60 10 1775 https://omeka.binghamton.edu/omeka/files/original/0d21c7a6b105064ae254492f8b5ad82c.pdf 196a497a2d2363acf82c8440d5eda95d PDF Text Text BINGHAMTON Y R I Y E R D I ST A T E   U N I V E R S I T Y   O F   N E W   Y O R K (4 CESEC D E P A R T M E N T The Bingham ton University Sym phon y O rchestra presents MUSIQUE F ANTASTIQUE with Timothy Perry, Cond uctor Saturday, May 2, 2009 8:00  p.m. Osterhout Concer t Theater �PROGRAM ' M M M … W M l I { } I Than kyouforattendin gtoday’sconcer t . We appreciate yo ur suppor t of our outstanding student­musicians ! Please join the Orchestra for its exciting 2009­2010 season: October 14” ACA Gala with the Paul Taylor Dance Com pany December 12” Mus ic Depar tment Gala “Facul ty Fireworks!” March 6” Winners of the USO Concerto & Aria Competition May 1 * Spring Concert P rogram to be annou nced ) ni  D it  D daie  D L a ti D La CPE)  ani  VCL  eit  D at i O Symphonie Fantastique, Op. 14 ( 1 8 3 0 ) . . . Reveries.  Passions. I.  Un bal II.  ps Scène aux cham III.  ­  IV.  ­  Marche au supplice­ Songe d ’une nuit du Sab bat bg  .Hector Berlioz (1803­1869) i {i { l ! l Intermission l ! l i 1 & ! } i i !H Î {{ } Î Suite (1919) from L ’Oiseau de Feu. ... (The Firebird) Introduction­ L ’oiseau de feu et sa danse – Variation de l’oiseau de feu Ronde des princesses – Danse infernale du roi Kastcheï – Berceuse — Finale (­ leading directly to the next movement w ithout pause) ‘ ……… . Igor Stravinsk y (1882­1971 ) �ABOUT THE MUSIC W e  close this season with two works of prodigious creativity that blend the concepts, and test the limits, of musical form and musical fantasy.  Separated by a span of eighty years, both premiered in  Paris and each represents a watershed moment in music history, works that epitomize that recent popular­ cultural and advertising phrase ‘this changes everything ’. Berlioz’ programmatic symphony serves,  more  than  any other work, as the dividing line leaving Classicism for Romanticism; Stravinsky’s ballet is one of a handful of works whose premieres served to close that Romantic period. In each case, the composition launched a major career; in each case the composer was not yet thirty years of age; each  pushes the possibilities of the orchestra outwards, both technically and timbrally, to unheard­of extremes. Finally, in  a way few compositions do, each preserves through its freshness and originality a certain quality of mystery and magic, which I hope that you will experience with us this evening. – TP over the winter months of 1909­1910. The story draws from several versions folk fairy­ tales about Prince Ivan and the mythical Firebird. In  Slavic tales the Firebird represents a ‘Quest of the Hero’; if caught, the bird will  employ its powers  (here, to help Ivan free the princesses) in  return  for its release.  (The plot synopsis of the ballet follows these program notes.) ’j .\ # 0   D  D Berlioz’ Symphonie Fantastique had  its genesis in the composer’s romantic obsession  with  the  English  actress  Harriet  Smithson  (whom  he  first saw  in  1827, married in 1832 and divorced in 1844).  Driven by a (false) rumor of Smithson’s affair with her manager, Berlioz created the work in a white­heat of jealous inspiration. The symphony  traces  in  its  five  movements  an  arched  progression  of their  fantasized relationship as experienced by “a young musician of unhealthily sensitive natu re an d endowed with vivid imagination”: I.  Idealized love; II. Actualized love; III. Happiness, suspicion and betrayal; IV. Negation of actualized love; V. Negation of idealized love. (Berlioz’ full ‘program ’ follows these program notes) The famous idée fixe  ­ the theme of the beloved ­ opens the faster section of the first movement,  and  appears throughout  the  work  as a continuous  musical  marker  that Berlioz varies with the psychological context of the situation.  All movements except the  first  employ a  real­life  context as metaphors for the  emotional  progress of the turbulent and ultimately doomed romance. The work  fairly  bristles with  Berlioz’ brilliant and innovative orchestration ranging from the English horn­oboe duet in  the third movement pastorale to the col legno (tapping the string with the wood of the bow) effects from the Witches’ Sabbath to the four­player timpani chords that imitate distant thunder at the conclusion of the third movement.  All elements are given new flexibility in the service of the ‘fantastic ’. Berlioz’ dynamic (volume) markings are pushed to pppp levels never before req uested and the balance of all  parts  is  marked with  extraordinary care.  Harmonic invention includes the juxtaposition of seemingly unrelated chords, creating a number of  ‘sound effects’. Finally, the phrase structure employs extensions and elisions and freq uently departs from the 2­4­ and 8­bar norm of the period. As Berlioz biographer David Cairns remarks,  “Berlioz in the  ‘Fantastic ’ Symphony was  s peaking a new language : not only a new language of orchestral sound...but also a new language of feeling.” The  Firebird  was  the  first  of  the  three  ballet  scores  composed  by  Igor Stravinsky  between  1910  and  1913  for  Serge  Diaghilev’s  Ballet  Russe  company ( Petroushka and The Rite of Spring completing the trio).  Stravinsky worked from the scenario by Mikhail Fokin, to which he also contributed, composing the score in Russia Musically, the entire ballet derives from the first six­notes of the score.  The compositional processes Stravinsky employs with this thematic ‘interval cell’ built on the tritone interval are much closer to those used by his contemporary Bela Bartok than to the Russian school in which Stravinsky trained. The original orchestration is large, complex  and  brilliant, and while  showing  much  influence  of Stravinsky’s teacher, Rimsky­Korsakov, goes into  uncharted territory in terms of musical effects like the harmonic  slides  of  the  Introduction  and  the  virtuosic  fluttering  in  the  firebird’s ‘Variation ’. Tonight’s 1919 suite is scored for a standard symphonic orchestra and joins suites completed in  1910 and 1945 by the composer.  The work was rehearsed in  St. Petersburg with  final  preparation  in  Paris from  May  1910. The  premiere  proved  a triumph  for  the  dance  company  and  the  composer  and  established  Stravinsky ­TP April 2009 permanently at the forefront of Parisian musical life.   ELK K K BERLIOZ’S SYMPHONIE FANTASTIQUE: Composer’s Note The composer’s intention has been to develop, insofar as  they contain musical possibilities,  various  situations  in  the  life  of  a n   artist.  The  outline  of  the instrumental drama, which lacks the help of words, needs to be explained in advance. The following program should thus be  considered as  the spoken text  of an  opera, serving to  introduce  the  musical  movements,  whose  character  an d expression  it motivates. [ \ PROGRAM FROM THE PUBLISHED SCORE A young musician of unhealthily sensitive nature and endowed with vivid imagination has poisoned himself with opium in a paroxysm of love­sick despair. The narcotic dose was too weak to cause death, but it has thrown him into a long sleep accompanied by the most extraordinary visions. In this condition, his sensations, feeling, and memories find utterance in his sick brain in the form of musical imagery. Even the beloved one takes the  form of melody in  his  mind, like an ever­returning idée fixe that  he  hears everywhere. Ist movement : Visions and Passions. At  first, he thinks of the  uneasy and nervous condition of his mind, of sombre longings, of depression and joyous elation without any recognizable cause, which he experienced before the beloved one had appeared to him. Then he remembers the ardent love with which she suddenly inspired him; he thinks of the almost insane anxiety of his mind, of his raging jealousy, of his re­awakening love, and of religious consolation. 2 nd movement : A Ball. In a ball­room, amid the confusion of  a brilliant festival, he finds the beloved one again. �3rd movement : Scene  in  the Country. On a summer evening, he  is  in  the country musing when he hears two shepherd lads playing the ranz des vaches (a tune used  to call flocks together) in alternation. The shepherd­duet, the location, the soft whisperings of  the  trees  stirred  by  the  zephyr­wind,  remembered  hopeful  prospects­­all  these sensations unite to impart a long­unknown repose to his heart and lend a smiling color to his imagination. A nd then she appears once more. His heart stops beating as painful forebodings fill his soul: “ What if she should prove false to him?” One of the shepherds resumes the melody, but the other answers him no more. ... Sunset ... distant rolling of thunder ... loneliness ... silence. 4th movement : March to the Scaffold. He dreams that he has murdered his beloved­ that he has been condemned to death and is being led to the scaffold.  A march that is alternately sombre an d wild, brilliant and solemn, accompanies the procession. ... The tumultuous outbursts are  followed  without  modulation  by  measured steps. The idée fixe returns; for  a moment a  last thought of love  is  revived­­which is cut short by the death­blow. 5th  movement : Dream of a  Witches’ Sabbath.  He dreams  that  he  is  present  at  a witches’ dance, surrounded by horrible spirits, amid sorcerers and monsters in  many fearful forms, all come to attend his funeral. Strange sounds are heard­­ groans, shrill laughter, distant yells, which other cries seem to answer. The beloved melody is heard again, but it has lost its noble and shy character, and become a vulgar, trivial, grotesq ue kind of dance. It is she who now comes to attend the witches’ sabbath. Friendly howls and shouts greet her arrival ... she joins the infernal orgy ... bells toll for the dead ... a burlesque parody of the Dies Irae ... the witches’ round­dance ­the dance and the Dies Irae are heard together. L ’OISEAU DE FEU ( THE FIREBIRD): SYNOPSIS Stravinsky’s ballet ce nters on the journey of its hero, Prince Ivan. Ivan enters the magical  realm of Kashchei the Immortal; all  of the  magical objects and creatures of Kashchei are herein  represented  by a chromatic descending motif, usually in the strings. While wandering in the gardens, he sees and chases the Firebird. The Firebird, once caught by Ivan, begs for its life and ultimately agrees to assist Ivan in exchange for eventual freedom . U n i v e r s i t y  S y m p h o n y  O r c h e s t r a  Timothy Perry, Conductor Flute/Piccolo* Tae Kim SuYeon  Oh* Valerie Spiller Missy Voldan* Oboe/Eng. Horn* Valerie Hammel Maxwell Rosenberg* Katie Warner Clarinet/E­flat* Gregg A ckerman* Matthew Hassel James Wu Jonathan Yousefzade h* Bassoon Daniel Bessel Paige Elliott Kristin Grennan Franch Horn Diana Amari Zack Arenstein Zachary Birnbaum Kirstie Cummings Next, Prince Ivan sees thirteen princesses, with one of whom he falls in love. The next day, Ivan chooses to confront Kashchei to ask to marry  one of the princesses; the  two  talk  and  eventually  begin  quarreling.  When  Kashchei  sends  his  magical creatures  after  Ivan,  the  Firebird  ­ true  to  its  pledge  ­  intervenes,  bewitching  the creatures and making them dance an elaborate, energetic dance (the “Infernal Dance") . Trumpet The creatures and Kashchei then fall asleep; however, Kashchei awakens and is  then  sent  into  another  dance  by  the  Firebird.  While  Kashchei  is  bewitched, the Firebird  tells Ivan the secret  to Kashchei’s immor tality and Ivan destroys it,  killing Kashchei. Jay Bartishevich Rob Menard Chris Mann With Kashchei gone  and his magic broken, the magical creatures and palace all disappear.  All of the “real” beings (including the princesses) awaken and, with one final fleeting appearance from the Firebird, celebrate their victory and freedom. Dan Brisk Daniel Fein Tim O’Brien Trombone Tuba Percussion/Timpani Amanda Jacobs Stephanie Lehman Brian Lindenbaum Gavin Osterhoudt Lee Vilinsky Violin ! Griffin Sargent Michael Chin Richard Law Amy Honigsberg Alicia Koepke Emily Wong Margaret Yoon Gregory G. Greene Eric Lewis­Clark Solomon Dawson Jehwan Lee Hemangi Shah Jin Park Amy Su Violin Il Elizabeth Sterling Molly Ariotti Erin Chang Jenny Raphael Ye­Won Kwak Hyeyon Seo Nicole Boucicaut Paul Beechner Xiang He Rebecca Velez Jane Evans Elizabeth Joyce Viola Maxim Pekarskiy Sarah Sterling Janet Levins Albert Kim Jeffrey Kohn Shane Thorn Stephanie Chaung William Grandin Jodi Ezratty Jacquelyn Emmons Felicia Korenstein Violoncello Dam Soh Jennifer Chen Ryan Joyce Taylor Reitmeier Daniel Copel Ronit Rapaport Adam Engel Contrabass David Katz Rachel Casey Melanie Clark Owen Domber t The USO employs rotati ng seating; Woodwinds, Brass an d Percussion rotate by compostion an d are listed alphabetically.  Strings rotate by concert an d  are listed in seating order. Congratulations a n d  best wishes to our graduatin g members (+ ) �Bingha mtonU nivers ityMus icDepa rtment ’s UPCOMING EVENTS S u n da y, Ma y 3 ™ Masters Recital: J enean Truax, soprano, Casadesus Recital Hall, 3:00 PM, FREE     Percussion Ensemble, 8:00  PM, FREE T uesday, M a y 5 Anderson Center Ch amber Hall Thursday, May 7” Student Recognition Mid­Day Concert, Casadesus Recital Hall, 1 :2 0  PM, FREE   ”  Harpur Chorale an d Women’s Chorus, Th ursday, M a y 7 Anderson Center Chamber Hall, 8:00 PM, FREE n University African Music Ensemble,   Friday, M a y 8  ” Binghamto Casadesus Recital Hall, 8:00 PM, FREE Saturda y, May 9 ”  Hindustani (North Indian) Classical: Tomek Regulski, Casa desus Recital Hall, 8:00 PM, FREE   asters Recital: Jonathan Moots, baritone, Casadesus S u n da y, Ma y 1  0 ” M Recital Hall, 3:00  PM, FREE (tentativ e ) For ticket information, please call the A nderson  Center Box Office a t  777­ARTS. