52 10 1775 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 43:13:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE190126">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE190126</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Thursday mid-day concert, April 17, 2008 Recital Tape 2008-4-17 Description An account of the resource Works of Bach, Brahms, Schumann, Schubert, Purcell, Bizet, Falla, Massenet, Delibes.Held at 1:20 p.m., April 17, 2008, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Sofer, Danielle Kucera, Jana Mallinson, Chai-Kyou l Lewis, LaToya Reitz, Margaret Freeman, Abigail Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2008-04-17 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 62b10397-2fdb-41ba-a0b7-853390e5aa22 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 43:22:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE190123">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE190123</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Thursday mid-day concert, March 13, 2008 Recital Tape 2008-3-13 Description An account of the resource Program has incorrect date, March 20, 2008.At head of title: Works of Strauss, Donizetti, Rossini, Mozart.Held at 1:20 p.m., March 13, 2008, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Boyd, Sibongile Zbrzezny, Ariana Kucera, jana Zito, Jacqlyn Callas, Michael Moots, Jonathan McCormick-Knox, Danielle Lavonier, Stephen Isenberg, John Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2008-03-13 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 6aebc077-ea58-4946-846f-6f72cf0fda66 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 46:42:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE190120">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE190120</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A recital of the clarinet studio, April 5, 2008 Recital Tape 2008-4-5 Description An account of the resource Works of Poulenc, Hindemith, Williams, Mozart, Finzi, Lockhart.Held at 3:00 p.m., April 5, 2008, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Chandler, Sarah Reitz, Margaret Ackerman, Gregg Hassell, Matthew Fenster, Sarah Cohen, Abby Doyle, Kyle DelloStritto, Mark Palisi, Brianna Bonhoff, Bethany Lee, Andrei Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2008-04-05 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 98848067-c094-4936-8ecc-c549c3a3f652 https://omeka.binghamton.edu/omeka/files/original/1e5a0e7790bf656f58639692de998cc5.pdf 36f9a2cac2c6c27185f75ab16ce4ff5f PDF Text Text BINGHAM TON UU N I E V E R S State University of New York [4 D E P A R T M E N T Hommage a Casadesus Celebrating th e life an d concert careers of th e F irst Fam ily of P iano, R o be rt Casadesus, an d their son J ean Casadesus Featuring Pianists ChaiKyou Mallinson, Margaret Reitz and John Covelli Saturday, March 8, 2008 8:00 p. m. Casadesus Recital Hall �Translations PROGRAM Gaspard de la Nuit is a collection of three poems by Aloysius Bertrand, and in his composition of the same title, Ravel wrote ton e poems expressing his impressions of these poems, the ﬁrst of which is Ondine (m ermaid). In his ﬁrst edition, Ravel includes a quote of Brugnot before the lines of Ondine. Johannes Brahms (18331897) Intermezzo in A major, Op.118, no.3 Rhapsody in G minor, Op. 79, No.2 Ondine Ondine (from Gaspard de la Nuit) ............................. Maurice Ravel (18751937) ChaiKyou Mallinson, piano 1 0 From Six Pieces pour Deux Piano Algerienne Sicilienne Francaise Espagnole I thought to hear a faint harmony to enchant m y sleep. And around me, like a murmur, spread the songs interspersed with a sad and tender voice. Charles Brugnot Les deux Génies Listen, listen! It is I, it is Ondine who touches with a spray the resonant panes of your window, lit by the gloomy rays of the moon: and behold, in waterypatterned silk robe, the mistress of the manor, who contemplates on her balcony the beautiful starlit night and the beauteous sleeping lake. .. Robert Casadesus (18991972) Each wave is a water sprite swimming in the current, each current is a path that winds its way towards my palace, and my palace is built aqueously at the bottom of the lake, in a triangle of ﬁre, of earth, and of air. ChaiKyou Mallinson, Margaret Reitz, piano Listen, listen! My father strokes the croaking water with a branch of green alder tree, and my sisters caress with their arms of foam the fresh isles of grasses, of water lilies, and of irises, or mock at the ﬂail and bearded willow ﬁshing with a line. INTERMISSION Her song murmured, she begged me to place her ring upon my ﬁnger, signifying my marriage with an Ondine, and to accompany her to her palace, to become a king of the lakes. And I replied that l loved a mortal; she pouting, vexed, shed some tears, burst into laughter, and vanished in a sudden shower that trickled in white rivulets the length of my blue windowpanes. Videotape: Excerpts from “The First Family of the Piano” (Filmed for the Bell Telephone Hour in 1967) Introd uced by Dr. H arry B. Lincoln, professor emeritus Concerto no.7 in F Major, K 242 Allegro Adagio Rondeau .. W. A. Mozart (1 7561 791) Margaret Reitz, J o hn Covelli, piano ChaiKyou Mallinson, orchestral red uction Translations, ChaiKyou Mallinson t t “ i t t t t t t t t t t t ‘ t t t t l ‘ t l t t t t t t ﬁ t t t t t t i t t t L l A bout the Music A few years ago Christine Lindsay gave me a cassette tape of Jean Casadesus’ unedited performance of Brahms and Schumann’s pieces sent by Jean’s younger brother Guy Casadesus from Paris, France. Upon listening to the magniﬁcent tape, 1 suddenly realized how much I missed hearing Jean perform. Margaret Reitz (as a high school student) and 1 (as a university student) both enjoyed studying with Jean. To remember Jean and his parents, who were frequent visitors to Binghamton University (SUNY at Binghamton, in those days), we decided to put together a program that recalls them Jean as our adored teacher, Robert as a composer, and all as splendid performers, friends and loving family members. Jean loved Brahms for his rich harmony and unbridled romanticism. Hence, I �Testimonials decided to play the Brahms pieces. And he always enjoyed playing and also listening to French composers. Maurice Ravel was by 24 years the senior of Robert Casadesus, but 1 am sure that they were acquainted. So I decided to play Ravel’s piece. Robert Casadesus published his twopiano piece entitled “Six Pieces pour Deu x Pianos” in 1938, with a dedication to Mademoiselle Gabrielle L’Hote (his wife Gaby’s maiden name). Gaby lived in Algeria from 1903 to 1 911, which she often recounted as her happy eight years. The six pieces depict the women of Algeria, Russia, Sicily, F rance, Spain and England. Our performanc e tonight will be the premier in this region of the four pieces we selected from this work. Again Christine Lindsay, who was, along with h er husband Kenn eth (former head of the Fine Arts Dept.), one of th e best friends of Jean Casadesus’ family, kindly let me view the videotape of the “F irst Family of th e Piano” some years ago. And I very much wanted to share the ﬁlm with the audience. Dr. Harry Lincoln, who was a colleague of Jean when he was here, generously accepted the in vitation to speak for the ﬁlm showing. E Some thoughts concerning J ean Casadesus and his family at Harpur College i I i I 1 1 was privileged to join Harpur’s music faculty in 1963 where, as Professor and Chairman, I worked very closely with President Glenn Bartle, President Bruce Dearing, Dean Aldo Bernardo, an d Dr. Harry Lincoln to develop th e ﬁrst collegiate artistinresidenc e pro gram in the country. The Casadesus family’s strength was not only in excellence of individual performances but also in piano ensemble. Their famous family concert of three concerti (Bach, Mozart and Casadesus) for three pianos was played and enjoyed on many occasions worldwide, including a performan ce with the University Orchestra in Watters Theater in early 1970. Part of th is concert, the Mozart Three Piano Concerto, K 242, composed in 1 776, was at the same time composed for two pianos (both versions are identical as to the notes sounded), and both versions were published around the same time. Mozart and his sister Nanerl pe rformed the two piano version in 1780. The availability of the twopiano version allows us to commemorate that Casadesus family concert here in a hall too small for an orchestra, freeing one of us to play the piano reduction of the