aimoniotis, Mary
Reitz, Margaret
Lee, Melissa
Salmirs, Michael
Duhr, Elizabeth
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
2007-03-01
Rights
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In copyright
Type
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sound
IIIF Item Metadata
UUID
92d4c40c-bf94-42ed-9d35-13a92bc7e425
-
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&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF / Rosetta
PDF with Rosetta audio/video link
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
1 audio disc
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
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>
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Copy/Paste below:
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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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/adeeb40ba71379a511bd9611545e7680.pdf
785fd8678148ed6b28fa9e333eda0e7a
PDF Text
Text
BINGHAMTON
U N I V E R S I T Y
itate University of New York
v { \¢ C
J W I V
a
\ © 1%
D E P A R T M E N T
[awm ”
~
_ \ N wn
{ 1 . 2 . . . )
C
‘ , L A SAXOPHONE
Family and F riends
F eatu ri ng
Bruce Borton a n d M a ry Burgess
Along with
Georgetta Maiolo, A pril Lucas, Timothy P e rry,
Ben Aldridge, Ha kan H rom e k and Daniel Fabricius
The E mpire Saxophone Quartet
A pri l Lucas, Teno r
Steven M a u k , So p rano
Anthon y Alduino, Baritone
Dan Miller, Alto
With
Gordon Stout, Marim ba
Also Perform ing
Timothy Le Febvre
Ma rga ret Reitz, an d Robert Smith
Saturday, February I 7, 2007
8:00 p.m.
The Anderson Center Chamber Hall
e– n— — – –
a
–—–
�PROGRAM
l
F a cade: An Entertainment
with Poems by Edith Sitwell (18871964 and
Music by William Walton (19021983)
Fanfare
1. Hornpipe
5. Through Gilded Trellises
6. TangoPasodoble
7. Lullaby for Jumbo
9. Tarantella
12. Country Dance
13. Polka
15. Something Lies Beyond the Scene
16. Valse
17. Jodelling Song
18. Scotch Raphsody
19. Popular Song
20. FoxTrot “old Sir Faulk”
21. Sir Beelzebub
i:
Bruce Borton, conductor
Ma ry Burgess, reciter
Georgetta Maiolo, flute/piccolo
Timothy Perry, Clarinet/Bass Clarinet
April Lucas, Alto Saxophone
Ben Aldridge, trum pet
Hakan Hromek, cello
Daniel Fabricius, percussion
Thanks to William James Lawson, English diction instructor, for
his invaluable help in the research and preparation of this piece.
WINTERMISSION®3
�Concerto in C Min or for Oboe and Strings ...... .Alessand ro Marcel lo
(16691747)
Allegro Moderato
Transcription by Jamal Rossi
Adagio
Allegro
The Emp ire Saxop hone Qua rtet
April Lucas, Soprano Saxo phone
Saxsounds III (Diminishing Returns)........................ Steve n Galante
(b. 1953)
April Lu cas and Steven Ma u k, Alto Sa xophones
David Kechley
Valencia: Iberian Muszngs
(b. 1947)
...on the edge
Prayer and Lament with Interjections
Please refrain. . ..
The Emp ire Saxop hone Qua rtet with Gordon Stout
George Hamilton Green
arr. B. Goodman
(189319 70)
The Emp ire Saxop hone Qua rtet with Gordon Stout
The Ragtime Robin
Richard Rogers
(19021972)
It Might As Well Be Spring
arr. Keith Young
The Emp ire Saxop hone Qua rtet
Daniel F a bricius, D rums
ive Up The Saxophone.......................George Hamilton Green
I fG
and William Raskin
Will You Come Back to Me?
April Lu cas, Saxo phone
Timothy Lefebvre, Bariton e
Margare t Reitz, P iano
Robert S mith, Tu ba
Ce
—–—— –—––—
arr. George Wolfe
�ABOUT T H E PE R FO R M ER S
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�Facade : An Entertain ment
With Poems by Edith Sitwell (18871964) and
Music by William Walton (19021983)
1. Hornpipe
Sailor come
To the drum
Out of Babylon;
Hobbyhorses
Foam, the dumb
Sky rhinoceros glum
Watched the courses of the breakers ’ rockinghorses and with Glaucis,
Lady Venus on the settee of the horsehair sea!
Where Lord Tennyson in laurels wore a gloria free,
ln a borealic iceberg came Victoria; she
Knew Prince Albert’s tall memorial took the colours of the floreal
And the borealic iceberg: floating on they see
Newarisen Madam Venus for whose sake from far
Came the fat and zebra’d em peror from Zanzibar
Where like golden bouquets lay far Asia, Africa, Cathay,
All laid before that shady lady by the fibroid Shah.
Captain Fracasse stout as an y waterbutt came, stood
With Sir Bacchus both adrinking the black tarr’d grapes’ blood
Pl ucked among the tartan leafage
By the furry wind whose grief age
Could not wither — like a squirrel with a gold starnut.
Queen Victoria sitting shocked upon the rocking horse
Of a wave said to the Laureate, “This minx of course
ls as sharp as any lynx and blackerdeeper than the drinks and quite as
Hot as any hottentot, without remose!
For the minx ’, Said she,
‘And the drinks, You can see
Are hot as any hottentot and not the goods for me! ’
i
�5. Through Gilded Trellises
‘Through gilded trellises
Of the heat, Dolores,
Inez, Manuccia,
Isabel, Lucia,
Mock Time that flies.
“Lovely bird, will you stay and sing,
Flirting your sheened wing, —
Peck with your beak, and cling
To our balconies?”
They flirt their fans, flaunting —
“O silence, enchanting
As music!” then slanting
Their eyes,
Like gilded or emerald grapes,
They take mantillas, capes,
Hiding their simian shapes.
Sighs
Each lady, “Our spadille
ls done. ”... ”Dance the quadri lle
From Hell ’s towers to Seville;
Surprise
Their siesta,” Dolores
Said. Through gilded trellises
Of the heat, spangles
Pelt down through the tangles
Of bellflowers; each dangles
Her castanets. shutters
Fall while the heat mutters.
With sounds like a mandoline
Or tinkled tambourine.