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 55:47 21:44 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149870">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149870</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Binghamton University Symphony Orchestra presents Musique fantastique, May 2, 2009 Recital Tape 2009-5-2b Description An account of the resource Held at 8:00 p.m., May 2, 2009, Osterhout Concert Theater. Creator An entity primarily responsible for making the resource Perry, Timothy 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 2009-05-02 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/11a0dfca3bca00ef1cde36c9fe697d74.pdf 534d9fb5652634b219a9e5298441122d PDF Text Text BINGHAMTON U N I Y E R S I T Y S T A T E   U N I V E R S I T Y   O F  N E W   Y O R K d e c [4   E N T BLE F A R T M COUNTERPOINT C E L E B R AT I N G  W OMEN IN T H E  A RTS MOBIUS ENSEMBLE Janey Choi, violin Roberta Crawford, viola Stephen Stalker, cello Michael Salmirs, piano Wendy Wan­Ki Lee, guest speaker Thursday, March 5, 2009 8 : 1 5  p. m . Casadesus Recital Hall �ABOUT T H E  PERFORMERS PROGRAM WENDY WAN­KI L E E  is a composer­pianist­t heorist. She is currently an  Assistant Professor of  Music Composition at  the Chinese University of Hong Kong. Three Romances for Piano, Op. 11...............Clara Wieck­Schumann (1819–1896) Andante Andante Moderato { i Michael Salmirs, piano \ 1 Sonata for Viola and Piano Impetuoso Vivace Adagio ...........Rebecca Clarke (1886–1979) Roberta Crawford, viola Michael Salmirs, piano My Cagey Companions (world premiere).......... Wendy Wan­Ki Lee (b. 1977) Mobius Ensemble Janey Choi, violin Roberta Crawford, viola Stephen Stalker, cello Michael Salmirs, piano Please join us for a receptio n and viewing of the Art Museum’s March Exhibit directly following tonight’s performance. The Art Museum  is located on the second floor of the Fine Arts Building. i 1 1 As  an  avid  advocate  of  contemporary  works  with  diverse  musical interests, her music has been performed extensively in Asia and No rth America.  She  is  the  recipient  of  numerous  composition  and  piano performance awards, commissions, grants, and honors, including those from the American Academy of Arts and Lette rs, Aspen Music Festival, Banff School of Arts, Orford Arts Center, Hong Kong Arts Development Council,  and  the  Government  of  Canada.  A  frequent  clinician  and presenter,  she  has  been  invited  to  conduct  lectures  and  recitals  at international conferences and universities, such as those organized by the Asian Composers’ League, College Music Society, International Soc iety of Contemporary Music, MidAmerican Cente r for Contemporary Music, and Society for Composers, Inc. Recent activities include a commission and guest composer residency at the University of Idaho, where her new piano work (Kirie) along with several of her other compositions were performed. Current research focuses on conte mporary music by Chinese and Chinese/American composers. Her detailed biography is listed in the 2007–2009 publications  of Marquis’  Who’s  Who in  America,  Who’s Who of American Wom en, and Who’s Who in the World. Prof.  Lee  received  her  graduate  degrees  (Ph.D.,  M.M.)  in  Music Composition  and  Theory  at  the  University  of  Michigan,  a  B.M.  in Composition  from  the  University  of  Toronto,  as  well  as  piano performance diplomas from the Royal Conservatory of Music in Toronto (ARCT) and Trinity College of London (LTC L and FTCL). During her studies, she was awarded many prestigious fellowships and scholarships. Her  composition  teachers  include  William  Bolcom,  Chan  Ka  Nin, Christos  Hatzis, and  Bright  Sheng;  her piano teachers  include  Larysa Kuzmenko, Boris Lysenko, and John Nauman. Prior to her appointment at  CUHK,  she  has  held  teaching  positions  at  the  Oberlin  College Conservatory of Music, State University of N ew York at Binghamton, and the University of M ichigan. Professor Lee’s visit is funded in part by an anonymous donation to the Music Department. �Canadian­born violinist JANEY CHOI joined the faculty of Binghamton University in 2006. Dr. Choi attained her Doctor of Musical Arts degree at Rutgers  University,  studying  with  Arnold  Steinhardt,  and  holds  her Bachelor and Masters degrees from The Juilliard School where her major teachers were Joseph Fuchs and Joel Smirnoff.  She gave  her Carnegie Hall recital debut in 1997 as a winner of the Artists International Auditions and continues an active performing career as a recitalist, chambe r, and orchestral musician throughout the country and abroad. She is the rec ipient of  numerous  awards  including  the  Ontario  Arts  Council’s  Chalmers Performing Arts Training Grant, and First Prize in the National Finals of the  Canadian  Music  Competition.  Ms.  Choi  has  participated  in  such festivals as Mostly Mozart, Juilliard’s Focus Festival, Norfolk, Taos, the Spoleto Festivals, Festival Musical de Santo Domingo, the Santa Fe Opera and the Sarasota Opera. An avid inter­arts and cross­genre collaborator, she  is  the  Music  Director  of Thomas/Ortiz  Dance, and  has  performed numerous times with the  Parsons Dance Co. at  the  Kennedy Center in Washington, D.C.  She has recorded and appeared with such mainstream performers  as  Bono  and  Quincy  Jones,  Enya,  Elton  John,  Sarah McLachlan, Lisa Loeb, Kanye West, Jay­Z and Beyoncé. Ms. Choi is a Teaching Artist for the New York Philharmonic, Lincoln Center Institute, Chamber Music Society of Lincoln Center and the Bloomingdale School of Music in New York City. ROBERTA CRAWFORD, violist, performs extensively as a recitalist and chamber musician. As associate director and a founding membe r 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 ViolaF est at Binghamton and is an artist faculty member with NYASTA ’s  String  lnsitute  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. ST E P H E N  ST A L K E R ,  cellist, teaches at Binghamton University. He I l I l formerly  taught  at  Colgate  University,  Mansfield  University,  Ithaca College and the Binghamton City School District. He was the principal cellist  of  the  Cayuga  Chamber  Orchestra  in  Ithaca,  NY,  and  has performed extensively with the Catskill Chamber Players of Oneonta, NY, and  in  concerts at  Binghamton  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 New York on their Alaskan cruise of the Inner Passage from Vancouver to Juneau. As a member of the Madison St ring Quartet, he was a finalist in the Naumberg Chamber Music Competition in  New  York  City  and  the  Evian  International  String  Quartet Competition  in  Evian,  France.  He  has  performed  in  many  recital appearances with pianist, Michael Salmirs. He performs regularly with the Trio Amici, Trilogy, Baroque ‘n Blue, Early On and in concerts at Binghamton University.  He is a past president of the New York State Chapter of the American String Teachers Association and was Strings Chair for the New York State School Music Association.  He is a founder of the Southern Tier Music Teachers Association and the Binghamton Cello  Festival. He is a graduate of the Manhattan School of Music in New York City. Pianist M I C H A E L  SALMIRS, a founding member and artistic director of the Finger Lakes Chamber Ensemble, is well known as a recitalist and chamber  musician.  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. �7 ) 7  7 ( ~   [  4  1 5  4 ,   ,  »  c f   & ’ /   C F   “ A s   {  “ 4  £  hony Orchestra: Echoes of the   Saturday, March 7 ” University Symp East ­ Orchestral Orientalism, Osterhout Concert Theater, 8:00 PM, $$ 5 Symphony, 3:00 PM, FREE   S u n d a y,  M arch 8 ” University Wind  Anderson Center Chamber Hall   id­Day Concert, 1:20 PM ­ FREE Thursday, March 1 2 ” M Casadesus Recital Hall Saturday, March 1 4 ” S tudent Recital: Gregg Ackerman, clarinet, Casadesus Recital Hall, 3:00 PM, FREE : Heather Montana, soprano,   Saturday, M arch 1 4 ” Masters Recital Casadesus Recital Hall, 8:00 PM, FREE Sunday, March 1 5% Guest Fortepiano Concert: Stefania Neonato, Casadesus Recital Hall, 3:00 PM, $$ : Sibongile Boyd, soprano,   Sunday, March 1 5 Master’s Recital Casadesus Recital Hall, 7:30 PM, FREE M a y  1 ­ 8 : 0 0 M a y 3    + 3 : 0 0   aster Class with Guest Fortepiano Artist Monday, March 1 6 ” M Stefania Neonato, 7:30 ­ 8:45 PM, Casadesus Recital Hall, FREE   aster Class with Jazz saxophonist Wednesday, March 1 8 ” M Maceo Parker, 4:00 PM, Osterhout Concert Theater (Co­sponsored by the Music Department and the Harpur Jazz Project) K ON  N Wednesday, March 1 8 ” J azz saxophonist: Maceo Parker ­ Osterhout Concert Theater, 8:00 PM, $$, (Co­sponsored by the Music Cofouncers Carman Bevo A Peyton  HRB RE Department and the Harpur Jazz Project) t, 1:20 PM ­ FREE   Thursday, March 1 9 Mid­Day Concer Casadesus Recital Hall The Forum Theatre 236’Washington Street « Binghamton, NY Ap)  For tickets call 807­772­0400 or visit us online at Mirwtricitieso  Jacom.  *: f m s h d n w m m ­ d w F H r u d C d i r n h f t m a n h n ‘ p fl f u i a fi c t d i r d itaotslu anu d’,ppencm aeny Al mr rtds, » SCEw G ln m d n m C ­ h fi Y M h M M G a k fi w fi l P d m n a m h n f d b l p M un oe Cth G  pgm    s Pl  F A pert, bvlw’nfiwnTh­mflwabpm Fund’s  T provided, n  y. Fndrg m  fi f t y “   pp  c o c p a r s t i c n no hte  Aatr. Sais To m l i n   arpur Chorale and Women’s Chorus: A Thursday, March 1 9 ” H Mediterranean Choral Cruise, Anderson Center Chamber Hall, 8:00 PM, FREE For ticket information, please call the Anderson Ce nter B o x  O ffice at 777­ARTS. �W S K G  P ublic B roadcast ing Your source for locally hosted Classical, Folk dio   ¢ ’Jazz Ra and for [featuring the A rt  & Artists of the S outhern  Tier Thursdays on WSKG  Television 19, G ws ' Lorg WSKG T V   «  WSKG Radio  *  WSQX 91.5 im � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 51:46 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149716">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149716</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 Counterpoint: celebrating women in the arts, March 5, 2009 Recital Tape 2009-3-5b Description An account of the resource Works of Wieck-Schumann, Clarke, Wan-Ki Lee. Held at 8:15 p.m., March 5, 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Mobius Ensemble: Choi, Janey Crawford, Roberta Stalker, Stephen Salmirs, Michael Wan-Ki Lee, Wendy 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 2009-03-05 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/b7932404f0a2a2a4e83be3a963a026bc.pdf ef389067f07ff2e3484561a414121265 PDF Text Text BINGHAMTON UNIVERSITY S TATE UNIVERSITY OF NEW YORK usi D E P A R T M E N T GREGG ACKERMAN CLARINET with Pej Reitz, piano Sibongile Boyd, soprano James Wu, clarinet 14, March, 2009 3:00 p.m. Casadesus Recital Hall ��PROGRAM ini Concertzno ................. ...................... .... ..... .. .......... .... Gi1useppe T art1n1 I. Grave II. Allegro Molto III. Allegro Risoluto (1692-1770) Sonatina .............................. .. ........................................ Miklos R6zsa Terna con variozioni (1907-1995) Der Hift auf dem Felsen, op.129 .................................Franz Schubert (Shepherd On The Rock) (1797-1828) Andantino Allegretto INTERMISSION Preludes for Piano .................................................. George Gershwin I. Allegro ben ritmato e deciso (1898-193 7) II. Andante con moto e poco rubato III. Allegro ben ritmato e deciso Concertipiece No. 2, Op.114 ................................ Felix Mendelssohn Presto ( 1809-184 7) Andante Allegretto Grazioso �PROGRAM NOTES Giuseppe Tartini (1692-1770) Concertino Concertino is Gordon Jacob's free arrangement of two of Giuseppe Tartini's Sonatas for Violin for Clarinet and String Orchestra or Piano. Miklos Rózsa (1907-1995) Sonatina Hungarian-American composer Miklos R6zsa is best known for his film scores. (Three have won Oscars.) His Sonatina was composed in 1957 and dedicated to the Polish-American song writer and film score composer Bronislaw Kaper. Franz Schubert (1797-1828) Der Hirt auf dem Felsen, D 965 Text after Wilhelm Miiller's poem "The mountain shepherd" Translation: Lionel Salter Wenn auf dem hochsten Fels ich steh, ins tiefe Thal herneider seh, und singe, und singe, fern aus dem tiefen, dunkeln Thal schwingt sich empor der Wiederhall, der Wiederhall der Klilfte. When on the highest cliff I stand, gaze down into the deep valley and sing, the echo from the ravines floats upwards from the dark valley far away. Je weiter meine Stimme dringt, Je heller sie mir wiederklingt, von unten, von unten. Mein Liebchen wohnt so weit von The further my voice travels, the clearer it returns to me from below. So far from me does my love dwell that I yearn for her more ardently over there. mir, drum sehn ich mich so heiB nach ihr hinüber, hiniiber. In tiefem Gram verzehr' ich mich, mir ist die Freude hin, aufErden mir die Hoffnung wich, ich hier so einsam bin, icR hier so einsam bin. With deep grief Iam consumed, my joy is at an end; all hope on earth has left me; I am so lonely here, I am so lonely here. �PROGRAM NOTES continued So sehnend klang im Wald <las Lied, so sehnend klang es <lurch die Nacht, die Herzen es zum Himmel zieht mit wunderbarer Macht. So longingly sounded the song in the wood, so longingly it sounded through the night, drawing hearts heavenwards with wondrous power. Der Fruhling will kommen, der Frühling meine Freud, nun mach ich mich fertig zum Wandern bereit. Spring is coming, Spring, my joy; now I will make ready to go journeying. George Gershwin (1898-1937) Preludes for Piano Preludes for Piano have been arranged for clarinet and piano by James Cohn. They demonstrate Gershwin's talent for interweaving jazz and classical elements. Felix Mendelssohn (1809-1847) Concert