orchestral parts. Because there were relatively few music majors but great enthusiasm for music, the Music Department invited the New York Woodwind Quintet and the Guarneri String Quartet to visit frequently at Harpur and present their extraordinary artistry both in concerts and in a number of open rehearsals. These were all free, and they attracted a great many students, faculty, staﬀ and townspeople, and really established the leadership role of music in a liberal arts educational context, and initiated the artistin residence concept in American colleges and universities. Enter Jean Casadesus and his family and their residence on Leroy Street in Binghamton beginning in the fall of 1965. At the time of h is appointment to the Harpur music faculty he was already an internationall y acclaimed pianist who, along with his famous parents – Robert and Gaby – represented the highest level of pianistic achievement. ChaiKyou Mallinson i “ 4 N 3 LATA n i \ a r ” I { w * At this point it is very im portant to menti on an d em phasize that Jean brought to h 4 r \ / J\ o o b 9 ) o F art & So u! , 3 1 ne sc ur er F O R T L 4 d . sat Th on WSKG TY The Casadesus family – especial ly Jean, were ve ry important in the musical and cultural life at Harpur College in the 1960’s when the then “publicly supported Swarthmore – AKA Harpur College” was beginning to develop and expand its artistic resources. o ASR WHC = — Harpur/SUNYBinghamton, along with his musical and pianistic gifts, two wonderfully outgoing persons wh ich he joyfully shared with all his colleagues and students – in his studio, in his master classes, and on the concert stage – at Harpur and around the world. In addition to Jean’s fulltime residence in Binghamton with his family, Jean and his wife, Evie, also warmly embraced and were warmly embraced by their many friends in the community. This sense of personal warmth was also a part of Jean ’s parents’ frequent visits to the college and Binghamton. In this short note I’ve tried to indicate the extraordinary and wonderful growth of music at Harpur College and SUNYBinghamton in the 1960’s which was wonderfully supported by the college and enthusiastically embraced by its music faulty and distinguished artistsinresidence – especially Jean Casadesus. �When I left Binghamton in 1971 to assume the deanship of Yale ’s Graduate School of Music, one of the ﬁrst distinguished artists I invited to Yale was Jean Casadesus, who presented master classes and recitals to great acclaim and appreciation – with a promise that he would return for repeat engagements. Tragically, his return to Yale would never occur due to his very untimely death in Canada during a snowstorm while on a concert tour. All of us who knew and loved Jean and his family continue to remember fondly his musical giﬁs, his love of life, and the many warm friendships he embraced at Binghamton and beyond. Phillip F. Nelson, Ph.D. Professor and Chairm an, 196371 Music Department Harpur and SUNY Binghamton and Dean Emeritus of Music Yale School of Music II. Jean Casadesus touched down on our shores like a dazzling comet. Personable and warm, he was the opposite of the selfabsorbed, vain artiste. His modesty, his generosity towards colleagues and others, his gift of bringing out the best in us, were all hallmarks of his persona. In the short time he was with us he showed us the true Gallic style of piano playing, while also illuminating and expanding our musical horizons in endless ways. Christine Lindsay III. I was one of the lucky ones admitted to Jean’s summer Master Class Series almost 40 years ago. I learned more about music and piano playing during those sessions than I had in my whole previous life. One day, he told me that I had to decide what I wanted to specialize in (I was pursuing a Master’s Degree in English). I opted for music, and am now Music Director of the Theatre Dept. at B.U. Words can hardly express the admiration and gratitude all of his students felt for this unpretentious giant of a man. He was brilliant, generous, and full of Gallic charm. He was a stern but gentle and articulate critic, and very empathetic towards the idiosyncrasies of each of us. When he died, a light went out in our lives, but we knew that his spirit would live on in all of us. Susan J Peters IV. Jean was without doubt the best piano teacher I ever had. His expectations were high, and his patient, friendly manner brought out the best in all his students. With me, he emphasized t he importance of precise and consistent rhythm, but perhaps best of all, he taught me how to practice productively, a skill many never learn. We both loved cars; Jean had been a race car driver until deciding that such a hobby could indeed be very hazardous to one’s health. I remember the graciousness of his response to a rude gas station attendant one frigid day when Jean had asked to borrow a wrench for some minor adjustment under the hood of my little sports car. And in shopping for a new car his help was invaluable. Jean was a wonderful, grac ious, fun, and gifted h uman being who will be remembered always by all who kn ew him with fondness, admiration, and respect. Barbara Garges *********************** A bout th e P erform ers CHAI KYOU MALLINSON, currently on the faculty of the Department of Music at Binghamton University, received a B.M.d egree in Piano from Julliard, Licence d ’Enseignement from Ecole Normale de M usique de Paris, Fran ce and a M.A. degree from Binghamton University. Her teachers include Jean Casadesus, JeanMichel Damase, Jules Gentil and Alton Jones. She also performed in Master Classes by Robert Casadesus. A prize winner in the Korean National Music Competition, she was awarded the French Government Scholarship, Tanglewood Summer School Full Scholarship and the Fontainebleau American Conservatory Full Scholarship. She gave a debut Recital in Carnegie Recital Hall and has been active as a recitalist, vocal coach, accompanist, and chamber m usic performer, as well as an active adjudicator of piano auditions and competitions. She is a member of the Music Teachers National Association, and of the board of judges for the National Guild of Piano Teachers Association. She has premiered compositions of contemporary composers including Ezra Laderman, Paul Goldstaub, Meyer Kupferman and William Klenz. Among m any concerts she performed, three were sponsored by the New York State Counsel on Arts. She appeared in a performance with the Seoul Philharmonic Orchestra, which Eumag Choonch u, one of Korea’s most respected music magazines, described as “of rare quality, moving and lyrical.” MARGARET REIT Z, pianist, is a native of the Binghamton area. She received her Bachelor and Master of Music degrees in piano performance with Seymour Fink and Walter Ponce and accompanying emphasis, studying piano with Jean Casadesus, Victor Rosenbaum, Seymour F ink and Walter Ponce and accompanying with Allen Rogers. She has accompanied throughout the United States, Europe and South America: she was an oﬀicial accompanist for the MTNA State and Eastern Division Competition held at Ithaca College in 2001 and 2006, has been a guest chamber music artist in Morges, Switzerland, attended the Northwestern Workshop with Chicago Lyric Opera Faculty and Coaches, was an oﬀicial pianist �at the Internationa l Double Reed Competition and Convention in June 200 7 at Ithaca College and was selected to accompany at the Interpretation of Spanish Music Festival in G renada, Spain in July 2007, where she performed at several concerts and masterclasses coached by Teresa Berganza. A guest artist on the Cornell Summer Se ries this past summe r, she will perform Beethoven ’s Triple Concerto with Binghamton Commun ity Orchestra and is nom inated for the Heart of the Arts Award sponsored by the BC Arts Council. Ms. Reitz is currently on the faculty at Binghamton University and Ithaca College School of Music. She is on the Exec utive Board of the New York District M TNA organization, is past President of the local Southern Tier Music Teachers Association and is an active adjudicator for the National Piano Guild Organization. While recognized as one of the more versatile conductors of his generation, JO H N COVELLI has for most of his life been known and respected as an extra ordinary pianistic talent. As a Ch icagoborn piano prodigy studying since age four, he was credited in his youth with numerous concerts, broadcast recitals, special musical awards, performances at the Chicago Music Festival, with the