Ladies, Time dies!’
e
e
�6. TangoPasodoble
When – Don
Pasquito arrived at the seaside
Where the donkey ‘s hide tide brayed. he
Saw the banditto Jo in a black cape
Whose slack shape waved like the sea —
Thetis wrote a treatise noting wheat is silver like the sea;
The lovely chat is sweet as foam; Erotis notices that she
Will – Steal – the
Wheatking’s luggage, like Babel
Before the League of Nations grew —
So Jo put the luggage and the label
In the pocket of Flo the Kangaroo.
Through trees like rich hotels that bode
Of dreamless ease fled she,
Carrying the load and goading the road
Through the marine scene to the sea.
‘Don Pasquito, the road is eloping
With your luggage, though heavy and large;
You must follow and leave your moping
Bride to my guidance and charge!’
When Don
Pasquito returned from the road’s end,
Where vanillacoloured ladies ride
From Sevilla, his mantilla’d bride and young friend
Were forgetting their mentor and guide.
For the lady and her friend from Le Touquet
In the very shady trees upon the sand
Were plucking a white satin bouquet
Of foam, while the sand’s brassy band
Blared in the wind. Don Pasquito
Hid where the leaves drip with sweet...
But a word stung him like a mosquito...
For what they hear, they repeat!
�7. Lullaby for Jumbo
Jumbo asleep!
Grey leaves thickfurred
As his ears, keep
Conversations blurred.
Thicker than hide
Is the trumpeting water;
Don Pasquito’s bride
And his youngest daughter
Watch the leaves
Elephantine grey:
What is it grieves
In the torrid day?
And why should the spined flowers
Red as a soldier
Make Don Pasquito
Seem still mouldier?
�9. Tarantella
Where the satyrs are chattering, nymphs with their flattering
glimpse of the forest enhance
All the beauty of marrow and cucum ber narrow and
Ceres will join in the dance.
Where the satyrs can flatter the flatl eaved fruit
and the gherkin green and the marrow,
Said Queen Venus, ‘Silenus, we ’ll settle between us
the gourd and the cucumber narrow. ’
See, like palaces hid in the lake, they shake —
those greenhouses shot by her arrow narrow!
The gardener seizes the pieces, like Croesus,
for gilding the pottingshed barrow.
There the radish roots and the straw berry fruits
feel the nymphs’ high boots in the glade.
Trampling and sampling mazurkas, cachucas and turkas,
Cracoviaks hid in the shade.
Where. in the haycocks. the country nymphs ’ gay flocks
wear gowns that are looped over bri ght yellow petticoats,
Gaiters of leather and pheasants ’ tail feathers
in straw hats bewildering many a leathem bat.
They they haymake.
Cowers and whines in showers,
the dew in the dogskin bright flowers;
Pumpking and marrow and cucumber narrow
have grown through the spangled June hours.
Melons as dark as caves have for their fountain waves
thickest gold honey, and wrinkled as dark as Pan,
Or old Silenus, yet youthful as Venus,
are gourds and the wrinkled figs whence all the jewels ran.
Said Queen Venus, ‘Silenus we’ll settle between us
the nymphs’ disobedience, forestall
With my bow and my quiver each fresh evil liver:
for I don’t understand it at all!‘
�12. Country Dance
That hobnailed goblin, the bobtailed Hob,
Said, “It is time I began to rob,
For strawberries bob, hobnob with the pearls
Of cream (like the curls of the dairy girls),
And flushed w ith the heat and fruitish ripe
Are the gowns of the maids who dance to the pipe.
Chase a maid? She’s afraid!”
“Go gather a bobcherry kiss from a tree,
But don’t, I prithee, come bothering me!”
She said, as she fled.
The snouted satyrs drink clouted cream
‘Neath the chestnut trees as thick as a dream;
So I went, and leant,
Where none but the doltish coltish wind
Nuzzled my hand for what it could find.A s it neighed. I said,
“Don’t touch me sir, don’t touch me, I say.
You’ll tumble my strawberries into the hay.”
Those snowmounds of silver that bee, the spring,
Has suck his sweetness from, I will bring
With fairhaired plnts and w ith apples chi ll
For the great god Pan ’s high altar l ’ll spill
Not one!” So. in fun,
We rolled on the grass and began to run
Chasing that gaudy satyr the Sun ;
Over the haycocks, away we ran
Crying “Here be berries as sunburnt as Pan!”
But Silenus Has seen us
He runs like the rough satyr Sun.
Come away!
�13. Polka
“Tra la la la la la la la la
See me dance the pol ka’,
Said Mr. Wagg like a bear,
‘With my top hat
And my whiskers that —
(Tra la la la) trap the Fair.
Where the waves seem chiming haycocks
I dance the polka: there
Stand Venus’ children in their gay frocks, –
Maroon and marine, — and stare
To see me fire my pistol
Through the distance blue as my coat;
Like Wellington, Byron, the Marquis of Bristol,
Busbied great trees float.
While the wheezing h urdygurdy
Of the marine wind blows me
To the tune of “Annie Rooney”, sturdy.
Over the sheafs of the sea:
And bright as a seedsman ’s packet
With zinnias, candytu fts chil,
Is Mrs. Marigold’s jacket
As she gapes at the inn door still,
Where at dawn in the box of the sailor,
Blue as the decks of the sea,
Nelson awoke, crowed like the cocks,
Then back to the dust sank he.
And Robinson Crusoe
Rues so
The bright and foxy beer, –
But he finds fresh isles in a negress’ smiles, —
The poxy doxy dear,
As they watch me dance the polka ’,
�Said Mr. Wagg like a bear,
‘In my top hat and my whiskers that, –
Tra la la la, trap the Fair.
Tra la la la la la —
Trala la I alala —
Tra la la la la la la la
La
]
I
.
La
Lal ’
15. Something Lies Beyond the Scene
Something lies beyond the scene, the encre de chine, marine, obscene
Horizon In Hell Black as a bison
See the tall black Aga on the sofa in the alga mope,
His Bellrope moustache (clear as a great bell!)
Waves in eighteeneighty Bustles Come
Late with tambourines of Rustling Foam.
They answer to the names of ancient dames and shames.
And only call horizons their home.
Coldly wheeze (Chinese as these blackarmoured fleas that dance) the breezes
Seeking for horizons Wide; from her orizons
In her wide Vermilion Pavilion By the seaside
The doors clang open and hide Where the wind died
Nothing but the Princess Cockatrice Lean
Dancing a caprice to the wind’s tambourine.
l
:
�16. Valse
‘Daisy and lily,
Lazy and silly,
Walk by the shore of the wan grassy sea, —
Talking once more ‘neath a swanbosomed tree.