Piece No. 2 in D Minor (Op. 114) Felix Mendelssohn wrote two concert pieces for clarinet, basset horn and piano in 1832. Both were inspired by virtuoso clarinetist Heinrich Baermann. The pieces have been arranged for numerous instrumental combinations, including clarinet, bassoon and orchestra/piano, and two clarinets and orchestra/piano. --Sarah Chandler �ABOUT THE PERFORMERS GREGG ACKERMAN, from Great Neck, New York, is an accounting major and will be graduating this May. Gregg has been playing clarinet for thirteen years, including his four years in the University Orchestra. Before college, he played in many ensembles including the Children's Orchestra Society, the Band of Long Island, and the Great Neck Rotary Band. He also performed in the NYSSMA All-County Band and Orchestra and the All-State Wind Ensemble. During his time at Binghamton University, he has studied under Timothy Perry and Sarah Chandler. He would like to thank both of them for their lessons and guidance. Gregg also thanks his family for always encouraging his musical pursuits. Hailed for her "lyrical and warm singing voice," Brooklyn native SIBONGILE BOYD, a cum laude graduate of Harvard University, made her operatic debut with Harvard's Dunster House Opera as Yvette in Puccini's La Rondine and later appeared as Barbarina in Mozart's Le Nozze di Figaro. After graduating from Harvard, Ms. Boyd continued her vocal pursuits through opera and performance workshops and was featured in vocal recitals at numerous churches and concert venues in New York City and Washington DC. She performed opera roles with the Shaker Mountain Performing Arts Festival, Natchez Festival of Music, Cantiamo Opera, and the Opera Company of Brooklyn. Ms. Boyd has given recital and chamber performances at the Brooklyn Museum of Art, the Sumner Museum (Washington DC), and the Merck Concert Series (appearing with the Manchester String Quartet). In the 2007-08 ·season, Ms. Boyd was a Resident Artist with Tri-Cities Opera, where she sang the role of Beauty in Giannini's Beauty and the Beast. Ms. Boyd is in her second year in the Masters of Music program at Binghamton University, where she recently performed the roles of Gabriel and Eve in Haydn's The Creation. She recently performed the role of Zerlina in Delaware Valley Op.era's production of Don Giovanni and appeared in recital at Bargemusic (Brooklyn) and the Dweck Performing Center for Contemporary Culture (Brooklyn Public Library). JAMES WU is a first year student enrolled in Binghamton University's Harpur College of Arts and Science. Before college, he was enrolled in the Manhattan School of Music's Precollege program, where he received formal music training. He also played in many ensembles including the Manhattan School of Music's Philharmonic Orchestra, various chamber groups, and his high school band. �The fourth and final concert of this season will be performed Saturday, March 21st at 8 pm Presbyterian Church, _42 Chenango S . Series will be continued in 2 0 NNGHAMTON VE R S I T y IIV E R ·OF NEW YORK For tickets, call (607) 777-ARTS. For more_ ]nformation, visit the Binghamton University Mus sic Department's website at music.binghamton.edu· �Saturday, March 14th Master's Recital: Heather Montana, soprano, Casadesus Recital Hall, 8:00 PM, FREE Sunday, March 15thGuest Fortepiano Concert: Stefania Neonato, Casadesus Recital Hall, 3:00 PM, $$ Sunday, March 15'11 Master's Recital: Sibongile Boyd, soprano, Casadesus Recital Hall, 7:30 PM, FREE Monday, March 1 6th Master Class with Guest Fortepiano Artist Stefania Neonato, 7:30 - 8:45 PM, Casadesus Recital Hall, FREE Wednesday, March 18th Master Class with Jazz saxophonist Maceo Parker, 4:00 PM, Osterhout Concert Theater (Co-sponsored by the Music Department and the Harpur Jazz Project) Wednesday, March 18thJazz saxophonist: Maceo Parker Osterhout Concert Theater, 8:00 PM, $$, (Co-sponsored by the Music Department and the Harpur Jazz Project) Thursday, March 19thMid-Day Concert, 1:20 PM - FREE Casadesus Recital Hall Thursday, March 19th Harpur Chorale and Women's Chorus: A Mediterranean Choral Cruise, Anderson Center Chamber Hall, 8:00 PM, FREE Friday, March 20thPercussion Duo: Mike Correa and Gene Koshiniski, Casadesus Recital Hall, 8:00 PM, FREE (co-sponsored by the United States Air Force Band and the Binghamton University Department of Music) Saturday, March 21st Master's Recital: Stephen Brooks, bass, Casadesus Recital Hall, 8:00 PM, FREE Saturday, March 21st Organist Jonathan Biggers -A Bach Celebration!! Series, First Presbyterian Church, Binghamton,8:00 PM, $$ For ticket information,please call the Anderson Center Box Office at 777-ARTS. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 45:22 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149635">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149635</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gregg Ackerman, March 14, 2009 Recital Tape 2009-3-14b Description An account of the resource Works of Tartini, Rózsa, Schubert, Gershwin, Mendelssohn. Held at 3:00 p.m., March 14, 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Reitz, Margaret Boyd, Sibongile Wu, James Ackerman, Gregg. 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 2009-03-14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/4303848b30a5c5d04f39bef4bc6faa03.pdf 3bfcc4211e3ddc10e79215a08a63142d PDF Text Text BINGHAMTON U N I V E R S I .T Y usi DEPARTMENT BRIANA SAKAMOTO, SOPRANO JUNIOR RECIT AL WILLIAMJAMES LAWSON, PIANIST SATURDAY,APRIL 25, 2009 7/ P. . M. CASADESUS HALL �I. Selections from 26 Arie di Stile Antico ........................... Stefano Donaudy (1879-1925) l 1. Venuto èl'Aprile 2. Luoghi sereni e cari 3. Quando ti rivedrò 4. Ognun ripicchia e nicchia II. Selected lieder .......................................................................... Franz Schubert (1797-1828) 1. An die Musik, op. 88 no. 4 2. Auf dem Wasser zu singen, op. 72 3. Friihlingsglaube, op. 20 no. 2 III. Selected lieder.....:············································· Fanny Mendelssohn Hensel (1805-1847) 1. Verlust, op. 9 no. 10 2. Sehnsucht, op. 9 no. 7 3. Italien, op. 8 no 3 Intermission IV. HalfMinute Songs ......................................................... Carrie Jacobs Bond (1862-1946) 1. Making the Best of It 2. First Ask Yourself 3. To Understand 4. How to Find Success 5. The Pleasure of Giving 6. Answer the First Rap 7. A Good Exercise 8. A Present from Yourself 9. Now and Then 10. When They Say the Un-kind Things 11. Keep Awake 12. Doan' Yo' Lis'n V. Selected melodies ....................................................................... Gabriel Fauré (1845-1924) 1. Mandoline 2. Au bord de l' eau 3. Les berceaux 4. Chanson d'amour VI. Selected songs ................................................................... Stephen Sondheim (b. 1930) Green Finch and Linnet Bird (from Sweeney Todd) Take Me to the World (from Evening Primrose) On the Steps of the Palace (from Into the Woods) �Stefano Donaudy aspired to be a great opera composer, finding popular success in the genre from ·the age of 14. His composition teacher said he had an "effortless melodic spirit." Donaudy's operas did not endure at a time when the works of Verdi and Puccini dominated the operatic landscape, but his Arie di Stile Antico are now quite popular for recitalists. These pieces are in the traditional vein for which Donaudy is best known. Biographical material on the composer is strangely limited. We can only guess at the origins of the passionate intensity of his songs (giving some credit to Donaudy's Sicilian roots!), but, for whatever reason, they convey a tells of budding love l great generosity of heart and soul. Venuto è l'Aprile between mythical nymphs and wood spirits. The voice begins alone, followed by the piano in the same sprightly melody, and they seem to chase each other and dance, like the song's characters. Bittersweetly, Luoghi sereni e cari recalls youth and the pain of a first heartbreak. The accompaniment is at times wistful and music-box-like, and at other times swelling with more mature colors. A deeper, unresolved loss is mourned in the operatic Quando ti rivedro. The speaker asks when she will see her unfaithful lover again, but the music tells us that she knows he will not return. Ending the set with lighter fare, Ognun ripicchia e nicchia tells the familiar story of a promising date gone awry. When Franz Schubert was eight, he studied with organist Michael Holzer, who reportedly said, with tears in his eyes, ''Whenever I wished to impart something new to him, he always knew it already." Schubert is perhaps the Giant of German lieder. With astonishing speed he wrote hundreds of songs in addition to a myriad of other compositions in his short life. Everything in the gamut of emotional experience has probably been expressed in a Schubert song. Additionally, these musical gems evoke images and sensations of water, breezes, sunset, and the like. Schubert's idealism comes through in music that elevates the human experience. "The important elements of Schubert's character were a love of truth, and a marked hatred of jealousy, tenderness with firmness, sincerity and affection ... " These qualities are exemplified in An die Musik. This song is like a duet between the voice and the piano's melodic bass-line. Schubert wrote the last two songs in this set while struggling with illness and depression. Equivocation between minor and major in Auf dem Wasser zu singen expresses awe, sadness and ultimately joy in the face of life's ephemeral beauty and the speaker's own mortality. The speaker of Friihlingsglaube comforts her own "poor heart" and welcomes the promise of spring heralded by "gentle breezes." One supposes that the composition of such songs must have helped Schubert cope with his illness. After he died, his tomb was given Grillparzer's famous epitaph: "The art of music has entombed here a rich treasure but even fairer hopes." �Though Fanny Mendelssohn-Hensel displayed prodigious talent early on, her family strongly discouraged her pursuit of a musical career. She transferred much of her creative energy into advising her brother, Felix. Nonetheless, she composed prolifically, developing a distinct musical voice. In 1846, she summoned the courage to publish, announcing it in an apologetic letter to her brother, "I hope you won't think badly of me ... if the pieces are well liked and I receive additional offers ... it will be a great stimulus to me, something I've always needed in order to create ... " She died soon after. Today, the majority of her works remain in family archives, unavailable to performers and listeners. These three songs represent some of her great emotional range, and ability to create richness through relatively simple, clean melodies with novel twists. An ironic major-minor conflict, and rhythmically crowded phrases embody the broken-hearted turmoil of Verlust. Sehnsucht begins on a long note that fades away like the distant "dance tune" it describes. Its melody moves primarily in descending scales, but at times rises and holds our expectation, mirroring the speaker's unfed yearning. Evoking the brilliance of nineteenth century Italian opera, ltalien soars, dance-like, in an outburst of pure, triumphant joy. About a month before Hensel died, she wrote of such bliss in her diary. Perhaps beginning to share her work with the world gave her a new freedom and lightness of heart. "Yesterday the first breath of spring was in the air. It has been a long winter ... indeed a winter full of suffering ... My inmost heart is ... full of thankfulness.... I am quite overcome with my own happiness." Carrie Jacobs-Bond was a piano prodigy, but did not pursue music professionally until after the death of her second husband, when she lost nearly everything. She fought poverty for years, .providing for herself and her son by writing, selling and performing songs "unpretentious as a wild rose." She suffered stage fright, and was criticized for being "plain and angular." An untrained vocalist, she courageously sang and played her songs on her own at first because she could not find anyone else to do it. Ultimately she became quite famous and successful for her music and earnest performances. Upon hearing her most famous song, At the End of a Perfect Day, in concert, a Viennese composer visiting the United States stood up, thinking it was the national anthem, so revered and beloved it was. It is easy to imagine Jacobs-Bond delivering these pearls of wisdom, the HalfMinute Songs. They are infused with her uprightness, forthrightness, and most of all, her consciousness that in making music, she was giving a muchneeded gift: "I wonder what the world would be like if there were nobody to do the simple things!" Bond wrote, "I wonder how folks would get along without snappers, and hooks and eyes, and pins. Nothing could be much commoner than they are, but they fill a very much-needed place. You see, lots of folks can get along without a point lace collar, but I should hate to see folks try to get along without the other commodities I've spoken of. And sometimes songs (simple songs) like pins keep folks together." �Gabriel Fauré was reportedly very charming and seductive, like so many of his melodies. He was quite busy as a teacher and organist, and could not devote the majority of his time to composition. Fauré's life spanned the musical developments of greats like Berlioz, Berg, and Shostakovich, and he was educated with a wide range of musical voices from an early age, giving him an extensive palette. The musical language he created out of all that he absorbed was one of the most modern of its time. Mandoline is an excellent example. Its melody seems to begin simply, as does the picture of the archetypal lovers it describes, but falls into a colorful and amorous