Chicago Symphony at age 9; recipient of the Chicagoland Festival Award; a highly lauded allBach concert at th e Texas Bach Festival, as well as composing prizes. As a teenager, he was the only concert pian ist ever to w in the famous Godfrey Talent Scout P rogram and appeared in a series of nationwide CBSTV performances. His New York debut drew rave notices from every newspaper and major publication present including the Times stating “This is one of the best debut recitals in our recollection.” While conductor and soloist of the famed Seventh Army Symphony, he was selected special musical ambassador for USIS gleaning accolades as featured touring soloist throughout Europe. As a winner in two of Europe’s most prestigious piano competitions the Queen Elizabeth of Brussels, and Busoni International Piano Competition in Bolzano, Italy, John Covelli was launched from youthful prodigy to an international performer of major standing. Critical praise from major m usic capitals was unanimous. Acknowledgement: I would like to thank all the friends, colleagues, students and my family for their warm support, specially, Christine and Kenneth L indsay, Georgetta Maiolo, Bruce Borton (for making piano racks with his magical carpenter’s skill), Tim Perry, Amy Keough, Jan DelliBovi, Marnie Wrighter, Cheryl McGowan, and Pamela Walker. I also thank those who wrote wonderful articles about Jean Casadesus and his parents. Super special thanks go to our dear friend John Covelli for consenting to play the Mozart Concerto with us on very short notice. When Pej and I were told at the end of December that Wendy Lee would not be able to make the trip back here to play the Mozart concerto from Hong Kong where she took a teaching job, John stepped in with little hesitation! � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:06:55 Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. 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For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Hommage à Casadesus: celebrating the life and concert careers of the first family of piano, Robert Casadesus and their son Jean Casadesus, March 8, 2008 Recital Tape 2008-3-8 Description An account of the resource Works of Brahms, Ravel, Casadesus, Mozart.Held at 8:00 p.m., March 8, 2008, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Casadesus, Robert Mallinson, Chai-Kyou Reitz, Margaret A Covelli, John Lincoln, Harry Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2008-03-08 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 05f0b495-5901-4941-aca6-359b761632d5 https://omeka.binghamton.edu/omeka/files/original/a05129bdf0399484699e3202ff29bef3.pdf bb459fe88ef0381200e1221e0e8938e2 PDF Text Text BINGHAMTON U N I V E R S I T Y State University of N ew York '.r _' v A L C wdec ‘ 2009 ’ D E P A R T M E N T University Symphony Orchestra “Top Talent” Winners of the 20072008 Concerto & Aria Competition Timothy Perry Music Director and Conductor Saturday, March I , 2008 8: 00 p.m. Osterhout Concert Theater �The Binghamton University Department of Music presents the University Symphony Orchestra Timothy Perry, Director and Conductor, “Top Talent ” Winners of the 20072008 Concerto & Aria Competition Saturday, 8:00 P. M. Osterhout Concert Theater March 1, 2008 Binghamton University Program Concerto No. 2 in F minor, Op. 21 ....................... Frederick Chopin 1. Maestoso (18101849) Nicole Hsien Yu Hsu, Piano Souvenir de Ballet, Op. 100 Griﬀin Sargent, Violin I Charles de Beriot (18021870) Concerto for Marimba and Strings.............. ................ Ney Rosauro II. Lamento (Lament) (b. 1952) IV. Despedida (Farewell) Stephanie Lehman, Marimba INTERMISSION Micaela ’s Aria “Je dis, que rien ne m ’epouvant (Carmen, Act 111) Georges Bizet (18381873) LaToya Lewis, Soprano ‘Russian Easter Festiva l’, Op. 36 Nicolai RimskyKorsakov (18441908) Thank you for attending today’s concert and supporting our student musicians. Please join the University Orchestra. C horus and soloists on Sunday, A pril 1 3 ” as we conclude the season with a performance of Haydn ‘s evocative oratorio ‘The Creation '. �A bout th e Music Chopin’s Concerto in F minor, though numbered second, was composed in 1829, a year before the ‘ﬁrst’ concerto in E minor. Indeed, Chopin completed all six of his composition for piano and orchestra by the age of twentyone (1831). It is ﬁrst and foremost a display piece for the soloist, the orchestra relegated to a few stirring tutti passages and an occasional wind instrument soloist trading themes with the p iano. The piano writing is, however, exquisite. These early works stand at the boundary between Classical and Romantic musical languages, the form more conventional, (although there is no cadenza) with the harmonic scheme advanced for its time and quite daring. The marchlike theme alternates between the robust masculinity of the orchestral tuttis and a dreamier feminine side, especially in the second subject introduced by the oboe. In spite of some unease with the orchestral m ilieu in which it ﬁnds itself, the concerto’s opening movement delights with a mixture of bravura and introspection. CharlesAuguste Bériot rose from hum ble origins to become one of Belgium ’s most celebrated violinists and teachers. A renowned virtuoso, de Bériot worked as violinist to the k ings of France and the Netherlands. H e concertized for m any years with the celebrated soprano Maria Malabran (later his wife) and piano superstar Sigismond Thalberg. Eventually, de Bériot succeeded his teacher as Professor of Violin at the Brussels Conservatory. Numerous health problems led to an early end of his performing career, but de Beriot continued work as a composer for his instrument, completing ten concertos, numerous set of variations and contributed much useful teaching material for his instrument. The idiomatic Scene de Ballet, Op. 100 is one of the few works of the composer in print. It brilliantly captures the conventions of ballet scenes of the period with an astounding array of virtuoso bowstrokes and triplestop chords. Since its 1986 prem iere, Ney Rosauro’s ﬁrst Concerto for Marimba has become the world’s mostperformed work for the instrument. Rosauro, himself a virtuoso percussionist who now directs Percussion Studies at the University of Miami, incorporates elements of the popular, classical and jazz music of his native Brazil throughout the work, making full use of fourmallet technique throughout the plaintive Lament, while utilizing both chordal and intricate singlemallet passages throughout a recurring bar structure of 6/82/46/83/4 in the jazz tinged ﬁnal Farewell movement. Micaela’s third act aria from Carmen “I say that nothing terriﬁes me” seems to many modern o peragoers an impediment to the forward action of the story of the soldier (Don José) gone astray for love of the wild virago who is Carmen. It occu rs at the emotional tippingpoint whe re we see that Don José will follow the seductive Carmen to the tragic end of their aﬀair. In the midst of what seem ed at the time a squalid cast of characters, the imposition of this pure (one critic called her ‘goodygoody’) individual provided Carmen with what must have seemed a needed moral and religious counterweight to soothe the more socially upright members of Bizet’s a l audience. Steadfast in her love and calling for divine courage and protection, Micaela ’s pleas will be nonetheless rejected. Only the news of his mother’s impending death (after the aria) suﬀices to move the doomed corporal to return – albeit temporarily – to the land of the lawful. Recitative .4 tr This is the smugglers usual refuge. He is here; I will see him, And the duty which his mother imposed on me without trembling, I will accomplish it. 1 say, that nothing terriﬁes me, I say, alas, that I take care of myself, But try as I might to be the brave girl, at the bottom of my heard, I’m dying of fright! Alone in this wild place all alone, I am afraid, l am wrong to be afraid ; you will give me courage, You will protect me, Lord! l am going to see up close that woman whose accursed artiﬁces Have ended up making a criminal of him whom I loved long ago! She is dangerous, she is beautiful, but 1 do not want to be afraid! No, no, I don’t want to be afraid! I will speak loudly in front of her! Ah, Lord, You will protect me! Ah! I say, that nothing terriﬁes me, Protect me! Oh, Lord! Give me courage! (Translation by Lea Frey) Nicolai RimskyKorsakov spent much of the year 1888 composing two works – Scheherezade and the