Rose castles,
Tourelles,
Those bustles
Where swells
Each foambell of ermine,
They roam and determine
What fashions have been and what fashions will be, –
What tartan leaves born,
What crinolines wom.
By Queen Thetis,
Pelisses
Of tarlatine blue.
Like the thin plaided leaves that the castle crags grew,
Or velours d’Afrande:
On the water gods’ land
Her hair seemed gold trees on the honeycell sand
When the thickets gold spangles, on deep water seen,
Were like twanging guitar and like cold mandoline,
And the nymphs of great caves,
With hair like gold waves,
Of Venus, wore tarlatine.
Louise and Charlottine
(Boreas ’ daughters)
And the nymphs of deep waters,
The nymph Taglioni,
Grisi the ondine,
Wear plaided Victoria and thin Clementine
Like the crinolined waterfalls;
Woodnymphs wear bonnets, shawls,
Elegant parasols
Floating are seen.
The Amazons wear balzarine of jonquille
Beside the blond lace of a deep–falling ril;
Through glades like a nun
�They run from and shun
The enormous and goldrayed rustling sun;
And the nymphs of the fountains
Descend from the mountains
Like elegant willows
On their deep barouche pillows,
ln cashmere Alvandar. barége Isabelle,
Like bells of bright water from clearest woodwell.
Our élégantes favouring bonnets of blond,
The stars in their apiaries,
Sylphs in their aviaries,
Seeing them, spangle these, and the sylphs fond
From their av iaries fanned
With each long fluid hand
The manteaux espagnols,
Mimic the waterfalls
Over the long and the light summer land.
2
0
So Daisy and Lily,
Lazy and silly,
Walk by the shore of the wan grassy sea,
Talking once more ‘neath a swanbosomed tree.
Rose castles,
Tourelles,
Those bustles!
Mourelles
Of the shade in their train follow.
Ladies, how vain, — hollow, –
Gone is the sweet shallow, —
Gone, Philomel!’
.
�2
0
17. Yodelling Song
‘We bear velvet cream,
Green and babyish
Small leaves seem ; each stream
Horses ’ tails that swish,
And the chimes remind
Us of sweet birds singing,
Like the jangling bells
On rose trees ringing.
Man must say farewells
To parents now,
And to William Tell
And Mrs. Cow.
Man must say farewells
To storks and Bettes,
And to roses ’ bells,
And statuettes.
Forests white and black
In spring are blue
With forgetmenotes,
And to lovers true
Still the sweet bird begs
And tries to cozen
Them : “Buy angels’ eggs
Sold by the dozen.”
Gone are clouds like inns
On the gardens’ brinks,
And the mountain djinns,
Ganymede sells drinks;
While the days seem grey,
And his heart of ice,
Grey as chamois, or
The edelweiss,
.
And the mountain streams
Like cowbells sound –
�Tirra lirra, drowned
In the water’s dreams
Who has gone beyond
The forest waves,
While his true and fond
Ones seek their graves. ’
i
0
18. Scotch Rhapsody
‘Do not take a bath in Jordan, Gordon.
On the holy Sabbath, on the peaceful day!‘
Said the huntsman, playing on his old bag pipe,
Boring to death the pheasant and the snipe —
Boring the ptarmigan and grouse for fun —
Boring them worse than a ninebore gun.
Till the flaxen leaves where the prunes are ripe,
Heard the tartan wind adroning in the pipe,
And they heard Macpherson say:
‘Where do the waves go? What hotels
Hide their bustles and their gay ombrelles?
And would there be room? — Would there be room? Would there be room
for me?
There is a hotel at Ostend
Cold as the wind, without an end,
Haunted by ghostly poor relations
Of Bostonian conversations
(Like bagpipes rotting through the walls.)
And there the pearlropes fall like shawls
With a noise like marine waterfalls.
And ‘Another little drink wouldn’t do us any harm’
Pierces through the Sabbatical calm.
And that is the place for me!
So do not take a bath in Jordan, Gordon,
On the holy Sabbath, on the peaceful day —
Or you’ll never go to heaven, Gordon Macpherson,
And speaking purely as a private person
That is the place — that is the place – that is the place for me!
.
—
—
�19. Popular Song
v
Lily O’Grady.
Silly and shady,
Longing to be
A lazy lady,
Walked by the cupolas, gables in the
Lake’s Georgian stables,
In a fairy tale like the heat intense,
And the mist in the woods when across the fence
The children gathering strawberries
Are changed by the heat into negresses,
Though their fair hair
Shines there
Like goldhaired planets, Calliope, lo,
Pomona, Antiope, Echo, and Clio.
Then Lily O’Grady,
Silly and shady,
Sauntered along like a
Lazy lady.
Beside the waves ’ haycocks her gown with tucks
Was of satin the colour of shining green duc ks,
And her folderol
Parasol
Was a great gold sun o’er the haycocks shining,
But she was a negress black as the shade
That time on the brightest lady laid.
Then a satyr, doghaired as trunks of trees,
O
Began to flatter, began to tease,
And she ran like the nymphs with golden foot
That trampled the strawberry, buttercup root,
In the thick gold dew as bright as the mesh
Of dead Panope ’s golden flesh,
Made from the music whence were born
Memphis and Thebes in the first hot morn,
— A nd ran, to wake
In the lake,
Where the waterripples seem hay to rake.
And Charlottine,
Adeline,
Q
I —
—
—
—
—
—
—
—
—
�Round rosebubbling Victorine,
And the other fish
Express a wish
For mastic mantles and gowns with a swish;
And bright and slight as the posies
Of buttercups and of roses,
And buds of the wild woodlilies
They chase her, as frisky as fillies.
The red retrieverhaired satyr
Can whine and tease her and flatter,
But Lily O’Grady,
Silly and shady,
In the deep shade is a lazy land;
Now Pompeys dead, Homer’s read,
Heliogabalus lost his head,
And shade is on the brightest wing,
And dust forbids the birds to sing.
v
‘
O
—
�v
C
20. FoxTrot “Old Sir Faulk”
Old – Sir Faulk,
Tall as a stork,
Before the honeyed fruits of dawn were ripe, would walk,
And stalk with a gun
The reynardcoloured sun,
Among the pheasantfeathered corn the unicorn has torn, forlorn the
Smockfaced sheep
Sit And Sleep;
Periwigged as William and Mary, weep
‘Sally, Mary, Mattie, what’s the matter, why cry?’