reverie, destabilizing our sense of the key. Au bard de l'eau describes the infinite richness of the moments two people can share when they live and love in the present. Les berceaux juxtaposes the rocking of large ships in a harbor with the rocking of cradles. Both are represented in the music: long phrases stretch over a shorter constant rocking figure in the piano's right hand. The set closes with the breathless Chanson d'amour. In it, the poet ecstatically enumerates everything he loves about his fiery lover, from head to feet. One of our greatest living composers, Stephen Sondheim is a lover of words, internal process, and impeccability of speech and expression. Through his songs we enter vast emotional and intellectual landscapes, each rich and unique; but no matter how smart, novel, or dark, they are simply human at the core. Sondheim trained with Oscar Hammerstein, and followed in his footsteps to earn a place in the Pantheon of musical theatre composers. In Sondheim's work one hears the influence of opera (Puccini in his crowd scenes) and musical theatre (Hammerstein in his love songs). Additionally, there is an incredibly current, vernacular and bitingly intellectual use of language. The composer has an uncanny ability to tap into a character's soul and mind, often through the musicality of natural speech patterns: An extended rest may be a moment of clarity, a dotted rhythm a hesitation, and so on. These three songs are full of such telling moments. They present three young women coming of age, seeking freedom. Johanna, from Sweeney Todd, is in the care of an oppressive and lascivious ward, kept in her room all day, listening to the songs of the caged birds outside her window. She sings back to them in Green Finch and Linnet Bird Johanna sings a tuneful and light melody, yet a persistent, somewhat dissonant, beat in the piano belies her growing dissatisfaction. The second selection is from an episode of ABC's "Studio 67 ," Evening Primrose, that tells the story of a group of people who have decided to separate from society by living in a department store. Ellen was brought to the store by her mother when she was very young, and has always wished to leave. When a disillusioned poet comes to stay in the store, Ellen and he fall in love. She pleads him to escape with her in Take Me to the World The melody evokes classic musical theatre, but the accompaniment is ominous and harmonically "crunchy." The last character is Cinderella, from Into the Woods, who tells how she really came to leave her glass slipper On the Steps of the Palace. �In selecting this program, I noticed that the pieces I was drawn to shared common threads such as nature, dance, water, flowers, birds, positive existentialism, idyllic settings and awakenings. Such themes and motifs are hardly surprising to find in art songs and musical theatre pieces. However, I want to highlight them in celebration of Spring and all it represents. If I titled this evening, I might borrow from Schubert and Uhland and call it Frühlingsglaube (Spring-Faith). I wish you all the best in the new season and forward ... Finally, in the words of Bek David Campbell, "Please enjoy." Sources: Gabriel Fauré, Jessica Duchen. London: Phaidon, 2000. GroveMusic Online, Oxford University Press, 2007-2009. The Mendelssohns; three generations ofgenius. New York, C. Scribner's Sons, 1972. The Roads ofMelody, Carrie Jacobs Bond. Ayer Publishing, 1980. Sondheim, Martin Gottfried. New York; London: Harry N. Abrams, 2000. Stefano Donaudy's 'La Fiamminga,'' aperformanceproject, Samuel Taylor Savage, DMA 2002. UMI Dissertation Services. From ProQuest. Women and Music,A History, 2nded. Ed. Karin Pendle. Bloomington: Indiana University Press, 2001. Briana Sakamoto is pursuing a Bachelor of Music degree in Vocal Performance at SUNY Binghamton under the direction of Professor Mary Burgess. She also studies with Professor Tim LeFebvre, Judy Berry and Peyton Hibbitt, here in Binghamton, and with dramatic soprano Carol Yahr, in Manhattan. She has performed with the Taconic Opera Company and the Binghamton University Chorus and is currently a member of BU's Harpur Chorale. She has a long background in theatre, earning AEA membership and SAG/ AFTRA eligibility' in 2005, and studies acting between semesters at the Larry Singer Studios in Manhattan. "Many thanks to my family, friends and teachers! Peace!" William James Lawson coaches and accompanies singers at Binghamton University. As a coach, he specializes in English diction for American and English art songs and the sacred and classical theater repertoires. He studied at Binghamton University (B.A. 1980), where his teachers included Seymour Fink and Patricia Hanson in piano, M. Searle Wright in church music, and Stevenson Barrett in vocal coaching. He holds an M.A. from New York University (1984) and was one of the first graduates of New York University's innovative Department of Performance Studies, an interdisciplinary program in the performing arts. This past July, he conducted the Summer Savoyards production of Princess Ida. �I. Venuto è l' Aprile Text: Alberto Donaudy (1880-1941) April has come Venuto è l'Aprile tessendo ghirlande, E ninfee silvani sulprato raunando. A ccordan gli ontani i loro strumenti E ai primi concenti de/ vento Fra i rami comincia la danza. Prima un fauno s'avanza... La sua ninja lo mira... S ospira... E volano insiem! April has come, weaving garlands, And nymphs and sylvans are gathering on the meadow. The alder trees are tuning their instruments And at the first harmony of the wind Among the branches, the dance begins. First a faun advances .. . His nymph looks at him .. . Sighs .. . And they fly away together! Folleggian le coppie tra ifonti e le rive, E poi nelle selve scompaion furtive ... Ma Clori, che intanto gelosa è di Nice, Aspetta infelicee so/a, nelpianto, Che cessi la danza. The couples frolic among the fountains and streams, And then into the forest disappear furtively . .. But Clori, who meanwhile is jealous of Nice, Waits unhappily and alone, in tears, For the dance to stop. Maun pastore s'avanza... E già Clori lo mira... S ospira... E volano insiem! But a shepherd advances . . . And Clori looks at him .. . Sighs . .. And they fly away together! Luoghi sereni e cari Text: Alberto Donaudy Places serene and dear Luoghi sereni e cari, io vi ritrovo Quali ai bei dì lasciai digiovinezza! Gli stessi amati aspetti Ovunque iipasso io muovo... Sol non mi punge ancor Che l'amarezza dei mesti giorni In cui i tormenti d'un triste inganno Insegnato m'hanno pei primicosa Al mondo è dolor! Places serene and dear, I find you again Just as beautiful as I left you in the days of my youth! The same beloved sights Wherever I tum my step ... Only now do I not sting with The bitterness of mournful days During which the torments of a sad deception Taught me for the first time what In the world is griefl Lungi da voi fuggitoal/or Cercai di trovar pace al mio tradito core. Andaifin oltre mare, ed altre donne amai... Ma nu/la può /enire quel do/ore Ch'è piaga viva in ogni core d'amante Che nell'amore aveva ugualfade Che pregando ii Signor! Having fled far from you, then Trying to find peace for my betrayed heart. I went beyond the sea, and loved other women ... But nothing can lessen that pain Which is a living wound in every lover's heart Who had as much faith in love As in praying to the Lord! �Quando ti rivedrò Text: Alberto Donaudy When shall I see you again Quando ti rivedrò, Infida amante che mifosti si cara? T ante !agrime ho piante Or che a/trui ci separa, Che temo sia fuggita ogni gioia Per sempre di mia vita. Eppur più mi dispero, Più ritorno a sperare. Più t'odio ne/pensiero, E più ancora l'anima mia ti torna ad amar. When shall I see you again, Unfaithful lover who was so dear to me? So many tears have I wept Now that another separates us, That I fear every joy will be gone Forever from my life. And yet the more I despair, The more I return to hoping. The more I despise you in my thoughts, Then once again my soul turns to loving you. Quando ti rivedrò, Infida amante che mifosti cara cosi? When will I see you again, Unfaithful lover who was dear to me like that? Ognun ripicchia e nicchia Text: Alberto Donaudy Ognun ripicchia e nicchia ognor Su un caso strano a dir. Ma perchè, ma cos'è, Che tanto amor dovea cosifinir? Orio voglio la mia storia raccontar T anto bujfa ell'è: Me ne givo un di con Monna Lapa insiem, Che si cara m'era al cor, Peri campi a raccoglier.ftor. .. Ma la storia comincia qui. Everyone repeats and hesitates each time Over a case strange to tell. But why, but how is it, That so much love must end this way? Now I want to tell my story So funny it is: I was walking one day with my lady Lapa, Who was so dear to my heart, Through the fields to pick flowers ... But the story begins here. U'! cos'è quel ch'io veggo là? Un grillo o un rusignuol? Più be! ve'! Più be! ve'! La mia beltà sedette su un poggiuol. Lei sperava di poter cosi Coder ii divin cantor, Ma al trillar de/ grillo E al pronto suo balzar Diede un grido, e nelfuggir, Sù ove prima seggea cascò.... E la storia.ftnisce Ii. Ooh! What is that I see there? A cricket or a nightingale? Look- more beautiful! Look- more beautiful! My beauty sat on a little hill. That way she hoped to be able To enjoy the divine singer, But at the trill of the cricket And his quick leap She gave a shriek, and as she fled, I fell on the place where she had sat, And the story ends there . �II. An die Musik Text: Franz von Schober (1797-1828) Du ho/de Kunst, in wievielgrauen Stunden, Wo mich des Lebens wilder Kreis umstrickt, Hast du mein Herz zu warmer Lieb' entzunden, Hast mich in eine beßre Welt entrückt! To Music Oft hat ein Seufzer, deiner Harf'entjlossen, Bin süßer, heiliger Akkord von dir Den Himmel beßrer Zeiten mir erschlossen, Du ho/de Kunst, ich danke dir dafür! Often has a sigh, flowing from your harp, A sweet, holy chord from you Unlocked the heaven of better times for me, You dear art, I thank you for that! Auf dem Wasser zu singen Text: Graf zu Stollberg (17 48-1821) To be sung on the water Mitten im S chimmer der spiegelnden Wellen Gleitet, wie S chwäne, der wankende Kahn; Ach, auf der Freude sanjtschimmernden Wellen Gleitet die S eele dahin wie der Kahn; Denn von dem Himmel herab auj die Weflen Tanzet das Abendrot rund um den Kahn. Amid the shimmer of the mirroring waves Glides, as swans do, the wobbling little boat; Ah, on joy's soft-shimmering waves, Glides the soul there like the boat; Then from the heavens down on the waves Dances the evening's red glow around the boat, Ober den Wipftln des westlichen Haines Winket uns.freund!ich der rötliche Schein; Unter den Zweigen des ostlichen Haines Säuselt der Kalmus im rötlichen Schein; Freude des Himme!s und Ruhe des Haines Atmet die Seel im erriitenden Schein. Over the treetops of the westerly wood The red glow winks to us friendily, Under the boughs of the easterly wood Rustle the reeds in the reddish shine; Joy of the heavens and peace of the woods Breathes the soul, in the reddening shine. Ach, es entschwindet mit tauigem Flügel Mir auf den wiegenden Wellen die Zeit. Morgen entschwinde mit schimmerndem Flügel Wieder wie gestern und heute die Zeit, Bis ich auf höherem strah!enden Flügel Seiber entschwinde der wechselnden Zeit. Ah, with dewy wings, time vanishes From me, on the rocking waves. Tomorrow, time flies on shimmering wings, Again, like yesterday and today, Until I, on higher sparkling wings Myself will vanish in the changing time. Friihlingsglaube Text: Ludwig Uhland (1787-1862) Spring-faith Die linden Lüfte sind erwacht, Sie säuseln und wehen Tag unt Nacht, Sie scha.ffen an a/fen Enden. Duft, o neuer Klang! 0 frischer Nun, armes Herze, sei nicht Bang! Nun muss such al/es, al/es wenden. The gentle breezes are awake, They rustle and waft day and night, They are at work everywhere. 