Russian Easter Overture in which he sought to celebrate Russian and Eurasian themes and to escape the smothering inﬂuence of ‘creeping Wagnerism ’. The composer’s deep love for the music of the Orthodox liturgy inspired the use of several resurrection canticles of the ‘Obikhod’ as themes for the composition. We hear “Let God Arise ” and “An Angel Cried” in th e slow introduction and “Let them that hate Him ﬂee before Him” and “Christ is Risen” in the allegro section. In the center of the work the composer sets for solo trombone the priest’s reading of the glad tidings of the Evangelist. RimskyKorsakov was likewise intrigued by the ways in which the ancient pagan rituals had merged with those of the church. He wrote, “This legendary and heathen side of the Holiday, this transition from the gloomy and mysterious evening of Passion Saturday to the unbridled paganreligious merry making on the morn of Easter is what I was eager to reproduce in my Overture”. Even so, the solemnity of the work leaves one in little doubt as to the sincerity of the composer’s religious feelings. Here, in the brilliant orchestration that is the hallmark of RimskyKorsakov’s genius, is the ‘bright holiday’ (the popular Russian term for Easter) in all its glory, meant as one experiences it “ in the cathedral, with people from every walk of life” T. Perry �A bout the Perform ers Soprano, LA TOYA LEWIS, is in her second year of graduate study at Binghamton University. She studies under the tutelage of Mary Burgess and coaches with Diane Richardson. Ms. Lewis is also a Resident Artist with Tri Cities Opera. The roles she has performed include Praskovia in The Merry Widow, Donna Elvira in Don Giovanni and more recently Micaela in Carmen under the baton of Maestro Duane Skrabalak. She also studies with Peter Sicilian, Duane Skraba lak and Peyton Hibbitt. In the sum mer of 200 7, Ms. Lewis performed with the Utah Festival Opera in Logan, UT covering the role of C lara in Porgy and Bess. In her undergraduate study at Purchase College, Ms. Lewis performed Barbarina in Le Nozze di Figaro and Belinda in Dido and Aeneas. Previous com petitions in which Ms. Lewis has placed include: The Jenny Lind Competition and the Second Annual Charles A. Lynam Competition in 2006. Ms. Lewis has also been the soprano soloist in Vivaldi’s Gloria and the Bach Bminor Mass. NICOLE HSIENYU HSU, pianist, began her music education and piano lessons at the age of 7. At the age of 15, Ms. Hsu enrolled at ZhongZheng Music School where she studied piano performance with ShawYu Dong, San Jin Pong, and PeiLei Chen. She has given various recitals and received her Bachelor degree of Music in piano performance in Taiwan from ChiDu College. Ms. Hsu gave her debut solo recital at the Taipei Cultural Center in 2005, and was the keyboard division’s winner of the Binghamton University orchestra’s Solo Concerto and Aria Competition in 2007. She is currently pursuing her Master of Music degree in piano performance under Ewa MackiewiczWolfe at Binghamton University. STEPHAN IE J I L L LEHMAN is now continuing her ﬁrst year here at Binghamton University as a graduate teaching assistant while pursuing her Masters degree in percussion performance. She recently graduated from the University of Delaware with a Bachelors degree in music education with a concentration in percussion. While here in Binghamton, she is spending her time teaching fellow students while practicing and performing percussion and vocal jazz. She will soon be giving the ﬁrst of two degree recitals on March 16” at 3 p.m. In this recital, she will be performing Ney Rosauro’s famous “Concerto for Marimba and Orchestra” in its entirety as well as several other wonderful works of m usical art. GRIFFIN SARGENT is a junior year at Binghamton University. Double majoring in physics and mathematics, he has been playing the violin since he was 8 years old. He has participated in numerous string festivals and regional orchestras including SCMEA, NYSSMA, LlSFA, and NYSCAME. At BU, he keeps a busy music schedule, participating in symphony orchestra, a string quartet, and studio lessons. Apart from violin, he has studied music theory and learned the guitar. After he graduates he plans to explore the lucrative industry of risk analysis while continuing his favorite hobby of music. University Sym phony O rchestra Timothy Perry, Director Flute/Piccolo Erica Leo Valerie Spiller Missy Vold an Oboe/English Horn Maxwell Rosenberg Marissa Ludwig Clarinet Matthew Hassell Bethany Bonhoﬀ Gregg Ackerman Bassoon Daniel Bessel Eleanor Sonley French H orn Diana Amari Kristie Cum mings Alexa Weinberg Robert Muller Matt Rek Trumpet Daniel Fein Matthew Giglio Trombone Thomas Ignacio Tuba Katherine Winchell Timpani Caleb R. DeGroote Percussio n Amanda Jacobs Lee Vilinsky Violin I Akira Maezawa Jehwan Lee Janet Kim Hyobin Lee Xiang He Hyeyon Se o Erin Chang Elizabeth Sterling Jenny Raphael Rachel Jacobs YeWon Kwak Richard Goldman Erika Chin Violin ll Eric Lewis Clark Aileen Giselle Ra Eileen Tam Yang Hu Boaz Tingson Amy Honigsberg Dana Kerker Hemangi Shah Beth Vayshenker Kevin Acunto Christina Laube Andreana Ferro Viola Sarah Kuras Shane Thorn Sarah Sterling Jeﬀrey Kohn Joseph Giliberti Janet levins Alexandra Burkardt Danielle Sofer Kenneth Duge Victoria Brown Violoncello Holly Agar Gwang Yol Lee Jennifer Chen Dam Soh Emily Creo Stephanie Radzik Ryan Joyce Michael Lamb Daniel Copel Alexis Lear Contrabass Stephen Brooks Rachel Casey Owen Dombert David Katz Serena Murray Keyboard Karmi KnightWinnig Special Thanks to O ur Competition Judges Prof. Bruce Borton Prof. Paul Schleuse Mr. Hakan Hromek Orchestra Librarian Emily Creo The University Symphony employs rotating seating. SA Chartered 1966 �Sunday March 2 – South of the Border : Explorations (Lecture and Concert) with guest artist Makoto Naku ra, marimba, and Binghamton Philharmonic ComposerInResidence C arlos SanchezG utierrez – 3:00 p.m. – Anderson Center Chamber Hall – free. Cosponsored by the Music Department and the Binghamton Philharmonic. Th ursday, March 6 – MidDay Concert – 1 :20 p.m. – Casadesus Recital Hall free — Saturday, March 8 – Hommage a Casadesus – 8:00 p.m. – Casadesus Recital Hall $9 general pubic; $7 faculty/staﬀlsen iors; $1 students Sunday, March 9 – Wind Symphony 3:00 p.m. – Anderson Center Chamber Hall – free Th ursday, March 1 3 – MidDay Concert – 1 :20 p.m. – Casadesus Recital Hall – free Saturday, March 1 5 – Senior Recital : Alexander Blitstein, tenor – 3:00 p.m. – Casadesus Recital Hall – free Saturday March 15 – Music of the World : Latin America ( Harpur Chorale and Women ’s Chorus) – 8:00 p.m. – Anderson Center Chamber Hall $9 general public; $7 faculty/staﬀ/seniors; free for students Sunday, March 1 6 – Master ’s Recital : Stephanie Leh man, percussion – 3:00 p.m. – Casadesus Recital Hall – free Sunday, March 1 6 – International Contem porary Ensemble – 3:00 p.m. – Anderson Center Chamber Hall $9.00 general public; $7 faculty/staﬀ/seniors; free for students Th ursday, March 20 – MidDay Concert – 1 :20 p.m. – Casadesus Recital Hall – free Th ursday, April 3 – MidDay Concert – 1 :20 p.m. – Casadesus Recital Hall – free Friday, April 4 – Master ’s Recital : Heather Montana, soprano – 8:00 p.m. – Casadesus Recital Hall – free Saturday, April 5 – Clarinet Studio Reci tal – 3 :00 p.m. Casadesus Recital Hall free � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound cassette 2 sound discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 42:16:00 Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. 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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 "Top Talent," winners of the 2007-2008 concerto & aria competition, March 1, 2008 Recital Tape 2008-3-1 Description An account of the resource Held at 8:00 p.m., March 1, 2008, Osterhout Concert Theater. Creator An entity primarily responsible for making the resource Perry, Timothy Hsien-Yu Hsu, Nicole Sargent, Griffin Lehman, Stephanie Lewis, LaToya Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2008-03-01 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 19c1a72a-a9f0-4b50-a97b-586bcbc354a9 https://omeka.binghamton.edu/omeka/files/original/8502e15f9694b5ab133a3638cafd5de0.pdf 5cea0c247ef502f8860507144ef5eeb8 PDF Text Text BINGHAMTON U N I V E R S I T Y State University of New York vdee [4 R E P A R T M E N T ROMANCE, FANTASY, T R A G E D Y featuring MOBIUS Jan ey Choi, violin Ro berta C rawford, viola Stephen Stalker, cello Michael Salm irs, piano with guest artist Jo h n Lathwell, oboe Sunday, February 10, 2008 3 p. m. Anderson Center Chamber Hall �PROGRAM l Serenade in C, Op. 10 Marcia Romanza Scherzo Temo con variazioni Rondo Erné Dohnanyi (18771960) Phantasy Quartet for Oboe and Strings, Op. 2....... Benjamin Britten (1913–1976) INTERMISSION Piano Quartet in C Minor, Op. 60 Allegro non troppo Scherzo: Allegro Andante Finale: Allegro comodo Johannes Brahms (1833–1897) �STEPHEN STA LKER, cellist, teaches at Binghamton University. He formerly taught at Colgate University, Mansﬁeld University, Ithaca College and the ABOUT T H E PERFORM ERS 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 University. 