The huntsman and the reynardcoloured sun and I sigh;
‘Oh, the nurserymaid Meg
With a leg like a peg
Chased the feathered dreams like hens, and when they laid an egg
In the sheepskin
Meadows
Where
The serene King James would steer
Horse and hounds, then he
From the shade of a tree
Picked it up as spoil to boil for nursery tea,’ said the mourners.
In the
Corn, towers strain,
Feathered tall as a crane,
And whistling down the feathered rain. old Noah goes again –
An old dull mome
With a head like a pome,
Seeing the world as a bare egg,
Laid by the feathered air; Meg
Would beg three of these
For the nursery teas
Of Japhet, Shem, and Ham; she gave it
v
Underneath the trees,
Where the boiling Water Hissed,
Like the gooseking ’s feathered daughter — kissed.
Pot and pan and copper kettle
Put upon their proper mettle,
Lest the Flood – the Flood – the Flood begin again through these!
�21. Sir Beelzebub
When
Sir
Beelzebub called fo r his syllabub in the hotel in
Hell
Where Proserpine first fell,
Blue as the gendarmerie were the waves of the sea,
(Rocking and shocking the barmaid).
Nobody com es to give him his rum but the
Rim of the sky hippopotamusglum
Enhances the chances to bless with a benison
Alfred Lord Tenny son crossing the bar laid
With cold vegetation from pale deputations
Of temperance workers (all signed In Memoriam
)
Hop ing with glo ry to trip up the Lau reat e ’s fe
et,
(Moving in classical metres)
Like Balaclava, the lava came down from the
Roof, and the sea’s blue wooden gendarmerie
Took them in charge while Beelzebub roared fo
r his rum.
None of them come!
– Dame Edith Sitwell (1 887–1964)
�Jew York City Opera while still a student at the Curtis Institute, and
ubsequently appeared with Santa Fe Opera, Washington Opera, New
Jrleans Opera, Nevada Opera, and many other regional companies
ncluding TriCities Opera in Binghamton. Her European operatic
lebut was at the Holland Festival in Amsterdam. She has also
ierformed at the Spoleto Festival in Italy, at the Theatre Royale de la
onnaie in Brussels, and with Dublin Grand Opera. Burgess has
ppeared as soloist with more than two dozen U. S. orchestras,
.ncluding the Boston Symphony (with Seiji Ozawa), Cleveland
Orchestra (with Lorin Maazel, Eduardo Mata), Chicago Symphony (Sir
Simon Rattle), and Cincinnati Symphony (Klaus Tennstedt, James
Conlon). She has been a frequent guest at such prestigious festivals as
Marlboro, Monadnock, Ravinia, Aspen, Blossom, Casals, Chautauqua,
and the Cincinnati May Festival. Her repertory of forty roles in five
languages ranges from Monteverdi and Cavalli to Britten and Virgil
Thomson. Her performances of Britten ’s Les Illuminations and
Mahler’s Symphony No. 2 with the Omaha Symphony were filmed for
broadcast by Nebraska ETV. She has recorded for Columbia,
Masterworks, CRI, Sony Classical and Telarc.
TIMOTHY PERRY, clarinetist, conductor and Professor of Music,
joined the Binghamton University faculty in 1986 as director of the
orchestral and wind ensemble programs and instructor of studio
conducting and clarinet. Perry holds D.M.A., M.M.A. and M.M. degree
from the Yale School of Music and a B. Mus. degree from the
Manhattan School of Music. Dr. Perry’s more than two hundred
programs include ten seasons as Music Director of the Binghamton
Community Orchestra and as guest conductor of both the Catskill
Symphony and Binghamton Philharmonic Orchestras. Perry is widely
known as a virtuoso solo and chamber music clarinetist, touring Latin
America and the Caribbean as a United States Musical Ambassador and
appearing at international festivals in Europe and Asia. In 2006 he
presented his third artist recital at an International Clarinet Conference
in Tokyo and performed Mozart ’s Clarinet Concerto on basset clarinet
, as part of the composer’s 250th anniversary.
GEORGETTA MAIOLO is a member of the faculty of Binghamton
University and Broome Community College, teaching Flute and
directing Flute Ensembles. From 1977 to 1996, she held the position of
Assistant Professor of Flute at Ithaca College, Ithaca, New York. She
�also taught flute at West Virginia University, Morgantown, West
Virginia. Mrs. Maiolo is a graduate of Duquesne University and
attended graduate school at West Virginia University. Mrs. Maiolo
studied with Bernard Goldberg, principal flutist of the Pittsburgh
Symphony, Marcel Moyse at Marlboro School of Music, and Victor
Saudek. She is the principal flutist with the Binghamton Philharmonic
Orchestra and the TriCities Opera Orchestra, Southe rn Tier Concert
Band and the Downtown Si ngers Orchestra. In addition to her playing
positions, she concertizes as a soloist, recitalist and chamber musician.
Mrs. Maiolo was honored to conduct the NYSSMA AllState Flute
Choir. She served as the flute chairperson for the NYSSMA Manual
from 1981 to 2001. She is a “clinician” for the Selmer Company and
has recorded for Crest Records and NPR.
[
L
I
2
BEN ALDRIDGE holds both Bachelor’s and Master’s degrees from
Yale University, and began teaching trumpet at Binghamton University
in 1976. Aldridge has directed both trumpet and mixed brass
ensembles throughout his tenure at BU, has performed both solo and
chamber repertoire, and has taught theory as well. Aldridge is a
member of the Binghamton Philharmonic and the Utica and Catskill
Symphonies, as well as the Glimmerglass Opera Orchestra. He also
performs with and arranges for the Catskill Brass Quintet. Aldridge is a
charter member of the International Trumpet Guild, and has been
recorded on Columbia and Redwood records.
Cellist HAKAN HROM EK was trained in music performance at
Ithaca College, SUNY Purchase, and Binghamton University. His
teachers include Peter Wiley, Marion Feldman, Daniel Phillips, Stephen
Stalker, Einar Jeff Holm, and Fritz Wallenberg. He has attended the
International Congress of Strings, Round Top International Festival,
Chamber Music at the 92nd Street YNYC, Spoleto Music Festival,
Skaneateles Festival, and the Kenai Penninsula Music Festival In
Alaska. An active performer, Mr Hromek is principal cellist of the
Binghamton Philharmonic, TriCities Opera Orchestra, and The
Orchestra of the Southern F inger Lakes. He has also pe rformed with the
Cayuga Chamber Orchestra, Bach Works in NYC, and the Syracuse
Symphony. During the sum mer of 2006, Mr. Hromek completed his
fourth season as cellist in the DeVere Quartet, which serves as resident
quartet for the Kenai Peninsula Festival in Alaska and at present is
cellist for the Novo Quartet. An avid chamber musician Mr. Hromek
I)
�enjoys collaborating in a cello and piano duo on a regular basis with
Margaret Reitz and various local artists in the Central New York area.