0 fresh scent, o new sound! Now, poor heart, be not afraid! Now must everything, everything change. Die Weft wird schöner mitjedem Tag, Man weiss nicht, was noch werden mag, Das Blühen will nicht enden; Es blüht das ftrnste, tieftte ta!, Nun, armes Herz, vergiss der Qua!! Nun muss sich al/es, alles wenden. The world grows lovelier with every day, One does not know what yet may come to be, The flowering will not end; The farthest, deepest valley blooms, Now, poor heart, forget your pain! Now must everything, everything change. III. Verlust Text Heinrich Heine (1787-1856) Loss Und wüßten's die Blumen, die kfeinen, Wie tief verwundet mein Herz, Sie wßrden mit mir weinen, Zu heilen meinen Schmerz. And if they knew, the flowers, the little ones, How deeply wounded my heart is, They would weep with me, To heal my pain. You dear art, in how many gray hours, Where I was ensnared in life's wild circle, Have you kindled warm love in my heart, Have you moved me to a better world! �Und wüßten's die Nachtigallen, Wie ich so traurig und krank, Sie ließen fröhlich erschallen Erquickenden Gesang. And if the nightingales knew, How I am so sad and sick, They would happily let ring out Refreshing song. Und wüßten sie mein Wehe, Die goldnen Sternelein, Sie kämen aus ihrer Höhe, Und sprächen Trost mir ein. And if they knew my pain, The golden little stars, They would come from their height, And speak consolation to me. Die a/le können's nicht wissen, Nur Einer kennt meinen Schmerz; Er hatja selbst zerrissen, Zerrissen mir das Herz. They all cannot know it, Only one knows my pain; He has, yes, himself ripped apart, Ripped apart my heart. Sehnsucht Text: Johann Gustav Droysen (1809-1884) Longing Fern undferner schallt der Reigen. Wohl mir! um mich her ist S chweigen a Flur. Aufder Zu dem vol/en Herzen nur Will nicht Ruh' sich neigen. Far and farther sounds the round dance. Well to me! around me here is silence On the land. Only to my full heart Will rest not come. Horeb! die Nacht schwebt durch die Riiume. Ihr Gewand durchrauscht die Bäume Lispelnd leis'. Ach, so schweifen liebeheiß Meine Wiinsch' und Träume. Hark! The night soars through the space. I ts robe rushes through the trees Murmuring softly Ah, thus roam, love-hot, My wishes and dreams. Italien Text: Franz Grillparzer (1791-1872) Italy Schöner und schöner schmiickt sich der Plan, S chmeichelnde Lüfte wehen mich an! Fort aus der Prosa Lasten und Müh' Zich' ich zum Lande der Poesie. Fairer and fairer the plain decks itself, As coaxing breezes blow me along! Away from the burden and trouble of prose Drawing me toward the land of poetry. Gold'ner die Sonne, blauer die Luft, Grüner die Grüne, würz'ger der Duft! Dort an dem Maishalm, schwellend von Saft, Sträubt sich der Aloe störrische Kraft; More golden the sun, bluer the air, Greener the green, more fragrant the scent! There by the cornstalk, swelling with sap, Struggles the aloe's obstinate strength; Olbaum, Cypresse, blond du, du braun, Nickt ihr wie zjerliche, grüßende Frau'n? Was glänzt im Laube,funkelnd wie Gold? Hal Pomeranze, birgst du dich hold? Olive tree, cypress, one blond, and one brown, Don't you nod like dainty, greeting ladies? What gleams in the foliage, sparkling like gold? Ah! Oranges, are you lovelies hiding there? Trotz'ger Poseidon, wärest du dies, Der unten scherzt und murmelt so süß? Und dies, halb Wiese, halbAther zu schau'n, Es wär des Meeres furchtbares Grau'n? Defiant Poseidon, were you the same one, Who below now jokes and murmurs so sweetly? And this, half meadow, half ether, it seems, Was the sea's fearsome horror? Hier will ich wohnen, Göttliche du: Bringst du, Parthenope, Wogen zur Ruh'? Nun denn versuch' es, Eden der Lust, Eb'ne die Wogen auch dieser Brust. Here I would live! Godlike one: Can you Parthenope bring the waves to rest? Now then, try it, Eden of Joy, And ease also, the waves in this breast. �V. Mandoline Text: Paul Verlaine (1844-1896) Les donneurs de sérénades Et !es belles écouteuses Echangent des propos fades Sous !es ramures chanteuses. The givers of serenades And the lovely listeners Exchange vapid words Under the singing branches. C'est Tircis et c'est Aminte, Et c'est l'éternel Clitandre, Et c'est Damis qui pour mainte Cruelle [fait]* maint vers tendre. There's Thyrsis and there's Amyntas, And there's the eternal Clytander, And there's Damis who, for many a Cruel woman, wrote many a tender verse. Leurs courtes vestes de soie, Leurs longues robes àqueues, Leur élégance, leurJoie Et leurs molles ombres bleues Their short coats of silk, Their long dresses with trains, Their elegance, their joy And their soft blue shadows Tourbillonent dans l'extase D'une lune rose et grise, Et la mandolineJase Parmi !es frissons de brise. Whirl in the ecstasy Of a moon pink and grey, And the mandoline prattles Among the shivers of the breeze. *originally "fit" Au bord de l'eau Text: Sully-Prudhomme (1839-1907) S 'asseoir taus deux au bard du flat qui passe, Le voirpasser; Taus deux, s'ilglisse un nuage en l'espace, Le voir glisser; À /'horizon s'ilfume un toit de chaume, Le voirfumer; Aux alentours si quelqueJleur embaume, S 'en embaumer; At the edge of the water Entendre au pied du saule ou l'eau murmure L 'eau murmurer; Ne pas sentir tant que ce rêve dure, Le temps durer; To hear, at the foot of the willow where the water murmurs, the water murmuring; Not to feel, as long as this dream lasts, The passage of time; Mais, n 'apportent de passion profonde, Qu 'à s 'adorer, Sans nu! souci des querelles du monde, Les ignorer; But, bringing no deep passion, Except to adore one another, With no worry of the world's quarrels, To ignore them; Et seul taus deux devant tout ce qui lasse, Sans se lasser, S entir !'amour devant tout ce qui passé, Ne point passer! And alone, us two, before all that causes weariness, Without wearing, To feel love, faced with all things that pass away, Not passing away! To sit, us two, at the edge of the stream that passes, To watch it pass; Us two, if a cloud glides in the sky, To watch it glide; On the horizon, if a thatched roof smokes, To watch it smoke; Around us, if a flower imbues the air, To be imbued; �Les berceaux Text: Sully Prudhomme The cradles Le long du quai, !es grands vaisseaux, Que la houle incline en silence, Ne prennent pas garde aux berceaux, Que la main des.femmes balance. All along the port, the big vessels, · That the swell sways in silence, Pay no regard to the cradles That the hands of women rock. Mais viendra le jour des adieux, Car iifaut que !es femmes pleurent, Et que !es homes curieux, Tentent !es horizons qui leurrent! But it will come, the day of goodbyes, As it is necessary that women weep, And that curious men Attempt the horizons that lure them! Et ce jour-là !es grands vaisseaux, Fuyant le port qui diminue, Sentent leur masse retenue Par l•âmedes lointains berceaux. And that day, the big vessels, Fleeing the vanishing port, Feel their bulk held back By the soul of the distant cradles. Chanson d'amour Text: Paul-Armand Silvestre (1937-1901) Song of love J'aime tesy eux,j'aime ton front, 0 ma re belle, ôma farouche, J'aime tesy eux,j'aime ta bouche Où mes baisers s 'épuiseront. J 'aime ta voix,j'aime l'étrange Grâce de tout ce que tu dis, 0 ma rebelle, ômon cher ange, Mon en.fer et mon paradis! I love your eyes, I love your forehead, 0 my rebel, o my fierce one, I love your eyes, I love your mouth Where my kisses will exhaust themselves. I love your voice, I love the strange Grace of all that you say, 0 my rebel, o my dear angel, My hell and my paradise! J'aime tout ce qui te fait belle, t cheveux, De tes pieds jusqu 'àtest 0 toi vers qui montent mes vœux, rebe rebelle! ma 0 ma farouche, ôma I love all that makes you beautiful, From your feet to your hair, 0 you, toward whom my wishes rise, 0 my fierce one, o my rebel! � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 49:06 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149632">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149632</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 Briana Sakamoto, soprano, junior recital, April 25, 2009 Recital Tape 2009-4-25b Description An account of the resource Works of Donaudy, Schubert, Hensel, Bond, Fauré, Sondheim. Held at 7:00 p.m., April 25, 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Lawson, William James Sakamoto, Briana 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 2009-04-25 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/0e385ccfb00bec9cb122b5b65e612fac.pdf 13c04ea6e980427276f1fb4250a01862 PDF Text Text BINGHAMTON UNIVERSITY State University of New York ,, D E P A A T M E N T SENIOR HONORS RECITAL Sarah Sterling, viola with Margaret Reitz, piano Emily Creo, cello Alicia Koepke, violin Elizabeth Sterling, violin Sunday, April 26, 2009 7:30 p.m. Casadesus Recital Hall �PROGRAM Passacaglia on an Old English Tune (1943) ............. Rebecca Clarke ( 1886-1979) Margaret Reitz, piano Suite No. 1 in G Major, BWV 1007 ............... . Johann Sebastian Bach (1685-1750) Prelude Allemande Courante Sarabande Minuett I/II Gigue Fantasie, Op. 94 ....................................... Johann Nepomuk Hummel (1778-1837) Margaret Reitz, piano INTERMISSION Sonata for Viola and Piano ....... Mikhail Glinka (ed. V. Borisovsky) (1804-1857) Allegro moderato Larghetto ma non troppo Margaret Reitz, piano h String Quartet No. 1 in E minor, "From my Life" .. þÿBedYicSmetana ( 1824-1884) Allegro vivo appassionato Emily Creo, cello Alicia Keopke, violin Elizabeth Sterling, violin �ABOUT THE PERFORMERS SARAH STERLING, violist, is a senior at Binghamton University, double-majoring in Music and Psychobiology. She has studied the viola for thirteen years under various teachers, including Roberta Crawford, Sue Nazzaro, Melinda Daetsch, and Nathan Frantz. Sarah has also studied piano and is an active vocalist. Her musical activities at Binghamton include participation in the University Symphony Orchestra and Harpur Chorale, as well as various chamber ensembles. She was a finalist in the 2007 Binghamton University Concerto Competition and is a recipient of the John M. and Marcella M. Keeler Scholarship in Music. She has also participated in the Luzerne Music Center Summer Program and was a member of the NYSSMA All State Symphony and Empire State Youth Orchestra. Sarah plans to go on to graduate school following her graduation in May. MARGARET (PEJ) REITZ, pianist, is a native of the Binghamton Area. She received her Bachelor and Mater of Music degrees in piano performance with accompanying emphasis. She attended Boston University, New England Conservatory and Binghamton University. She has studied · piano with Jean Casadesus, Victor Rosenbaum, Seymour Fink and Walter Ponce. She has studied accompanying with Allen Rogers. She has accompanied throughout the United States, in England, South America, and at the American Institute for Musical Studies in Graz, Austria. She and Binghamton University faculty member Timothy Perry were winners of the Artistic Ambassadors Program by the United States Information Agency in partnership with the John F. Kennedy Center for the performing arts. Pej has been a guest chamber music artist in Morges, Switzerland. She also was selected to attend the Accompanying Workshop for Singers and Pianists held at Northwestern University with Chicago Lyric Opera Faculty and Coaches. Pej was recently invited to the International Clarinet Conference to play a recital in Tokyo, Japan. She was a guest artist on the Cornell Summer Series this past summer, and she was an official pianist at the International Double Reed Competition and Convention in 2007 at Ithaca College. She was selected to accompany at the Interpretation of Spanish Music in conjunction with University of Madrid in Grenada, Spain in July 2007, coached by Teresa Berganza, and at Mannes School of Music in the summer 2008. Pej will be in �residence at the Barcelona Festival of Song this summer in Spain as coach/accompanist, and has been asked to play a concert this summer with the Glickman Trio in the United Kingdom at the IDRS Convention. Pej has been on the faculty at Binghamton University since 1991 and Ithaca College School of Music since 1999. She maintains a private piano studio in Vestal, New York. She is on the Executive Board of the New York District MTNA organization, is President of the local District VII Music Teachers Association, and is an active adjudicator for the National Piano Guild Organization. EMILY J. CREO, cellist, completed her master's degree in Music History and Literature at Binghamton in May of 2008. She also obtained her bachelor's degree from Binghamton with a major in Music and a minor in Medieval Studies. While at Binghamton, Emily performed as a cellist in the University Orchestra as well as in the chamber program, and as a vocalist in the Harpur Chorale. She is currently active performing in the Southern Tier, and this season will mark her tenth year playing for the Summer Savoyards annual Gilbert and Sullivan production . Though still a musician on nights and weekends, Emily works in accounting and administration for the Binghamton Senators Hockey Team by day to afford rosin and sheet music. ALICIA KOEPKE, violinist, is a sophomore at Binghamton University with a goal of obtaining a bachelor's degree in Music. She has studied with the late Joan Williams, Fritz Valenches, Roberta Crawford, and Janey Choi. For 7 years Alicia had been active in the Sinfonia Youth Orchestra, and, as a member of the Scranton/Wilkes-Barre Community Orchestra, has performed in professional settings including the Clay Aiken Magical Holiday Tour 2007. She has also played i n various weddings and has given private lessons. Alicia is currently a member of the Binghamton Univesity Orchestra and chamber music program. As of right now, she is unsure of her post-graduation plans. ELIZABETH STERLING, violinist, a student of Janey Choi, is completing her senior year at Binghamton University with a double major in Music and Anthropology. She has performed with various chamber ensembles and orchestral groups, including the Saratoga Springs Youth Orchestra, Empire State Repertory Orchestra, and Binghamton University Symphony Orchestra. Her other musical interests �include piano and vocal studies. She is currently a member of Harpur Chorale and the Jazz Ensemble and studies voice with Mary Burgess. She has also studied with Sue Nazzaro, Pattie Sunwoo (violin), Patte Hadfield, Chai-Kyou Mallinson (piano), Jeffrey Vredenburg, Elizabeth Duhr, and Heather Montana (voice). Elizabeth plans to pursue a master's degree in Music Education following her graduation in May. ABOUT THE MUSIC Passacaglia on an Old English Tune • Rebecca Clarke was born and educated in Britain, but spent most of her life in the United States. She wrote close to 100 works in her lifetime, though by the time of her death in 1979, even the 20 that had previously been published were out of print. Since then, scholarship and interest in her work has revived. Clarke's style combines elements of impressionism, post-romanticism, and neo-classicism to create a powerful musical statement. She wrote the "Passacaglia on an Old English Tune" and performed its premiere herself in 1941. The work is based on a theme by Thomas Tallis. Clarke transforms the simple melody into something much more potent and full of emotion. The piece was dedicated "To BB," which could either refer to Clarke's niece Magdalen, or to Benjamin Britten. (The latter would make sense as Britten had organized a funeral for Frank Bridge, an influential composer and friend of Clarke's, that same year. The Passacaglia creates feelings of grief and nostalgia that could easily have accompanied such a loss.) Suite No. 1 in G major, BWV 1007 • Johann Sebastian Bach wrote his six Cello Suites during his time as music