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 of four string quartets by Henry Brant. With violinist, Janet Brady, and pianist, Walter Ponce, he performed the complete Beethoven Trio cycle at SUNYBinghamton. He performed with Solisti Canadianborn violinist JANEY CHOI joined the faculty of Binghamton University in 2006. Dr. Choi attained her Doctor of Musical Arts degree at Rutgers University, study ing with Arnold Steinhardt, and holds her Bache lor and Masters degrees from The Juilliard School where her major teachers were Joseph Fuchs and Joel Smirnoﬀ. She gave her Carnegie Hall recital debut in 1997 as a winner of the Artists International Auditions and continues an active performing career as a recitalist, chamber, and orchestral musician throughout the country and abroad. She has participated in such festivals as Mostly Mozart, Juilliard’s Focus Festival, Norfolk, Taos, the Spoleto Festivals, Festival Musical de Santo Dom ingo, the Santa Fe Opera and the Sarasota Opera. An avid interarts and crossgenre collaborator, she is the Music Director of Thomas/Ortiz Dance, and has performed numerous times with the Parsons Dance Co. at the Kennedy Center in Washington, D.C. She has recorded and appeared with such mainstream performers as Bono and Quincy Jones, Enya, Elton John, Sarah McLachlan, Lisa Loeb, Kanye West, JayZ and Beyoncé. Ms. Choi is a Teaching Artist for the New York Philharmonic, Lincoln Center Institute, Chamber Music Society of Lincoln Center and the Bloomingdale School of Music in New York City. ROBERTA CRAWFORD, violist, performs extensively as a recitalist and chamber musician. As associate director and a founding member of the Finger Lake Chamber Ensemble, Ms. Crawford has participated in over one hundred solo, chamber, and lecturerecitals presented by the ensemble since its formation in 1990. She has performed with the Catskill Chamber Players, appeared frequently on the Cayuga Cham ber Orchestra’s Sunday Chamber Music Series and has been a guest artist with the Ariadne String Quartet. Ms. Crawford’s orchestral experience includes performances with the Portland and Syracuse symphonies as well as the Skaneateles Festival Orchestra, and she has served as principal violist for the Cayuga Chamber Orchestra. An advocate of new music, Ms. Crawford has premiered numerous works featuring viola and has been the dedicatee of several works written speciﬁcally for her. She has participated 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, Ms. Crawford has served as clinician, coach, and adjudicator for numerous music organizations, as Director of V ioIaFest at Binghamton and is an artist faculty member with NYASTA ’s String Institute at Ithaca College. She has been a guest faculty member at Phillips Academy, the Quartet Program, Ithaca College, and the Eastman School of Music and is Coordinator of Strings at Binghamton University. 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 Com petition 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. 1 l Pianist MICHAEL SA LMIRS, a found ing member and artistic director of the Finger Lakes Chamber Ensemble, is well known as a recitalist and chamber musician. He has appeared as soloist with the Corning Philharmonic, Binghamton University Orchestra, Cayuga Chamber Orchestra, and is frequently a featured pianist on their Sunday Chamber Series. In addition to performing most of the standard chamber music repertoire for strings and piano, he has premiered numerous solo and chamber works, and recently gave the world premieres of David Liptak’s and Marek Harris’ Piano Quintets. He has also participated in such contemporary music series as Binghamton University’s Musica Nova, Cornell University’s Ensemble X, Chiron, and has toured and recorded for the Syracuse Society for New Music. JOHN LATHW ELL is the princ ipal oboist of the Binghamton Phi lharmonic, the TriCities Opera and the Cayuga Chamber Orchestra. He also performs regularly with the North Eastern Pennsylvania Philharmonic, the Skaneateles Festival and is active as a chamber musician throughout the central New York area. In New York City, Mr. Lathwell has performed with the Orchestra of St. L ukes, the New York Chamber Symphony, the American Composers Orchestra, the Westchester Philharmonic and the Brooklyn Philharmonic among many others. Mr. Lathwell is a member of the music faculty at both Binghamton University and the Tennessee Govemor‘s School for the Arts. He has also taught at Ithaca College. His primary teachers have been Joseph Robinson, principal oboist of the New York Philharmonic and Richard Killmer, Professor of Oboe at the Eastman School of Music. �Program Notes E rnst von Dohnanyi 18771960 Serenade in C for Strin g Trio, Op. 10 Ernst von Dohnanyi was an important ﬁgure in Hungarian music during the early part of the twentieth century. He was a highly acclaimed pianist as well as a conductor, composer and pedagogue who used his great inﬂuence to support the work of the younger generation of Hungarian composers including Bartok, Kodaly and Weiner. When Nazi political pressure in Hungary intensiﬁed, Dohnanyi resigned his directorships of the Hungarian Radio Orchestra and the Budapest Philharmonic, left the country and eventually emigrated to the United States where he held the position of composerinresidence at Florida State University in Tallahassee. o Dohnanyi ’s earlier works have their roots in nineteenth century Romanticism. Brahms in fact heard an d praised his Piano Quintet in c minor. The Serenade for String Trio dates from 1902 and demonstrates Dohnanyi ’s search for a more individual style incorpo rating nineteenth centu ry tonal language into more terse forms. The work features both romantic and folk elements interwoven with surprising twists of harm ony and lush string sound. –Robena Crawford Benjamin Britten 1913–1976 P hantasy Q uart et for O boe an d String Trio Benjamin Britten was only eighteen and still a student at the Royal College of Music when he entered this work in the Walter Wilson Cobbett Phantasy Competition. Cobbett was an early music enthusiast who in 1907 started oﬀering annual prizes, hoping to revive the Elizabethan viol fantasy form. This form combined diﬀerent episodes, each with a diﬀerent time signature, into a single piece. Cobbett ’s competition was ope n only to British composers but the young Britten was certainly in good company. Other entrants included giants such as Vaughan Williams and Brittens ’s long time mentor Frank Bridge. Although h is quartet did not win, the piece was premiered in 1933 by the great British oboist Leon Goosens, to whom it is dedicated. The piece was subsequently pe rformed by Goosens and members of the International String Quartet in Florence, at the International Society for Contemporary Music festival of 1934. This performance brought the then nineteen year old Britten his ﬁrst international recognition and foreshadowed his career as one of the great composers of the 20th century. —John Lathwell Johannes Brah ms 1 833–1 897 Piano Q uart et in C M inor, Op. 60 Brahms made a signiﬁcant contribution to the piano quartet genre with his three quartets; the G minor, Op. 25, A, Op. 26 and the C minor, Op. 60. Brahms ﬁrst worked on the C minor piano quartet from 1854 to 1856. During this time his friend and mentor, Robert Schumann was institutionalized for mental illness and Brahms moved to Dusseldorf to give support to Robert’s wife, Clara and her seven children. This was an extremely diﬀicult time for the young B rahms. He found himself emotionally torn between his ﬁdelity and regard for Robert and his deepening love for Clara. Robert died in 1856 and Brahms left Dusseldorf, unsatisﬁed with his life and his piano quartet.Seventeen years later, in 1873, he returned to this quartet, retaining the third movement, revising the ﬁrst, and composing an entirely new second and fourth movement. The original inspiration, however, remained. He wrote his publisher, “You may place a picture on the title page, namely a head with a pistol in front of it. This will give you some idea of the music. 