DANIEL FABRICIUS took the post of Percussion Instructor at
Binghamton University in September of 1992 and has been Director of
Bands at Owego Free Academy since 1989. Fabricius is an active
performing percussionist in the Southern Tier. He is a member of the
Binghamton Philharmonic as well as Timpanist/P rincipal Percussionist
for the Orchestra of the Southern Finger Lakes. In recent years he also
has performed as a percussion soloist in chamber ensembles, in musical
theater productions and with several nationally known artists. He
performs often as a freelance musician and as a member of the local
dance band “Classy Brass.” Mr. Fabricius has conducted many honor
band festivals and is a past president of the NYS Band Directors
Association.
GORDON STOUT, Professor of Percussion at Ithaca College School
of Music, is a composer as well as a percussionist who specializes on
marimba. Many of his compositions have become standard repertoire
for marimbists worldwide. He has recorded many of his own works as
well as those of other American composers. As a lecturerecitalist for
the Percussive Arts Society, he has appeared at twelve international
PAS Conventions. Gordon has served on several juries of international
competitions and has appeared as a featured soloist at The World
Marimba Festival in Japan. Gordon is a clinician /recitalist for Kp3 and
performs exclusively on their M5.0 Imperial Grand fiveoctave
marimba.
STEVEN MAUK, Professor of Saxophone at Ithaca College School of
Music, has presented numerous solo and chamber concerts throughout
the world, including four tours to Russia. As a foremost authority on
the soprano saxophone, Mauk has had twentyfive works dedicated to
him. He has recorded 1 7 albums and authored four books. Mauk is an
artist/clinician for both Selmer and Vandoren. He is a past president
and has been Director of Scholarly Publications for the North American
Saxophone Alliance. Mauk, the recipient of a Dana Teaching
Fellowship and a Dana Research Fellowship for his excellence in
teaching and research, also received the Ithaca College President’s
Recognition Award. He was the recipient of the 199598 National
�Artist Award from the Phi Kappa Phi Honor Society and received
Ithaca College’s Excellence in Teaching Award for 20012002.
DAN M I L L E R is a native of Endicott, New York. He is chairman of
the SpencerVan Etten School music program where he directs the
middle school and high school bands and jazz ensembles. Dan earned
his undergraduate degree from Syracuse University (with performance
honors) and a Master’s in Music Education from Ithaca College. He is a
past president of the Tioga County Music Educators Association and
regularly works as an adjudicator and clinician throughout the Southern
Tier of New York State. In addition to being the alto saxophonist in the
Empire Saxophone Quartet, Dan is also a member of Classy Brass and
the Mason Warrington Orchestra. He has performed with the Syracuse
based Society for New Music and the Binghamton Philharmonic and
has recorded with the Swing Street Jazztet and the Empire Saxophone
Quartet.
v
AMY NATIELLA, a senior Sociology major at Binghamton
University, has been studying saxophone under April Lucas for the past
four years. She is a member of the University Wind Ensemble and
Saxophone Quartet. Amy appeared as a soloist with the University
Wind Ensemble this past semester and is a native of Buffalo, NY.
TIMOTHY LEFEBVRE, baritone, has appeared in concert with the
Vermont Symphony, Minnesota Symphony, Syracuse Symphony,
American Symphony Orchestra, Pittsburgh Symphony, Spokane
Symphony, Binghamton Philharmonic, Rochester Bach Festival,
Berkshire Choral Festival, Williamsport Symphony, Syracuse Chamber
Music Society, the Skaneateles Festival and with the prestigious
Marlboro Music Festival. He has also appeared in concert at New
York’s Carnegie Hall and Alice Tully Hall. Mr. LeFebvre is a winner
of the New York Liederkranz Vocal Competition. Other awards
include the Richard F. Gold Career Grant, an Opera Fellowship at
Binghamton University and Regional Finalist in several Metropolitan
Opera Competitions. LeFebvre’s operatic experience includes leading
roles with San Francisco Opera, TriCities Opera, Sarasota Opera,
Chattanooga Symphony and Opera, Syracuse Opera, Indianapolis
Opera, and Opera Theater of Pittsburgh. LeFebvre is a graduate of
Carnegie Mellon University and Binghamton University and is
currently on the faculty at Binghamton University.
�’
"
MARGARET REITZ, pianist, is on the faculties of Binghamton
University and the Ithaca College School of Music. She received her
Bachelor and Master of Music degrees in piano performance with
accompanying emphasis and attended Boston University, New England
Conservatory, and Binghamton University. She studied piano with
Jean Casadesus, Victor Rosen baum, Seymour Fink, Walter Ponce, and
Allen Rogers. Reitz has accompanied throughout the world and has
been a guest chamber music artist in Morges, Switzerland. She and
Binghamton University faculty member Tim Perry were winners of the
1997 Artistic Ambassadors Program by the United States Information
Agency in partnership with the John F. Kennedy Center for the
performing arts. Reitz was a guest artist on the Cornell Summer Series
in August of 2006 and will be an official pianist at the International
Double Reed Competition and Convention this coming June.
ROBERT SMITH is Music Director and Conductor of the
Binghamton University Wind Ensemble. Professor Smith holds degrees
from Hartwick College, Binghamton University and is a candidate for
the Doctor of Musical Arts from Boston University. Locally, he
conducts the annual observance of TubaChristmas and is former
conductor of the Maine Comm unity Band. He has guest conducted all
county and community bands as well as the Goshen College(IND)
Wind Ensemble and Orchestra. An active performer, he currently plays
principal euphonium with the Southern Tier Concert Band and tuba
with the Brass Nickel quintet and the Crown City Brass sextet.
Professor Smith is the immediate past president of the Broome County
Music Educators Association and recipient of the 2005 BCMEA
Distinguished Service Award.