director at Cothen, probably around 1720. In this position, he had no church musical responsibilities and so was able to compose mostly secular music for domestic and pedagogical use. The suites were at first believed to be etudes, and for many years were paid little attention. Today, however, they have become an essential part of the repertoire for the cello and a plethora of other instruments, including the viola. Because Bach left no manuscript and little or no markings indicating tempi, dynamics and other aspects of performance, much has been inferred from other copies of his manuscript, especially those written by Bach's second wife, Anna Magdalena. The suites each showcase the various technical possibilities of the instrument, and are comprised of six movements: an improvisatory prelude followed by five variously styled dance movements. Perhaps the �best-known movement of the G major Suite, the Prelude, consists primarily of arpeggiated chords. The dance movements that follow cover the entire stylistic spectrum, alternately poised, exuberant, contemplative, carefree, and full of joy. Though the concept seems almost too simple, Bach's innovative combination of contrapuntal, harmonic, and rhythmic techniques makes the work sophisticated and whole even without accompaniment. Fantasie, Op. 94 • The Fantasie was composed in 1820 in the context of a larger work, Potpourri for Viola and Orchestra. Hummel's Potpourri was made up of eight distinctive sections containing music from the operas of Mozart and Rossini, as well as improvisatory and fugal elements. In its shortened form, it has become a staple of the viola repertoire. Editions have been published for other instruments as well, including violin, cello, and even string quartet. A gravely emotional G minor beginning sets the tone for the Fantasie. The piece then switches gears with a florid Andante section in B flat major, based on the aria "II mio tesoro" from Mozart's Don Giovanni. A rollicking Allegro ma non troppo in D major carries the piece to a triumphant finish. Sonata for Viola and Piano • The Sonata for Viola and Piano was written between 1825 and 1828. In his Memoirs, Glinka describes it as "cleaner" than his other compositions of this early period. The first movement was composed in 1825 while he was living in St. Petersburg as a sort of transition from academic composition to "real" music. Glinka composed the second movement while visiting Moscow in 1828. Though he started work on the third movement, it was ultimately never realized. (The Rondo theme originally intended for the third movement was later incorporated in a polka for children.) Thus, the second movement concludes the sonata. (Most of the work done by Vadim Borisovsky to complete the piece consisted of elaborating the piano part.) In the end, Glinka was pleased with the sonata's "clever counterpoint" and saw it as one of his most successful compositions. The piece has a certain frank sincerity that, combined with a distinctly Russian flavor and dramatic mood, makes it both exciting and accessible for listeners. String Quartet No. 1 in E minor, "From My Life" • Smetana's String Quartet No. 1 in E minor "From My Life" was written in 1876, two years after its composer tragically lost his hearing. Its title reveals the quartet's autobiographical nature. In an 1878 letter to Josef Srb, Smetana explains, �"I wanted to depict in music the course of my life ... the composition is almost only a private one and so purposely written for four instruments which, as in a small circle of friends, talk among themselves about what has oppressed me so significantly." Indeed, the work is made up of separate musical ideas that can be said to represent its composer's state of mind at significant points in his life. At the time the piece was composed, such programmatic works were for the most part reserved for the symphony, rather than the string quartet. This makes "From My Life" somewhat unique as a chamber work. The quartet was initially rejected by the Prague Chamber Music Association for its "dubious orchestral style," as well as for what were then considered instances of technical impossibility. It was finally performed in the Konvikt Hall of Prague on March 29, 1879. The first movement is a depiction of Smetana's youth - his love of music and a desire for something indescribable. It ends with a moment of foreshadowing in the first violin, a premonition of deafness, ultimately signified in the final movement by a long-held high E. �Binghamton University Music Department's UPCOMING EVENTS Tuesday, April 28th Friedheim Memorial Lecture/Recital: Audible Processes - Minimalism and Beyond, Casadesus Recital Hall, 8:00 PM, $$ Thursday, April 30thMid-Day Concert, 1:20 PM - FREE Casadesus Recital Hall Friday, May 1stFlute Studio and Flute Chamber Concert, 10:15 AM, Casadesus Recital Hall,FREE Recital: Sung Jin Park, soprano, Casadesus d Saturday, May 2 nMasters Recital Hall,3:00 PM, FREE dasters Recital: Susan Amisano, soprano, Casadesus Saturday, May 2 nM Recital Hall, 8:00 PM, FREE Symphony Orchestra "Fantastique!" d Saturday, May 2 nUniversity Osterhout Concert Theater, 8:00 PM, $$ Masters Recital: Jenean Truax, soprano, Sunday, May 3rd Casadesus Recital Hall, 3:00 PM, FREE Tuesday, May 5th Percussion Ensemble, 8:00 PM, FREE Anderson Center Chamber Hall Thursday, May 7thStudent Recognition Mid-Day Concert, Casadesus Recital Hall,1 :20 PM, FREE Thursday, May 7thHarpur Chorale and Women's Chorus, Anderson Center Chamber Hall,8:00 PM, FREE Friday, May 8th Binghamton University African Music Ensemble, Casadesus Recital Hall,8:00 PM, FREE Saturday, May 9th Hindustani (North Indian) Classical: Tomek Regulski, CasadesusRecital Hall, 8:00 PM, FREE For ticket information, please call the Anderson Center Box Office at 777-ARTS. -I � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:02:32 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149629">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149629</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 Senior honors recital, Sarah Sterling, April 16, 2009 Recital Tape 2009-4-26b Description An account of the resource Works of Clarke, Bach, Hummel, Glinka, Smetana. Held at 7:30 p.m., April 26, 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Reitz, Margaret Creo, Emily Koepke, Alicia Sterling, Elizabeth Sterling, Sarah 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 2009-04-26 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/6db16424f65650cd3e68e85d6afa495e.pdf c40da46d87c434df5e56acabdf2cc3f2 PDF Text Text BINGHAMTON UNI VERSITY STATE UNI VE RSITY O F NE W YOR K usi D E P A R T M E N T MOZART vs. CLEMENTI Stefania Neonato, fortepiano Sunday, March 15, 2009 3:00p.m. Casadesus Recital Hall �PROGRAM MOZART (1756-1791) Capriccio C major KV 395 Fantasy and Fugue C major KV 394 Variations on Salve tu Domine by Paisiello KV 398 PAUSE CLEMENTI (1752-1832) Toccata Bb major op.11 Sonata Bb major op.24 n°2 This performance is partly funded by an anonymous gift to the Department of Music. �ABOUT THE PERFORMER Born in Trento, Italy, Stefania Neonato graduated from her home town conservatory and earned a Master in Fortepiano Performance Practice at the International Piano Academy "Incontri col Maestro" (Imola, Bologna). While pursui.ng a BA degree in Foreign Languages and Literatures from the University of Trento, she came to Binghamton University for her thesis research. She attended many master-dasses around the world (among them. at the Mozarteum in Salzburg), and she was the recipient of scholarships from the Interlachen Arts Camp (Michigan) and from the School of Music of Miami University. She earned a Doctorate in Musical Arts in Historical Performance Practice with Malcolm Bilson at Cornell University, where she served as piano teaching assistant from 2006 to 2008. Ms. Neonato studied under Riccardo Zadra, Leonid Margarius and Aldo Ciccolini, and her interest in historical instruments grew and developed when she met the pianist, Alexander Lonquich. Active as a chambermusician and fine lieder-accompanist, she is committed to musicological issues. In addition to performing, Ms. Neonato writes articles and essays for music journals and conferences focusing on piano aesthetics. In 2004, Ms. Neonato was invited to give a seminar on historical performance practice at Trento Conservatory, and in 2005, her first recording was released. Her second CD has just been released and presents music of Clementi and Beethoven on a valuable 1822 Clementi grand piano. Ms. Neonato's collection of instruments includes a -circa 1819 Conrad Graf, a replica of a Walter u.Sohne (1803) by Paul McNulty (2008), an 1820 Daniel Dörr, an 1853 Pleyel and Erard, and a 1919 Steinway & Sons. �Sunday, March 15th Master's Recital: Sibongile Boyd, soprano, Casadesus Recital Hall, 6:30 PM, FREE Monday, March 16th Master Class with Guest Fortepiano Artist Stefania Neonato, 7:30 - 8:45 PM, Casadesus Recital Hall, FREE Wednesday, March 18thMaster Class with Jazz saxophonist Maceo Parker, 4:00 PM, Osterhout Concert Theater (Co-sponsored by the Music Department and the Harpur Jazz Project) Wednesday, March 18thJazz saxophonist: Maceo ParkerOsterhoutConcert Theater, 8:00 PM, $$, (Co-sponsored by the Music Department and the Harpur Jazz Project) Thursday, March 19thMid-Day Concert, 1:20 PM - FREE Casadesus Recital Hall Thursday, March 19thHarpur Chorale and Women's Chorus: A Mediterranean Choral Cruise, Anderson Center Chamber Hall, 8:00 PM, FREE Friday, March 20thPercussion Duo: Mike Correa and Gene Koshiniski, Casadesus Recital Hall, 8:00 PM, FREE (co-sponsored by the United States Air Force Band and the Binghamton University Department of Music) Saturday, March 21st Master's Recital: Stephen Brooks, bass, Casadesus Recital Hall, 8:00 PM, FREE Saturday, March 21st Organist Jonathan Biggers - A Bach Celebration!! Series, Rrst Presbyterian Church, Binghamton, 8:00 PM, $$ Thursday, March 26th Mid-Day Concert, 1:20 PM -- FREE University Art Museum, Celebrating Women's History Month Saturday, March 28th Master's Recital.· Jonathan Moots, baritone, Fine ArtsRoom 21, 3,·oo PM, FREE For ticket information, please call the Anderson Center Box Office at 777-ARTS. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 57:45 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149626">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149626</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mozart vs. Clementi, March 15, 2009 Recital Tape 2009-3-15 Description An account of the resource Works of Mozart, Clementi. Held at 3:00 p.m., March 15, 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Neonato, Stefania 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 2009-03-15 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/22ae05dc1571f5cfb7ed77dac17002dc.pdf af2a979db6c92f88707054b83a9bb5c8 PDF Text Text �lch esse mit Freuden mein weniges Brot from BWV 84, /ch bin vergnugt mit meinem Glücke Ich bin vergnügt in meinem Leiden from BWV 58, Ach Cott, wie meines Herzeleid Auch mit gedampfen, schwachen Stimmen from BWV 36, Schwingt freudich euch empor Johann Sebastian Bach (1685-17 SO) Heather Montana, soprano Elizabeth Sterling, violin Emily Creo, cello Sar-Shalom Strong, harpsichord La Rega ta Veneziana from Les soirees musicales 1. Anzoleta avanti la regata 2. Anzoleta co passa la regata 3. Anzoleta dopo la regata Gioacchino Rossini (1792-1868) Heather Montana, soprano, Sar-Shalom Strong, piano Intermission Try Me, Good King (2001) 1. Katherine of Aragon 2. Anne Boleyn 3. Jane Seymour 4. Anne of Cleves 5. Katherine Howard Libby Larsen (b. 1950) Four Recipes 1. Plum Pudding 2. Queues de Boeuf 3. Tavouk Gueunksis 4. Civet â Toute Vitesse Leonard Bernstein (1918-1990) Heather Montana, soprano Sar-Shalom Strong, piano You are invited to attend a reception in FA 111 following the performance. Please turn off all cell phones. Casadesus Hall is a smoke-free facility. �About the Music Bach wrote about 300 cantatas while he was employed as cantor at the Thomasschule in Leipzig, comprising five cycl es of cantatas to be used for the church year. As cantor, Bach was responsible for the music of th e four primary Leipzig churches, all Lutheran, as well as any other music supplied by the town council. The arias that begin th e recital are from the third cycle of cantatas, composed between 1725 and 1728. In th e church s ervice, th e performance of the cantata would follow the gospel r eading, and usually contain ed text from th e gospel for the Sunday for which it was writte n. The cantatas Bach wrote usually r equired about 16 singers and 18 instrumentalists, and lasted no more than 30 minutes, in order not to elongate th e usual 3-hour Sunday s ervice. "lch esse mit Freuden mein weniges Brot" is from /ch bin vergniigt mit meinem G/iicke ( Iam pleased with my happiness, BWV 84), a solo cantata compose d for Septuagesima Sunday. Septuagesima is th e third from th e last Sunday before Lent, and the p eriod from this Sunday through Shrove Tues day (the day be fore Ash Wednesday) is meant as a preparation for Lent. The text, des cribing the joys of receiving communion, is supported by the lively tripl e-meter melody. "lch bin vergntigt in meinem Leiden" is from Ach Gott, wie manches Herzeleid (Ah God, how many a heartbreak, BWV 58), first perform ed for the first Sunday of the New Year in 1727. The conflict betwee n happiness and des pair is heard in th e main th em e, with its initi a l ascending perfect fourth a nd its final descending ha lf-step. "Auch mit gedampfen, schwachen Stirn men" is from Schwingt freudig euch empor (You swing brightly up, BWV 36), a church canta ta whose text was a da pted from a secular can ta ta of th e same nam e. Th e secular cantata was written as a congratul atory pi ece for a professor at th e Thomasschule