1 shall send you a photograph of myself for the purpose. Blue coat, yellow breeches, and to pboots would do well, as you seem to like color printing.” Brahms hinted in various ways, both to Simrock, his publisher, and other friends, that the quartet could be taken as a musical illustration of Goethe’s novel, The Sorrows of Young Werther, in which the protagonist, Werther, falls hopelessly in love with his friend’s ﬁance and shoots himsel f — hence the quartet’s nickname,” Werther". The C minor quartet, is replete with drama, pathos and soaring melodies. Brahms ’s three piano quartets, considered a cornerstone of the repertoire, pay tribute to and enrich the legacy begun by Mozart. —Roberta Crawford D o n C arm e n > o Seville Y age l a 2 �( S P E E N S Sunday, Fe br uary 1 7 – A Tango fo r Two : G uest Organ ists Annette R ichards and David Yearsley – 4:00 p.m. – First Presbyterian Church, Binghamton $15 general public; $13 faculty/staﬀ/seniors; $7 students F riday, Fe br uary 22 – Mast er ’s Recital : LaToya Lewis, so prano – 8:00 p.m. – Casadesus Recital Hall – free Sunday, Fe br uary 24 – Mus ica Nova – 3:00 p.m. – Ande rson Center Chamber Hall $9 genera l public; $7 fac ulty/staﬀ/seniors; $1 students Saturday, Mar ch 1 Univers ity Orchestra : Top Talent (C oncerto Competition Winners) – 8:00 p.m. – Osterhout Concert Theater $9 general public; $7 faculty/staﬀ/sen iors; free for stu dents Sunday M arc h 2 South of the Border : E x plorations ( Lecture an d Concert) with guest art ist Makoto N ak ura, m ari m ba, an d Binghamton Philharmonic ComposerInR esidence Carlos SanchezG utierrez – 3:00 p.m. – Anderson Center Chamber Hall – free. Cosponsored by the Music Department and the Binghamton Ph ilharmonic. Th ursday, M arc h 6 MidDay Concert – 1 :20 p.m. – Casadesus Recital Hall – free It t t mg \ 6)“ spressio ~~ Ys A t Art & Soul o f t h e S ou thern T ier a new weekly series featuring art and artists o f the local region. a y U C I Thursdays att om c nroaccasTrvc IEENER w 4 > { . ¥. nr. 2 o> N v s — f � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:12:09 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE190111">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE190111</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Romance, Fantasy, Tragedy, featuring Mobius, February 10, 2008 Recital Tape 2008-2-10 Description An account of the resource Works of Dohnányi, Britten, Brahms. Held at 3:00 p.m., February 10, 2008, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Choi, Janey Crawford, Roberta Stalker, Stephen Salmirs, Michael Lathwell, John Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2008-02-10 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 b7c822e1-5950-49da-863a-9c4925b21a8d https://omeka.binghamton.edu/omeka/files/original/eda90bda91a09ad2ead303fda6ced6d2.pdf f7399522e718b36a1257f6940764c113 PDF Text Text BINGHAMTON U N I V E R S I T Y State University of New York wdec [3 D E P A R T M E N T 11,7 _ . LINK ORGAN S ERIES A TANGO F O R TWO featuring G uest Organists : An nette Richard s David Yearsle y Sunday, February 17, 2008 4:00 p.m. First Presbyterian Church �PROGRAM A Fanc y for two to pla y pressing Art 8 : S oul of th e S outhern Tier a new weekly series featuring art and artists of the local region. T h u r s d a y s a o i n W S r K G T V t S p m e –– LL ppP U BAL I C BROADCASTING P U B L I C BROADCASTING I. Thomas Tomki ns (15721656) A Verse – In N omine N1colas Carleton Canon Two in One Benjamin Cook e (17341793) (c.1 5701656) II. ........ Michele Gaggia Regium........... us super Thema Canon Perpetu (b. 1965) in Contrapunto alla Q uarta Canon a 4 (super Thema Regi um) from .......Johann Sebastian Bach (16851750) A Musical Oﬀering, BWV 1 079 ...Johann Sebastian Bach Sei Lob und Preis mit Ehren.. BWV 51 From Jauchzet Got! in allen Landeri a v i e r e F uga a 72, Cl Fuga a 4, a 2 Claviere, i in alio modo, from The Art of Fugue, BWV 1 080 E Concierto para dos organos Andante Allegro 4 Allegretto . . . From Sonat a 117A Op. 18 III. Johann Sebastian Bach Antonio Soler (1 7291 783) Johann Christian Bach (1 7351 782) .. Wolfgang Am adeus Mozart . Allegro molto. . (17561791) From Symphony No. 40 in G M inor IV. Overture to Wi lliam Tell.........ccccccceevevvvvvvnnnnne.....Gloacchino Rossini (17921868) �PROGRAM NOTES The contrapunta l works in section two of tonight’s program represent abstract music well suited for performan ce by two organ ists. The two fourvo ice fugues from Die Kunst der Fuge (The Art of Fugue), in particular, cann ot be played intelligibly by only one keyboard player. These are works of astounding The organ is both the largest and the loneliest of musical instruments. The organist often plays her instrum ent from a distant gallery high above the churc h ﬂoor; often the separate division of the organ called the Ruckpositiv hides th e player completely from view. A lthough listeners far removed from the console often turn to look up at the organ, not much if anything can be seen of human music making. The glittering facade looks down impassively, if no less magniﬁcently, at those in its aural and visual thrall below. The vast majority o f the repertoire for the organ is made up of solo works, and although the accompaniment of choirs or congregations constitutes a rich part of the instrument’s historic and living tradition, a sense of isolation can occasionall y overtake an organist, alone in a cold and dark church, cut oﬀ from listeners and other musicians. For at least half a millennium — and probably longer — organists have played duets, not only to augment what two hands and two feet can do, but because company is a good thing, even at a sometime keyboard of only fouroctaves. Beyond the surviving duets that perhaps document attempts to escape this solitary existence, a vast corpus of instrumental and vocal works of all periods are just waiting for two lonely organists willing to arran ge them for their mutual enjoyment and for the pleasure of those who care to listen from close or far. Tonight’s program begins with two duets by Thomas Tomkins and Nicolas Carleton, close friends and neighbors in renaissance Worcestershire. These two contrapuntal works, written in the learned style of vocal polyp hony, survive in a manuscript once owned by Tom kins and likely conceived as a pair for the two to play together. We oﬀer two registrational possibilities for the performance of this type of piece: th e ﬁrst work is h eard on the plenum, a full registration employing the full range of pitch levels; for the second we draw a single stop, a principal o f singing quality, which recalls the vocal origins of the genre. The moving grandeur of these two works stands in contrast to the shim mering, if ﬂimsy, contrapuntal facade of Cooke’s ﬁ'ivolous Canon. Duets for the keyboard became popular in the 1 8th century, as composers sought to capitalize on the growing demand of bourgeois consumers for domestic musical recreation. J.C. Bach’s Allegretto was composed in London, where such works were part icularly fashionable. The piece was originally intended for piano or harpsichord, but its sweet elegance sings through the ﬂutes of this organ. According to the title page of Soler’s double organ concertos, the composer wrote the works to please the young Prince Gabriel, for performance by him and Soler in a small palace built on the Escorial grounds between 1768 and 1772. This double organ was a single instrument with two separate keyboards; their placement is uncertain but sources relate that the organists could see one another. On an organ with two or more manuals, the players have space for their individual parts of this now lush, now virtuosic music, thou gh they sit next to each other on a single bench rather than at separate consoles. ingenuity, aside from their considerable technical demands on the players. Both pieces use the same subject and are “counterfugues,” in which the successive entries of the theme alternate between the rightsideup and upsidedown versions. Thus on the small scale the fugal subjects mirror each other within each piece, and on a larger scale the two fugues are inverted images. We have included both a canon from Bach’s other late collection of learned counterpoint, 4 