�ABOUT THE MUSIC
Facade, An Entertain ment, was collaborated by William Walton,
Edith Sitwell, and her two brothers in Oxford in 1922 during his 15
year stay with the family. Edith Sitwell quotes “The poems in
Facade are abstract poems, that is, they are patterns in sound.
They are, too, in many cases, virtuoso exercises in techni que of an
extreme difficulty.” Twenty one of Sitwell ’s poems were set to
music by Walton, the 19 year old student greatly interested in
modern music and popular British dance music of the 1920’s. His
interests are obvious in the chamber music for the poems, the
familiar rhythms of the foxtrot, music hall dances, circus music,
tarantella and tango are combined with angular pieces, musical
dissonance and lyrical sections. The poems and music are meant
to be savored as sound, unclear and abstract, but beautifully
integrated.
Concerto in D Minor for Oboe, strings, and basso continuo is
considered Alessandro Marcello ’s best known work. Johann
Sebastian Bach noted its worth when he transcribed the work for
harpsichord (BWV974). Marcello’s other works include cantatas,
arias, canzonets, and violin sonatas.
Saxsounds III, Diminishing Retu rns (1978), was written while
Galante was a student in composition and saxophone at the
University of Michigan. Both his saxophone teacher and his is
composition teacher encouraged him to write a work that
incorporated the saxophone with the latest sound technology. The
resulting duet is played through a digital delay unit that produces
an ostinato and provides pulse and mood throughout the piece.
The saxophonists produce traditional sounds as well some non
traditional sounds (vocal sounds and multiphonics) that make the
saxophone not only a wind and percussive instrument, but part
human at times.
Valencia : I berian Musings for Mari m ba and Saxophone
Quartet is dedicated to the Empire Saxophone Quartet and
Gordon Stout. The work was influenced by a trip to Spain in
September of 1997 by composer David Kechley. The first
�l
l
vl
l
movement, ....on the edge, is a fast, relentless piece with the
marimba maintaining a perpetual motion punctuated by the
saxophone ’s exclamatory remarks. The second movement, Prayer
and La m ent with Inter jections juxtaposes several moods
requiring the marimba and saxophones to reverse roles. The
marimba opens the “prayer” using its ability to create organlike
sustained sounds. The saxophones later articulate the “lament”
against this backdrop. Please refrain......, the third movement,
refers to the playful vam p that sets the pace for this energetic,
rondolike movement. The opening rhythm was suggested by a
Cedar Walton tune, Bolivia. Despite the vamp element, this
movement creates variations on the material introd uced in the first
movement.
George Hamilton Green began playing at age 1 1 and at 19 entered
Vaudeville, earning himself the reputation of being a show
stopping, virtuoso xylophonist. The Ragtime Rob in was one of
his six novelty xylophone solos cut for the Edison recording
company that would eventually include more than 150 sides.
Green eventually left Edison and recorded for com panies such as
Victor and Columbia. He was a noted teacher, performer and
author of pedagogical materials that remain important today. In
1946 he retired to become a successful artist, illustrator and
cartoonist.
Academy Award winning song, It Might As Wel l Be Spring, is
from the musical “State Fair” (1945), one of Richard Rogers’ early
collaborations with lyricist Oscar Hammerstein II, and their only
collaboration written directly for the screen. Rogers wrote the
music for over 50 stage and film musicals and helped make the
American musical a legitimate art form. Keith Young’s
arrangement o f this song features a jazz improvisation solo.
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�Coming
“Cuenst
Th ursday, Febr uary 22 – Mid Day Conce rt – 1 :20 p.m. – Casadesus Recital
'
Hall free
Saturda y, F e b ruary 24 – F aculty Recita l : Janey Choi , violin and M ichael
Salmirs, piano – 8:00 p.m. – Casadesus Recital Hall $9 general public; $7
faculty/staff/seniors ; free for students
Sunday, Feb ruary 2 5 – Universit y Wind Ensemble : A World To ur – 3:00
p.m. – Anderson Center Chamber Hall – free
Th ursday, March 1 – MidDay C oncert – 1 :20 p.m. – Casadesus Recital
Hall – free
Saturday, March 3 ~ University Symphony Orchestra – 8:00 p.m. –
Osterhout Concert Theater –$9 general publics; $7 faculty/staff/seniors; free
for students
Sunday, Mar ch 4 – Absol ut(e) Russian with special guests Elma r Oliveira,
violin and Sa nd ra Robbins, viola – 3:00 p.m. – Anderson Center Cham ber
Hall $25 general public; $20 faculty/stafflseniors; $10 students
Th ursday, Mar ch 1 5 – MidDay Concert – 1 :20 p.m. – Casadesus Recital
Hall – free
Friday, Marc h 16 – Mater ’s Recital : Akira Maezawa, violin – 8:00 p.m. –
Casadesus Recital Hall – free
Saturday, M arch 1 7 Master ’s Recital : Miriam W right, sopran o – 3:00
p.m. – Casadesus Recital Hall – free
Saturday, M arch 1 7 – H a rpu r Chorale an d Women ’s Chorus – 8 :00 p.m. –
Anderson Center Chamber Hall – Free
Th ursday, March 22 – MidDay Concert – 1:20 p.m. – Casadesus Recital
Hall free
F riday, Marc h 23 – Neil Berg ’s 100 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)
�
Dublin Core
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Coverage
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
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Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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2 audio discs
Duration
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31:38
45:36
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196762">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196762</a>
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Title
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La Saxophone Family and Friends, February 17, 2007
Recital Tape 2-17b-2007
Description
An account of the resource
Held at 8:00 p.m., Feb. 17, 2006, Casadesus Recital Hall. Works of Marcello, Galante, Kechley, Green, Rogers, Green and Raskin.