wh ere Bach taught Th e A section of this da capo a ri a has a lilting, qui et ch a rac ter as it speaks of the hushed adoration of God, a nd a sonorous ca ll-and-res ponse betwee n th e violin a nd voice as it speaks of t he ringing out of th e s pirit Rossin i's La Rega ta Veneziana is a part of his Soirees Musicales, a se ri es of chamb er works he wrote afte r his retire me nt from opera. Ross ini wrote them in France, wh er e he w as settling legal issues conce rning a n annuity Ch a rl es X ha d guarantee d him. Originally written in a Veneti a n dial ect, the songs a re perform ed her e in sta nd a rd Ita lian . Th ey te ll th e story of a gondola race from th e point of vi ew ofa Ve netian girl, Anzol eta. She encourages he r boyfri end Momolo be for e th e race, s piritedly ch ee rs him o n during the ra ce, a nd showers him with pra ise a nd love afterwa rds. Th e first song, "Anzoleta avanti la regatta," juxtapos es the sultry fr ee dom of Anzol eta's mu s ic with he r m ess age to Momolo not to hesi ta te, but to fly in his gondola. Th e op ening ba rs of "Anzoleta co passa la regatta" portray th e flowing w a ter through whi ch th e gondoli ers a re rowing. As th e race progresses, Anzol eta b ecom es more a nd more excite d, a nd he r m elody becom es high er a nd more intervallic. In "Anzoleta dopo la regatta," Momolo has won th e race, s o Anzol eta offers him kiss after ki ss, h er coloratura passa ges s howing he r a ttra ction to th e lo ca l rowing cha mpion. Libby Larsen is an Am e rican compose r who studi ed with Dominic Arge nto a t th e Univers ity of Minn es ota . He r advocacy of wom e n in mus ic a nd a ffinity for vocal mu s ic combin e in Try Me, Good King to bring the last words of fiv e wives of Henry VIII to life. Henry's ma rri age to Kath erin e of Aragon las ted twe nty-four years, but he w a nted a n a nnulm ent because s he had not provid ed him with a ma le he ir. Though th e pop e deni ed his requ est, Henry had th e archbishop of Cante rbury grant th e a nnulm e nt in 1533, breaking from th e Ca tholic Church and laying the groundwork for a se parate Church of England. Kath erin e was se parated from her da ughte r, and died from illness three years later, never admitting th e loss of he r royal titl e. In Katherine of Aragon, Lars en quotes John Dowland's "In Darkn ess Let Me Dwell," a song renouncing the joys of life in favor of death. Henry becam e enamored with his second wife, Ann e Bol eyn, �when she was one of Katherine of Aragon's ladies-in-waiting. His passion for Anne can be read in his many love letters to her, one of which is quoted in Larsen's song. Anne's pregnancy in 1532 drove Henry to marry her secretly, and she was crowned after Henry's marriage to Katherine was annulled. Anne was not popular at court, and when she failed to produce a male heir her enemies convinced the king to investigate her alleged adultery. Anne was condemned, primarily on false confessions, and was beheaded May 19, 1536. Anne Boleyn quotes John Dowland's "If my complaints," which states, "I was more true to Love than Love to me." Before Anne's death, Henry had become involved with Jane Seymour, who had waited on both Queen Katherine and Queen Anne. He married her May 30, 1536, less than two weeks after Anne's execution. Jane died from complications from childbirth two weeks after her son Edward was born in October 1537. She was the only one of Henry's wives to produce a male heir, and the only one to be buried with her husband. Henry waited two years before marrying again. In Jane Seymour, Larsen quotes Michael Praetorius' setting of "Lo, how a Rose e'er blooming," a hymn celebrating the birth of Christ. Prince Edward's birth saved Jane from Henry's wrath, and in this sense he was her savior. Part of the text is the anonymously written "Tudor Rose," a poem celebrating the new prince. In 1540 Henry married Anne of Cleves as a way of allying England with France. He apparently did not find her attractive, and the alliance became risky, so he sought an annulment. Knowing what lay ahead if she opposed, Anne accepted the honorary title "King's Sister" and lived away from court until her death at Anne Boleyn's former residence. Quoted in Anne of Cleves is "I Care Not for These Ladies," a song by Thomas Campion that disparages courting proper ladies and celebrates the country girl who is unafraid of a roll in the hay. Katherine Howard, Anne Boleyn's cousin, came to court as a lady-in-waiting to Anne of Cleves. Henry married her six days after his annulment from Anne was final, and rumors of her infidelity began almost immediately. Henry was 49 at the time, and Katherine was not older than 19. When Henry was informed of Katherine's affairs, she was executed . Katherine Howard includes a restatement of John Dowland's "In darkness let me dwell," first heard in Katherine of Aragon's song. Henry's sixth wife - Katherine Parr not included in the song cycle, outlived him by a year. Her mother had been a lady-in-waiting to Katherine of Aragon, and named her after the former queen. Henry's sixth wife was named after his first. Closing the recital is Leonard Bernstein's la Bonne Cuisine, the original text of which is taken from "La Bonne Cuisine Française" by Émile Dumont, a well-known French cookbook. The English text was written by Bernstein himself, but takes some liberties with translation in favor of creating liveliness and character. The first song, Plum Pudding, is little more than a recitation of ingredients. Sudden jumps highlight the more flavorful items, like Concord grapes and lemon . The hesitation of the descending chromatic introduction to Queues de Boeuf mimics the perceived hesitation to serve ox-tails, a dish this song defends. The defense is not passionate, the first positive quality stated being its necessary presence in an "acceptable" beef stew. The possible spiciness of the sauce that can be served with breaded, fried ox-tails is heard in the hemiola effect created by the change from six-eight to three-four meter near the end of the piece. Bernstein marks the tempo of Tavouk Gueunksis's middle section Allegretto al/a Turca ("Quickly and Turkish''). The accompaniment certainly dresses up this originally Turkish recipe, which is merely boiled and shredded chicken. Civet à Toute Vitesse sets the recipe for a quick stew at quite a fast pace, mimicking the frenetic pace of the recipe, pausing only to relish the scent of a fine red wine. �Texts and Translations lch esse mit Freuden mein weniges Brot I eat with joy my little Bread lch esse mit Freuden mein weniges Brot Und gönne dem Nachsten von Herzen das Seine. Ein ruhig Gewissen, ein frohlicher Geist, Ein dankbares Herze, das lobet und preist, vermehret den Se gen, verzuckert die Not. I eat with joy my little bread And begrudge it not from his heart. A calm conscience, a merrier spirit, A grateful heart, many praises, increased blessing, sweet need. lch bin vergnügt in meinem Leiden I am jovial in my suffering lch bin vergni.igt in meinem Leiden, Denn Gott ist meine Zuversicht. Ich habe sichern Brief und Siegel, Und dieses ist der feste Riegel, Den bricht die Hölle selber nicht I am jovial in my suffering, Thus is God my assurance. I have ensured letter and seal, And this is the solid lock, Which hell cannot break. Auch mit gedämpfen, schwachen Stimmen Also with hushed, quiet voice Auch mit gedampften, schwachen Stimmen Wird Gottes Majestat verehrt. Drum schallet nur der Geist darbei, So ist ihm solches ein Geschrei, Das er im Himmel selber hört. Also with hush ed, quiet voice, Will God's majesty be adored, But the spirit rings out, So it is thus a crying out That is heard in heaven. La Regata Veneziana The Venetian Regatta Anzoleta avanti la regata Anzoleta before the regatta Sul palco sventola la gran bandiera, guarda, sl guardala, valla a pigliar. Hai a recarm ela prima di sera, o più tra gli uomini non ti mostrar. In poppa, Momolo, non indugi ar. Va voga, spingila la gondoletta, né ii primo prèmio tl può mancar, va la, ricordati la tua diletta che in ansia trepida ti sta a guardar. In poppa, Momolo, non indugiar, In poppa, Momolo, corri a volar! On the stage is the large flag, look, you see it, go for it! You must come back with it tonight, or you can't show yourself to the other men. On ce in the boat, Momolo, don't dally! Row the gondola with heart and soul, then you can't help but win first prize, go, remember your delight who waits here so nervously! On ce in the boat, Momolo, don't dally! On ce in the boat, Momolo, fly! 1 �Anzoleta co passa la regata Anzoleta during the regatta Sano qua, sono qua, non vedi? curvi stanno in sovra al remo, ahi la meta, è ancor lontana, gira ii vento a tramontana, poveretti, io tutta tremo, la corrente è in lor favor. lo mio Momolo, l'hai visto? or lo scorgo, egli è secondo. Ah! Che smania! mi confondo, ahi! balzar mi sento ii car. Su coraggio, voga, pria di giumger all meta spiega tutta a tua foga, e nessun ti vincera. Caro, par ch'ei voli, Ii ha passati tutti quanti, mezza barca sta davanti, ah comprendo, ei mi guardo. I am here, I am here, don't you see? they are bent over to oars, oh, the destination is still far, the wind blows from the north, poor ones, I'm shaking all over, the current is in their favor. My sweetheart, have you seen him? I see him now, he is in second place, Ah! What tension! I'm confused, ah! I feel my heart leaping. Row with courage, before you reach the destination show your dedication to everyone, and no one will beat you. My goodness, how he's flying, He has passed all of them, he is ahead by half a boat, ah, I understand, he looked at me! Anzoleta dopo la regatta Anzoleta after the regatta Prendi un bacio, un altro ancora, caro Momolo, di car; su riposati che è ora, ch'io t'asciughi quell sudor. Ah t'ho visto, m'hai guardata, sul poggiolo nel passar e pensai racconsolata: un bel premio ei de' pigliar sì un bel premio è la bandiera, quando è rossa di color; non un sol, Venezia intera ti proclama vincitor. Prendi un bacio, benedetto, non hai pari nel vogar, per famiglia, per traghetto, niun a petto ti può star. Take one kiss, and another again, dear beloved of my heart; you rest now, while I dry your sweat. Ah, I saw, you looked at me, on the balcony as you passed and you thought to yourself: a beautiful prize is there to be taken yes the flag is a very good prize, the one that is red in color; not a sun, all of Venice proclaims you the winner. Take a kiss, blessed one, you have no equal in rowing, for the family, for your ferrying, now you can lie on my breast. �La Bonne Cuisine (Four Recipes) Good Cooking Plum Pudding Deux cents cinquante grammes de raisins de Malaga, deux cents cinquante gramm' de raisins de Corinthe; Deux cents cinquante gramm' de graisse de rognon de boeuf, et cent vingt-cinq gramm' de mie de pain émitettée; Soixante gramm' de sucr'en poudre ou de cassonade; un verr' de lait; un demi verr' de rhum ou d'eau-de-vie; trios oeufs; un citron! Muscade, gingembre, canell'en poudre melanges (en tout la moitié d'une cuillere â café) sel fin la la moitié d'une cuillere â café. Plum Pudding Two hundred fifty grams of grapes from Malaga, two hundred fifty grams of grapes from Corinth; Two hundred fifty grams of beef kidney fat and one hundred twenty-five grams of soft bread, crumbled; Sixty grams of powdered sugar or brown sugar; a glass of milk; a half-glass of rum or brandy; three eggs, a lemon! Nutmeg, ginger, powdered cinnamon (all mixed making a half teaspoon); at the end a half teaspoon of salt. Queues de Boeuf La queue de boeuf n'est pas un mets à dedaigner. D'abord avec assez de queues de bœuf on peut fair' un pot-au-feu passable. Les queues qui ont servi à faire le pot-au-feu peuv'nt être mangees, panees, et grillees, et servies avec une sauce piquante out tomate. La queues de bœuf n'est pas un mets à dedaigner. Ox-Tails Ox-tails is not a dish to disdain. First of all, with enough ox-tails one is able to make a perfectly acceptable beef stew. The tails that are served to make the beef stew are able to be eaten, coated with crumbs, and grilled, and served with a spicy or tomato sauce. Ox-tails is not a dish to despise. Tavouk Gueunksis Tavouk Gueunksis, poitrine de poule; Fait' bouillir une poul', dont vous prendrez Jes blancs; vous les pilerez de façon à cequ'ils se mett' en charpie. Puis meles-lez avec une bouillie, comme celle cidessus du Mahallebi. Tavouk Gueunksis, poitrine de poule. Tavouk Gueunksis Tavouk Gueunksis, breast of chicken; boil a chicken, from which you take the white meat; crush it in such a way as to shred it. Then boil it with a paste as described above with Mahlab. Tavouk Gueunksis, breast of chicken. Civet àToute Vitesse Lorsqu'on sera très presse, voici un' maniere de confectioner un civet de lièvre que je recommande! Depecez le lièvre comme pour le civet ordinaire: Mettez-le dans une casserole ou un chaudron avec son sang et son foie écrasé! Un' demi-livre de poitrine de pore (coupée en morceaux); une vingtaine de petits oignons (un peu de sel et poivr'); un litre et demi de vin rouge. Fait' bouillir à tout vitesse. Au bout de quinze minutes environ, lorsque la sauce est reduite de moitie, approchez un papier enflamme, de maniere à mettre le feu au ragout. Lorsqu'il sera éteint, liez la sauce avec un' demilivre de beurre manié de farine ... Servez. Quick Stew When one is in a hurry, here is a manner of preparing a hare stew that I recommend. Take apart the hare as for an ordinary stew. Put it in a saucepan or a cauldron with its blood and its liver, crushed. A half pound of pork breast (cut into small pieces); about twenty little onions (with a little salt and pepper); a bottle and a half of red wine. Boil it, wasting no time. At just the end of fifteen minutes, when the sauce has been reduced by half, bring a flaming paper close to it, for the