Musical Oﬀering, and a modern setting of Frederick the Great’s royal theme by the phenomenal contrapuntist, the Italian composer and organist —and our friend — Michele Gaggia, whose mastery of Bach’s strictest style has inspired the genius of his late 20™century students. Bach himself viewed the organ as ideal for transcriptions, and he set his own concerted vocal works for organ in a printed collection popularly known as the Schubler chorales. Our version of an aria from his Cantata 51 is a sort of Schubler chorale for four hands and two feet, in which the two right hands play the violin parts, a left hand is the bassline, and the feet are responsible for th e chorale melody, a line sung by a soprano in the cantata. We conclude tonight’s recital with our own arrangements of two famous orchestral works: the ﬁrst movement of Mozart’s Symphony in G Minor, and Rossini ’s Overture to William Tell. In the ﬁrst of th ese we have tried to imitate the nature of the 18™century orchestra with its wind section (called the Harmonie in German): the clarinets, ﬂutes and bassoons were placed distinctly behind the main orchestra and their timbre was used both to enrich the overall texture and to provide an often piquant contrast to the strings. We hope that our arrangement preserves the brilliance of Mozart’s subtle yet electrifying writing, or even, perhaps, presents this aspect of his genius in a slightly new light. It was Mozart who is said to have dubbed th e organ the “Queen of Instrume nts”, and we feel sure he would have approved o f its union with his orchestral masterpiece. The mighty color machine that is the organ is also up to the task of capturing the rich expressive spectrum of Rossini’s bestknown overture, from the brooding Romanticism of its opening, through the humid electric bluster of its storm to the verdant ﬂutings that follow —and the vivid breathless gallop of the ﬁnale. David Yearsley �ABOU T T H E PERFO RMER S Her scholarly ach ievements are no less impressive; she was a Fellow at the Getty Center for the H istory of Art and the Humanities in Santa Monica, Californ ia in Active as a performer on organ, clavichord, harpsichord, and fortepiano in North America and Europe, DA VID YE ARSLE Y was ed ucated at Harvard College and Stanford University, whe re he received his Ph.D. in Musicology in 1994. That same year he became the only musician in the history of the Bruges Early Music Festival to win all its major prizes. His organ recordings include: Music of a Father and Son: The Organ Works of Delphin and Nicolaus Adam Strungk heard on the A rp Schni tger organ in No rden, G e rmany a nd The Great Contest: Bach, Scarlatti, Handel; and, with Robe rt Bates, In Dialogue, featuring 1 7“ and 18“ century music arranged for antiphonal organs. His musical partnersh ip with violinist Martin Davids has yielded most recently the CD, All Your Cares Beguile: Songs and Sonatas from Baroque London. Energetically engaged with the historical context for his music making, Mr. Yearsley has written numerous articles on European musical culture in the 1 7” and 18™ centuries, and his work has appeared in leading scholarly journals such as the Journal of the American Musicological Society, Music & L etters, Early Music and EighteenthCentury Music. His widelypraised book, Bach and the Meanings of Counterpoint appeared in 2002 from Cambridge University Press. Mr. Yearsley h as been an Alexander von Humboldt Fellow at the Humboldt University in Berlin and a WennerGren Foundation Fellow at the Un iversity o f Gothen burg in Sweden. For more than a decade he has been m usic critic for the infamous country weekly, the Anderson Valley A dvertiser . A mem ber of th e pionee ring synthesizer trio, Mother Mallard’s Portab le Maste rpiece Company, he is Associate Professor of Music at Cornell University, in Ithaca, New York, where he lives with his wife, Annette Richards, the Cornell Un iversity Organist and Professor of Music, and their two daughters. 199495, and at th e Society for the H umanities at Cornell in 19989. He r scholar ly work is marked by its interdisc iplinarity, and has focused on lateeighteenth century music and its relationship with the visual and literary arts. Along with dance historian Mark Franco she edited a volume of essays entitled Acting on the Past: Historical Perform ance Across the Disciplines (which appeared from Wesleyan University Press in 2000); her book, The Free Fantasia and the Musical Picturesque, wh ich explores the intersect ions between musical fantasy and the landscape garden in late 18™century Germ an music culture, came out in 2001 from Cambridge University Press. Ms. Ric hards is the editor of C. P. E. Bach Studies (Cambridge University Press, 2006) as well as the com plete organ 0 music of C. P. E. Bach for the new Complete Edition of C. P. E. Bach ’s works. In 20035 she took a twoyear sabbatical in Berlin, supported by a Mellon Foundation New Directions Fellowship, and a fellowship from the Alexander von Humboldt foundation. She is currently writing a book on the role of the visual arts in German and English music around 1800; th is promises to be a provocative exploration into the dark hermeneutics of musical life in the age of European enlightenment and revolution. She is also preparing a CD recording of the complete organ m usic of C. P. E. Bach. Annette Richards is Professor of Music, and University Organist at Cornell University. ANNET TE RICHA RDS divides her time between musical scholarship and performance. Born in London, Ms. Richards holds a bachelors degree in English from Corpus Christi College, Oxford where she served as organ scholar. In 1991, she rece ived the prestigious Performe r ’s Degre e in Organ from the Sweelinck Conservatorium, Amsterdam and four years later, a Ph.D. in musicology from Stanford University (Cali fornia). A specialist in m usic of the Italian and North Germ an Baroq ue, Ms. Richards has concertized on numerous historic and modern instruments in the Netherlands, England, Ireland, Spain, Germany and the United States. She also regularly performs music from the virtuosic 19th an d 20thcentury repertories, and prizes she has won at international festivals and competitions incl ude third prize at the 1992 Dublin International Organ Competition and, in 1994 ﬁrst prize with David Yearsley at the fa mous Bruges Early Music Festival in the competition for organ duo. Her CD recording “Melchior Schildt and the North G erman Organ Art", recorded on the h istoric organ at Roskilde Cathderal, Denmark, will be released this spring from Loft Recordings (Seattle). 0 �F riday, F e b ruary 22 – Maste r ’s Recital : LaToya Lewis, so prano – 8:00 p.m. Casadesus Recital Hall – free Sunday, Fe bruary 24 – Musica Nova – 3:00 p.m. – Anderson Center Chamber Hall $9 general public; $7 faculty/staﬀ/seniors; $1 students Saturday, March 1 – University O rchestra : Top Talent (Concerto Competition Winners) – 8:00 p.m. – Osterhout Concert Theater $9 general public; $7 faculty/staﬀ/seniors; free for students Sunday March 2 – South of the Border: Explorations (Lecture and C oncert) with guest artist Makoto Nak ura, marim ba, an d Binghamton Ph il harmonic ComposerInRes idence Carlos SanchezG utierrez – 3:00 p.m. – Anderson Center Chamber Hall – free. Cosponsored by the Music Department and the Binghamton Philharmonic. Th ursday, March 6 – MidDay Conc ert – 1 :20 p.m. – Casadesus Recital Hall ~ free Saturday, March 8 – Hom mage a Casadesus – 8:00 p.m. – Casadesus Recital Hall $9 general pubic; $7 faculty/staﬀ/seniors; $1 stude nts Sunday, March 9 – Wind Sympho ny – 3:00 p.m. – Anderson Center C hamber Hall free Th ursday, March 1 3 – MidDay Con cert – 1:20 p.m. – Casadesus Recital Hall – free Saturday, March 1 5 – Senior Recita l : Alexander Blitste in, tenor – 3:00 p.m. – Casadesus Recital Hall – free Saturday March 1 5 – Music of the World : Latin America ( Harp ur Chorale an d Women ’s Chorus) – 8:00 p.m. – Anderson Center Chamber Hall $9 general public; $7 faculty/staﬀ/seniors; free for students Sunday, March 1 6 – Master ’s Recital : Stephanie Le h man, percussion – 3:00 p.m. – Casadesus Recital Hall – free Sunday, March 1 6 – International Contem porary Ensemble – 3:00 p.m. – Anderson Center Chamber Hall $9.00 general public; $7 faculty/staﬀ/seniors; free for students Th ursday, March 20 – MidDay Conc ert – 1:20 p.m. – Casadesus Recital Hall – free � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:07:41 