Creator
An entity primarily responsible for making the resource
Borton, Bruce
Burgess, Mary
Maiolo, Georgetta
Lucas, April
Perry, Timothy
Aldridge, Benjamin
Tayga-Hromek, Hakan
Fabricius, Daniel
Mauk, Steven
Miller, Dan
Alduino, Anthony
Stout, Gordon
LeFebvre, Timothy
Reitz, Margaret
Smith, Robert
Publisher
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Binghamton University Libraries
Date
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2007-02-17
Rights
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In copyright
Type
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sound
IIIF Item Metadata
UUID
441682e3-d159-424f-ae52-7132e1d81980
-
https://omeka.binghamton.edu/omeka/files/original/1c29badc0acc254d16a29dd1fe23e155.pdf
f27db51f5f28cd96015c871667f0c087
PDF Text
Text
BINGHAMTON
U N I V E R S I T Y
State University of New York
Univ Po
idee
4
:
~
D E P A R T M E N T
260)I
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Y
‘
MUSICA NOVA
F E A T U R I N G P E R F O R M E R S AND C O M P O S E R S O F N E W M U S I C
Wendy Wa nK i Lee
piano a n d com pose r
Georg etta M aiolo
flu t e
Pa u l Gold sta u b
piano a n d com poser
with guest artists
E ric Ross
t he re m i n, k e y boa rds, g u ita r a n d vocals
M a r y Ross
v ideo a rt ist
S u nd a y, Fe b r u a ry 1 1 , 2007
3 :00 p m
C asade sus R ec ital H al l
�OUR GUEST A R T I S T S
P ROGRAM
Pastorale
a
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Eric Ross “has excited audiences with his fiery virtuosity and
innovative work” (Washington Post) and has performed concerts
of original works at Lincoln Center, Kennedy Center, Brussels
Palais des Beaux Arts, at Newport, Montreux, North Sea, Berlin,
Copenhagen, Prague Jazz and New Music Festivals and Gilmore
lntemational Keyboard Festival among others worldwide. For over
twenty years he has led his ensemble that featured jazz giants, John
Abercrombie, Larry Coryell, Andrew Cyrille, Oliver Lake, Leroy
Jenkins and others. He performs on piano, guitar, synthesizers, and
is a Master of the Theremin, one of the earliest electronic
instruments. The New York Times calls his music “a unique blend of
classical, jazz, serial and avantgarde.”
c i v e s i i n n s s i n a n i o n a r s n i n s n n n e s s G o l d s t a n b
Georgetta Maiolo, flute
Brandon Unger, sound design
Mario Davidovsky
Synchronisms #6
for piano and electronic sounds
(Winner of t h e Pulitzer Prize for Music, 1971)
Wendy WanKi Lee, piano
Eric Ross began playing the theremin in 1975, and has performed
on radio, film and TV. He ’s written an Overture for 14 Theremins
playing simultaneously, and gave the world premiere of Percy
Grainger ’s Free Music No.l in New York City in 1997. Since 1976,
with wi fe, Mary Ross, he’s presented multimedia performances of
video, music, dance, film and computer art. He ’s also played with
blues legends Champion Jack Dupree, Lonnie Brooks, Sonny Terry
and Brownie McGhee. In May, 2006, he was guest artist on the
No.1 best selling CD album in Japan, Aqi Fzono’s “Cosmology”.
Fantasy................................................................Wendy WanKi Lee
Improvisation for Two Pianos
Wendy WanKi Lee and Paul Goldstaub
WINTERMISSION®3
Passage/or Theremin (Op. 5
3
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)
r
i
c Ross
Eric Ross, theremin
Rimn Vornl (Op. 37)
Eric Ross and Mary Ross
A multimedia piece, composed and improvised
Mary Ross, video artist
Eric Ross, theremin, keyboards, guitar and vocals
Wendy WanKi Lee, piano
Paul Goldstaub, piano and assorted objects
+
He has lectured on the theremin, piano, guitar, and electronic music
at colleges, universities and schools in the USA and Europe. He was
Master Teacher at the First International Theremin Festival and 1s
considered to be the foremost authority on Frederick W. Riesberg,
Franz Liszt ’s last pupil. Eric Ross was a personal friend of inventor
Robert Moog, theremin virtuoso Clara Rockmore, and met and
played for the inventor of the instrument, Professor Lev Termen, in
1991. He ’s drawn inspiration from them to continue developing the
Theremin as a voice in his own compositions.
�ABOUT T H E PERFORM ERS
Mary Ross is a fine art photographer and professional media artist.
While many artists were exploring video’s timebased
characteristics in the early 1970 ’s, she began using video and
computers to produce still images on film. As one of the first fine
art photographers to do so, her photographs provide some of the
carliest examples of how photography, video and computer
technology converged in the 1970 ’s, emerged in the 1980‘s, and
eventually evolved into contemporary digital photography.
She has exhibited extensively at galleries and museums in the
United States, Europe, Israel and Japan. Her photographs are in the
permanent collections of the Kunsthaus, Zurich; International
Polaroid Collection; Herbert Johnson Museum of A rt at Comell
University; King’s Library, Copenhagen, Bibliotheque Nationale;
Paris and the Lincoln Center Library Da nce Collection in New York
City.
Georgetta Maiolo is a mem ber the faculty at Binghamton
University and Broome Community College, teaching Flute and
directing Flute Ensembles. She also taught flute at West Virginia
University and Ithaca College.
Mrs. Maiolo is a graduate of Duquesne University, and attended
graduate school at West Virginia University. She studied with
Bernard Goldberg, principal flutist of the Pittsburgh Symphony,
Marcel Moyse at Marlboro School of Music, and Victor Saudek. At
the age of 15, she made her solo debut with the Pittsburgh
Symphony. Mrs. Maiolo is the recipient of numerous honors,
including the NCM EA National music award, the Pittsburgh
Tuesday Musical Club, the Enola M. Le wis Scholarship and the Mu
Phi Epsilon Sterling Achievement Award.
Mrs. Maiolo is the principal flutist of th e Binghamton Philharmonic
Orchestra, TriCities Opera Orchestra, Southern Tier Concert Band
and Downtown Singers Orchestra. She has premiered compositions
by Jack Martin, Dan Locklair, Edith Borroff, Malcolm Lewis,
Richard Herman, Jeffrey Nitch, Timothy Rolls and Paul Goldstaub.
She is a clinician for the Selmer Company and has recorded for
Crest Records and NPR.
W e nd y Wa nK i Lee is currently an Assistant Professor of Music at
Binghamton University. She has held teaching appointments at the
Oberlin College Conservatory of Music and University of Michigan.
She received her graduate degrees (Ph.D., M.M.) in Music
Composition and Theory at the University of Michigan, and a
Bachelor of Music Composition from the University of Toronto.
She is the recipient of grants and awards from the Government of
Canada, University of Toronto, Center for Chinese Studies,
International Institute, and School of Public Health at the University
of Michigan.