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE190108">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE190108</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A Tango for Two, February 17, 2008 Recital Tape 2008-2-17 Description An account of the resource Works of Tomkins, Carleton, Cooke, Gaggia, Bach, Soler, Mozart, Rossini.Held at 4:00 p.m., February 17, 2008, First Presbyterian Church. Creator An entity primarily responsible for making the resource Richards, Annette Yearsley, David Gaynor Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2008-02-17 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 02268d70-73b2-4bf8-a14a-3f14880a173a https://omeka.binghamton.edu/omeka/files/original/78adf3a26af83934fd96e915d84431ea.pdf 2a64810a09651db1e5e6816f58faa347 PDF Text Text BINGHAMTON U N I V E R S I T Y State University of New York e . d e c [4 yAels] D E P A R T M E N T THU RSD AY MIDDAY CONCERT Thursday, March 6, 2008 1 : 2 0 p.m. Casadesus Recital Hall �P rogram Concerto for marimba and orchestra Movement 1 and 3 ceeeeeee. Ney Rosaura (b. 1952) Stephanie Le h ma n, mari m ba M a rga ret Reitz, pia no Das Veilchen W.A. Mozart (17561791) A little violet stood upon the meadow, Hunched o’er in anonymity; Such a loveable little violet! Along came a young shepherdess Light paced, full of contentedness Along, along, The meadow, and sang. Ah! And alas! There came the maid And no heed to the violet paid, Crushed the poor little violet. It sank and died, yet ﬁlled with pride: And though I die, I shall have died Through her, through her, And at her feet have died.” Ah!” thinks the little violet, “were I just The fairest bloom of nature For just a little while yet, Until that darling seizes me And to her bosom squeezes me! For just, for just A quarter hour long!” Poor little violet! Such a loveable little violet! VEVEENE . W.A. Mozart Un moto di gioia An emotion of joy I feel in my heart that says happiness is coming in spite o f m y fears. Let us hope that the worry w ill end in contentment. Fate and love are not always tyrants. (17561791) From weeping, from pain one cannot always live Sometimes then is born : a good thing out of sorrow. And when one believes the danger is greatest, one sees shining a greater calm. Jana K ucera, sop ra no C haiKyou Mallinson, pia no From AICI: Verdi prati Tornami a va gheggiar George Frideric Handel (16851 759) Tornam i a va gheggiar (Ret urn to me to languish) from Alcina Return to me to languish, Verd i p rati (G reen meadows) from Alcina Green meadows, lovely woods, You will lose your beauty, Pretty ﬂowers, rapid brooks, Your charm and beauty Will soon change. The beautiful object has changed, Only you it wants to love this faithful heart, My dear, my good one, my dear! Already I gave you my heart: I trust you will be my love; but you will be too cruel, my dear hope. To the dismay of the ﬁrst glance, Then everything will return in you. Su ng Jin Par k, sop rano ChaiKyou Mallinson, piano All mein Gedanken Richard Strauss ( 19641949) All m y though ts (Op. 2 1 , no. l ) A ll my thoughts, my heart and my They ﬁnd the village and ﬁnd the house, They ﬁnd her window from among all others, And knock and call; Open up, let us in, We come from your love And greet you nicely, Open up, open up, let us in. mind, There, where my love is, they go there They go their way through wall and door, No latch or trench keeps them, They go as birds do, high through the sky, They need no bridge over water or crevice, Du meines Herzens Kronelein You , m y h ea rt ’s little c row n (Op. 21, no.2) You my heart ’s crown, You are made o f pure gold, The others look for love and favor With a thousand false words, Y o u wh o ha ve no lie in yo ur words or your eyes When others are near, Then are you still much more lovely. The others play coy, You are so soft and still, That every heart is brightened by you, It is by luck, not by your design. Are valued everywhere. You are like the rose in the forest, Who knows nothing of her own bloom, But each who passes by, Is warmed by her in his soul. Heat her Monta na, sop ra no — ‘ 7 – — �1 6 B H O B E R R ” . u . “ . u . u . n . “ . u . n . n . u . n . u . u . u . u Abbandono Mattinata Povero Cor alto m a re (In high seas) ie sail is torn, the anger of the war ves no mercy. )w, the last nest, the cloud has been oken. Lord, have mercy! r the arrows of heaven resound, litting here and there s roaring throat opens the abyss, r d have mercy! ipe ﬂees from the choruses. :ath is here it even a shadow o f soul in the tance rd, have mercy! attinata (Morning) ey spread like the be lls at the dawn the ave is hand spreads like a grave and itle sound e distant bells. »wwhite like snow the fog covers sea racefully dances, dances. It is rosy, isappears o lden mouth drinks it. And snow d roses and gold pours fresh in the morning other resonant hymn grow like ves d bells in the chorus: Salve, ua coe/i. sing the day, our beauti ful one goes o f dreams and leaps! ' maris stella Salve, Regina coeli! ..........Ottorino Respighi A bbandono (A b ba ndon ment) I am so weary of ﬁgh ting, give me the peace you alone are able to give I am so weary of thinking Give m e the serenity of your great eyesl’m so weary of dreaming, you wake me up to a glorious day I’m so weary of wandering, give me wings and call me to rest. Povero Cor (Poor H eart) Oh, my poor heart, peace is dead, love is dead, what ma kes you jump again? Fidelity is dead; why are you hiding the voracious ﬂame of life in your dark womb? Oh my poor heart, when the cold night is silent,and painful insults weigh heavily on veiled memories, I seem to hear your stiﬂed crying. Oh my poor heart, if yo u were dead! Cold like ice, wrapped in anguish, where would you ho pe to ﬁnd joy or comfort? Oh my poor heart, do not revive yourself; Oh my poor heart locked within my breast, make a tomb and allow y o u r s e l f die. La Toya Lewis, sop ra no Margaret Reitz, pia no � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 34:10:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE190105">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE190105</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Thursday mid-day concert, March 6, 2008 Recital Tape 2008-3-6 Description An account of the resource Translation of songs included in accompanying program.At head of title: Works of Rosaura, Mozart, Handel, Strauss, Respighi.Held at 1:20 p.m., March 6, 2008, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Lehman, Stephanie Reitz, Margaret Kucera, Jana Mallinson, Chai-Kyou Montana, Heather Park, Sung-Jin Lewis, LaToya Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2008-03-06 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 6f81b739-499e-43d4-8575-5cb6a0ab7b61 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 47:51:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE190102">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE190102</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Thursday mid-day concert, May 1, 2008 Recital Tape 2008-5-1 Description An account of the resource Text or translation of songs included in accompanying program.At head of title: Works of Schubert, Mozart, Dupont, Baron, Bach, Dorham.Held at 1:20 p.m., May 1, 2008, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Freeman, Abigail Ackerman, Gregg Mallinson, Chai-Kyou Kucera, Jana Baron, Alexander Lee, Sunghee Jang, Jieun Bessel, Daniel Navarette, Katherine Grennan, Kristen Sonley, Eleanor Luce, Gabriel Deeney, Patrick Koegel, Brad Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2008-05-01 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 14c07038-f185-483e-aeb4-a8c709dd9fd3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 50:18:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE190099">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE190099</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Binghamton University Flute Ensemble, May 3, 2008 Recital Tape 2008-5-3c Description An account of the resource Works of Hall, Bach, Beethoven, Mozart, Hermann, Sullivan, Chapman, Isaacson, Rossini.Held at 12:00 p.m., May 3, 2008, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Maiolo, Georgetta Lawson, William James Chen, Anthony Demsey, Laura Goldenberg, Dawn Dou, Xixi Guarino, Juliette Haddad, Rachelle Hays, Leah Kahn, Judy Navarettte, Katherine Scott, Jaclyn Spiller, Valerie Voldan, Melissa Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2008-05-03 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 6909f07e-36a8-411e-9f68-63e1bf6987d0