�Wendy’s compositions and folk music arrangements have been
per formed at music festivals at A spen, Banff, and Orford (Québ ec
City), and in the United States, Canada, China, Korea, Malaysia,
Singapore, and Taiwan. Her new piece for euphonium and piano,
commissioned by Benjamin Pierce, will be premiered at the
University of Arkansas in October 2007. Wendy has presented
papers and lectures at national a nd intemational conferences, an d at
the University of Cambridge, Eastern Illinois University, Western
Michigan University, University of Western Ontario, and Agnes
Scott College. Her research interests include music by Chinese
composers such as Chen Qigang, Chen Y i, and Bright Sheng.
As a pianist, Wendy received t he Fellowship and Licentiate of the
Trinity College of Music in London, and a Diploma for the
Associateship in Piano Performer of the Royal Conservatory of
Music in Toronto. An advocate of new music, Wendy has prem iered
many pieces by living composers and collaborated with numerous
conductors, performers, and con temporary music ensembles.
Associate Professor Pau l Goldstaub ’s compositions have been
performed by the Guthrie Theater, the Minnesota Opera and the
Cincinnati Opera; at Lincoln Center and Camegie Hall ; and in
Canada, Great Britain, Japan, G ermany, Russia and Italy. His comic
opera, The Marriage Proposal, based on Chekhov, was produced
offoffBroadwa y.
A national finalist in the St. Paul Chamber Orchestra’s American
Composer Competition, he has been awarded grants by the Nat ional
Endowment for the Arts, the National Endowment for the
Humanities, Meet the Composer and the Minnesota State Arts
Board. He is also an annual ASC AP awards recipient.
A specialist in creativity, he has presented papers and conducted
workshops on music improvisation at the Oberlin Conservatory,
Syracuse University, St. Olaf College, the Crane School of Music at
SUNY Potsdam, and at the SUNY conference on creat ivity at the
Fashion Institute of Technology in New York.
Goldstaub earned the Doctor of Musical Arts and Master of M usic
degrees at the Eastman School of Music, and a Bachelor of M usic
degree at Ithaca College. He h as held positions at Ithaca Coll ege,
the CollegeConservatory of M usic of the University of Cincinnati,
Minnesota State University at Mankato and Eastern Michigan
University.
Binghamton University faculty, including Bruce Borton, Janet
Brady, Peter Browne, Mary Burgess, Michael Carbone, Dan
Fabricius, Al Hamme, April Lucas, Ewa MackiewiczWolfe,
Georgetta Maiolo, ChaiKyou Mallinson, Timothy Perry, Marga ret
Reitz, Stephen Stalker and Brian Stemberg, have given many of his
works their local or world prem ieres. His latest composition will
be premiered by the University Orchestra, under the direction of
Dr. Perry, on March 3, 2007.
His publishers include Roger Dean Publishing Company, Lawson
Gould Music, Ken Dom Publications, and the International
Trombone Association Press.
Brandon Unger is a senior Music major at Binghamton
University. He is currently focused on com posing, studying with
Dr. Goldstaub, and has a very deep interest in recording and
engineering. He looks forward to continuing his studies in music
after Binghamton University in graduate school.
�Sat u rd a y, Fe b r u a ry I 7 – Mas ter ’s Rec ital : A m y DeL eo, so pra no – 3
:00 p.m . –
Casadesus R ecital Hall free
Anderson
Sat u rd a y, Fe b r uary I 7 – La Sa xopho ne a nd F riends 8:00 p.m. –
rs; $7
/senio
Center Chamber Hall SIS general public ; $13 facult y/staff
students
s Recital
Th u rsda y, Fe b ruary 22 – Mid Day C oncert – 1: 20 p.m. – Casadesu
Hall free
Micha el
Sat u rd a y, Fe b r ua ry 24 Facul ty Recit al : Ja n e y Cho i, violin a nd
c; $7
Salmirs, pi ano – 8:00 p.m. Casadesus R ecital Hall $9 general publi
facult y/staff/seniors; free for student s
S und a y, Fe b r u a ry 2 5 – Unive rsity W i nd Ensem ble : A World
p.m. Anderson Center Chamber H all free
To u r – 3 :00
Hall
Thursday, March 1 – M idDay Concert – 1:20 p.m. Casadesus R ecital
free
Osterhout
Sat u rd a y, M a rc h 3 – Unive rsity S ym phon y Orc hest ra 8:00 p.m.
dents
Concert Theater S9 general publics ; $7 faculty/ staff/seniors ; free for stu
ma r Ol ivei ra,
S u nd a y, M a r c h 4 – A bsol ut(e ) R ussia n with specia l g uests E l
Chamber
violin and Sand ra Robbins, viola 3 :00 p.m. Anderson Center
Hall $25 general public ; S20 facult y/staff/seniors; $1 0 students
ecital Hall
T h u rsd a y, M a r c h IS – M idDa y Co n c e rt 1 :20 p.m. Casad esus R
free
F rid a y, M a r c h 16 – Mate r ’s Recita l : A k i ra Ma ezawa , viol in –
8 :00 p.m.
Casadesus R ecital Hall free
Sat u rd a y, M a rc h 1 7, Ma ster‘s Recit al : M i riam W righ t, sop ra no 3
Casadesus R ecital Hall free
Sat u rd a y, M a rc h 1 7 – H a r pu r C hora l e a n d Wo men ’s C hor us
Anderson Center Chamber Hall Free
S m a .
:0 0 p.m.
8:0 0 p.m.
:
ecital Hall
Th ursda y, Ma rc h 22 – Mid Day C onc ert 1 : 20 p.m. Casadesus R
free
8 :00 p.m.
Frida y, Marc h 2 3 – Neil Berg‘ s 1 00 Y ears of Broad way
$25
public ;
general
$30
Theater
Concert
Osterhout
Theater and
faculty stall~ s eniors alum ni. $ 1 0 students ( A Benefit tor the Music
Athlet ic Departments)
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF / Rosetta
PDF with Rosetta audio/video link
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
1 audio disc
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
1:10:46
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196759">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196759</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
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Options:
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'Facing' - Up to two full pages will be visible and Zoom will be set to page height.
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'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
Musica Nova: featuring performers and composers of new music, February 11, 2007
Recital Tape 2007-02-11
Description
An account of the resource
Held at 3:00 p.m., Feb. 11, 2007, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Lee, Wendy
Maiolo, Georgetta
Goldstaub, Paul
Ross, Eric
Ross, Mary
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
2007-02-11
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
8637c79c-9e9f-4d30-9ac2-776823539f54