purposes of putting fire to the stew. When it is burned out, add a half pound of butter to the sauce, thickened with flour .. .Serve. �Soprano Heather Montana hails from Utica, NY, where her warm, fresh voice has been pleasing audiences for years. Ms. Montana, a cum laude graduate of Hamilton College, will graduate in May with her Masters of Music degree in Vocal Performance from Binghamton University, where she studies voice with Timothy LeFebvre. She has most recently appeared as Buttercup in H.M.S. Pinafore (Earlville Opera House, Earlville NY), and as Kate in Kiss Me, Kate! (Hamilton College, Clinton NY). Ms. Montana has also been heard as Bazzard in Drood: The Mystery of Edwin Drood and as Fiametta in The Gondoliers at Hamilton College, where she was also a member of the Hamilton College Choir, College Hill Singers (elite choral group) and Oratorio Society. A performing member of the 8# Musical Club of Utica, she has recently appeared as a recital soloist for Utica Monday Night's Classical Performance series at the Stanley Theater. Winner of first prize at the Central New York/ Finger Lakes Regional National Association of Teachers of Singing Competition and at the 8# Musical Club scholarship competition, Ms. Mon tana was also the soprano soloist in Messiah in Rome, NY. Pianist Sar-Shalom Strong has achieved widespread recognition for sensitive performances of solo and co ll aborative repertoire spanning five centuries. Locally, Mr. Strong can often be heard performing in concert with the Society for New Music, Civic Morning Musicals, and in collaboration with many outstanding area musicians. He has also appeared as soloist in concerti with the Utica Symphony Orchestra and the Hamilton College Orchestra. Highlights of the 2008-09 season include concerts with Peter and Kathleen Vandegraaf performing music of Robert and Clara Schumann, Hamilton College recitals with Janet Brown and Gregory Wood, and performance s of Bach's Brandenburg Concerti #4 and 5 with personnel from the Syracuse Symphony Orchestra, as well as performance s of new music for clarinet and saxophone with Ronald Caravan, and concerts with bassbaritone David Neal. Mr. Strong holds degrees from Knox College and Syracuse University, and is Lecturer in Piano and Coordinator of Staff Pianists for Hamilton College. From 1998-2007 he also served as keyboardist for the Syracuse Symphony Orchestra. Violinist Elizabeth Sterling, a student of Janey Choi, is completing her senior year at Binghamton University with a double major in Music and Anthropology. She has performed with various chamber ensembles and orchestral groups, including the Saratoga Springs Youth Orchestra, Empire State Repertory Orchestra, and Binghamton University Symphony Orchestra. Her other musical interests include piano and vocal studies. She is currently a member of Harpur Chorale and the Jazz Ensemble and studies voice with Mary Burgess. She has also studied with Sue Nazzaro, Pattie Sunwoo (violin), Patte Hadfield, Chai-Kyou Mallinson (piano), Jeffrey Vredenburg, Elizabeth Duhr, and Heather Montana (voice). This spring, she is planning a Senior Honors Recital featuring violin and vocal works by Claude Debussy. Cellist Emily J. Creo comp leted her master's degree in Music History and Literature at Binghamton in May of 2008. She actively performs with the BU chamber music program. Emily currently works in accounting and administratio n for the Binghamton Senators Hockey Team. �Sunday, March 15th Guest Fortepiano Concert: Stefania Neonato, Casadesus Recital Hall, 3:00 PM, $$ Sunday, March 15th Master's Recital: Sibongile Boyd, soprano, Casadesus Recital Hall, 7:30 PM, FREE Monday, March1 6th Master Class with Guest Fortepiano Artist Stefania Neonato, 7:30 - 8:45 PM, Casadesus Recital Hall, FREE Wednesday, March 18th Master Class with Jazz saxophonist Maceo Parker, 4:00 PM, Osterhout Concert Theater (Co-sponsored by the Music Department and the Harpur Jazz Project) Wednesday, March 18thJazz saxophonist: Maceo Parker - Osterhout Concert Theater, 8:00 PM, $$, (Co-sp onsored by the Music Department and the Harpur Jazz Proj ect) Thursday, March 19th Mid-Day Concert, 1:20 PM - FREE, Casadesus Recital Hall Thursday, March 1 9th Harpur Chorale and Women 's Chorus: A Mediterranean Choral Cruise, Anderson Center Chamber Hall, 8:00 PM, FREE Friday, March 20thPercussion Duo: Mike Correa and Gene Koshiniski, Casadesus Recital Hall, 8:00 PM, FREE (cosponsored by the United States Air Force Band and the Binghamton University Department of Music) Saturday, March 21 st Master's Recital: Stephen Brooks, bass, Casadesus Recital Hall, 8:00 PM, FREE Saturday, March 21 st Organist Jonathan Biggers - A Bach Celebration'! Series, First Presbyterian Church, Binghamton, 8:00 PM, $$ Thursday, March 26th Mid-Day Concert, 1:20 PM - FREE, University Art Museum, Celebrating Women's History Month Saturday, March 28th Master's Recital: Jonathan Moots, baritone, Fine Arts Room 21, 3:00 PM, FREE Saturday, March 28th 1993 Reunion Recital: Todd Geer tenor, Allison Swensen-Mitchell, mezzo-soprano, and J. J. Penna, piano, Anderson Center Chamber Hall, 8:00 PM, $$ (co-sponsored by the Music Department and the Alumni Association) Sunday, March 29th Junior Recital: Marc Silvagni, percussion, Casadesus Recital Hall, 3:00 PM, FREE Thursday, April 2nd Mid-Day Concert, 1:20 PM - FREE, Casadesus Recital Hall Thursday, April 1 6th Mid-Day Concert: 1:20 PM - FREE, Casadesus Recital Hall Saturday, April 18th Clarinet Studio Recital, 3:00 PM - FREE, Casadesus Recital Hall Saturday, April 18th Brahms' REQUIEM with the Binghamton Philharmonic Orchestra and the University Chorus, 8:00 PM, Osterhout Concert Theater; for tickets, call the Binghamton Philharmonic at 723-3931 For ticket information, please call the Anderson Center Box Office at 777-ARTS. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 39:43 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149623">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149623</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 graduate recital in music, Heather Montana, soprano, March 14, 2009 Recital Tape 2009-3-14 Description An account of the resource Works of Bach, Rossini, Larsen, Bernstein. Held at 8:00 p.m., March 14, 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Strong, Sar-Shalom Sterling, Elizabeth Creo, Emily Montana, Heather 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 2009-03-14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/fa5e3f5f8d8e7ad37be3249bdd4380f9.pdf c82a94506c9e557cfa14987669ef4531 PDF Text Text BINGHAMTON U N I T Y STATE  U N I V E R S I T Y   O F  N E W   Y O R K d e c ' D E P A R T M E N T M A S T E R S  R E C I T A L SUNG Jin PARK , SOPRANO Chai­Kyou Mallinson, Piano with Ju­Hyang Shon, Flute Saturday, May 2, 2009 3:00 p.m. Casadesus Recital Hall �PROGRAM ABOUT THE PERFORMERS Selected Songs..  .. Johann Sebastian Bach Quia respexit from Magnificat BWV 243a and 243  (1685­1750) Ich folge dir gleichfalls from Passio Secundum JoannemBWV245 student of Voice Performance at Binghamton University.  She received a B.M. degree in voice from Seoul National University and graduated from Seoul  Arts  High  School,  Korea.  Ms.  Park  will  graduate  from Binghamton University this May.  In the fall of 2009, she will attend the University  of  Illinois  at  Urbana­Champaign  to  pursue  the  Doctor  of Musical Arts.  Ms. Park performed in a concert for Ending of Semester of Seoul National University, Seoul, Korea in 2005.  In 2004, Ms. Park was a stage director for a Gala Concert of Die  Zauberflote, an  Opera Performing Group of Seoul National University, Seoul, Korea.  She also performed the Third Knabe in this concert.  Ms. Park performed with the Wind Orchestra of Korea University, Seoul, Korea in 2003.  In 2002, Ms. Park performed in the chorus of Cavalleria Rusticana of Seoul National University and she was the soprano soloist in the Concert of Spring with the  Anyang  City  Chorus  of Korea.  Ms.  Park  received  full  tuition scholarships from Seoul National University, Korea from 2002 to 2006 and won Third Place in  the Italian Songs Competition, Korea in  2002. Ms.  Park  studied  with  Professor  Mihae  Park and  Professor Choonhae Juliana Lee  before coming to the United States.  She currently studies voice with Professor LeFebvre at Binghamton University. Ju­Hyang Shon, Flute Sechs Lieder Op.13  Ich stand in dunklen Trdumen  Sie liebten sich beide Clara Schumann (1819­1896) Liebeszauber Der Mond kommt still gegangen Ich hab’ in deinem Auge Die stille Lotosblume WINTERMISSION3 Classical Spanish Songs................................ J. Obradors La mi sola, Laureola  Al Amor (Corazon, porqué pasais? El Majo celoso Con amores, la mi madre Del cabello mas sutil Chiquitita la novia (1897­1945) Selected Korean Art Songs Shin­Arirang (New Arirang)........................Dong­Jin Kim (b.1913) Sanyuhwa..  (The Flowers in the Mountain) Gune (The swing)  Sun­Nam Kim (1917­1986) [­Sang Yun (1917­1995) Gopunguisang (An ancient­styled costume).................I­Sang Yun Setahryung (Rhythm of Birds)................. Du­Nam Cho (1912­1984) Soprano S U N G  J I N  PA R K ,  originally from Korea, is a master’s CHAI­KYOU  MALLINSON,  currently  on  the  faculty  of  the Department of Music at Binghamton University, received a B.M. degree in Piano from Juilliard, Licence d’Enseignement from Ecole Normale de Musique  de  Paris,  France  and  a  M.A.  degree  from  Binghamton University, where she studied with Jean Casadesus.  A prize winner in the  Korean National  Music Competition, she was awarded the  French Government  Scholarship,  Tanglewood  Summer  Music  School  Full Scholarship  and  the  Fontainebleau  American  Conservatory  Full Scholarship. She gave a debut Recital in  Carnegie Recital Hall and has been active as a recitalist, vocal accompanist and coach, and  chamber music performer, as well as an active adjudicator of piano auditions and competitions. JU­HYANG  SHON,  originally  from  South  Korea,  is  a  sophomore student  of Binghamton  University.  Before  she  came  to  Binghamton University, she studied at the  Salem  Academy in North Carolina with Professor  Debra­Reuter Pivetta. While she was  in  North  Carolina, she won several competitions including the Raleigh Area Flute competition and Peter F. Chapman Concerto Competition. She studies with Professor Maiolo at Binghamton University and plays in the Wind Symphony and the University Orchestra. Ms. Shon is currently majoring in nursing. �TRANSLATIONS 5. Ich hab’ in deinem Auge (In your eyes I beheld) Text by Friedrich Ruckert I. Quia respexit from Magnificat For he has regarded the low estate of his handmaiden: behold, for from this time, may I be called blessed. Ich folge dir gleichfalls (I follow thee also) from Passio Secundum Joannem I follow you also with joyful steps and leave you not, my life, my light. Hasten the flow and stop not to draw me to yourself to lead, to intercede. II. From Sechs Lieder (Six Songs), Op.13 1.Ich stand in dunklen Tr iumen (In dark dreams I stood) Text by Heinrich Heine In dark dreams I stood and stared at her portrait, and the beloved face secretly came alive. About her lips there played a wondrous smile, and her eyes glistened as though with melancholy tears. the fawns stood as though in a dream and listened to the sound. And my tears also flowed down from my cheeks. Alas! I cannot believe that I have lost you! 2. Sie liebten sich beide (They once loved each other) Text by Heinrich Heine i i ( . They once loved each other, but neither was prepared to tell the other; they looked at each other so coldly, yet were pining away with love. The moon comes quietly with its golden light, and the weary earth sleeps in its sweet splendour. 3. Liebeszauber And in the air there float (Love’s magic) over the sleepers thousands of loving thoughts from many a faithful soul. Text by Emanuel Geibel And at its sound there wafted around scent from a thousand blooms, and every treetop fluttered lightly and lighter was the air. The brooks were silent which but recently had splashed down from the heights; But I went upon my way and also heard the sound. Alas! Since that hour my songs have been nothing but its echo. 4. Der Mond kommt still gegangen (The moon comes quietly) Text by Emanuel Geibel Finally they parted and only saw each other at times in a dream; they died a long time ago and were hardly aware of it. Love sat, a nightingale, in a rose bush and sang; the wonderful sweet sound flew through the verdant wood. And light and ever lighter the rays of the sun flooded in, and over flowers and wood and glen the red­gold glow poured out. t L I . And down in the valley there sparkle the windows of my darling’s house; but I am in the dark, quietly looking out into the world. In your eyes I beheld the light of true love. Once I saw on your cheeks the roses of heaven. Though  in  your  eyes  the  light  be dimmed and the roses be scattered, yet their reflection ever new has remained in my heart. I will never see your cheeks or look into your eyes, without the roses being there and the light shining for me. 6. Die stille Lotosblume (The still lotus flower) Text by Emanuel Geibel The still lotus flower rises out of the blue lake. The leaves shimmer and sparkle, the cup is white as snow. From heaven the moon pours out all its golden light, pours all its rays into its depths. A white swan draws its circles around the flower in the water, it sings so sweetly, so softly, and gazes at the flower. It sings so sweetly, so softly, dying as it sings. O flower, white flower, can you understand the song? �6. Del cabello mas sutil (From the finest hair) From the finest hair III. From Classical Spanish Songs 1.La mi sola, Laureola (My only Laureola) My only Laureola, my only, only, only one, I, the captive Leriano, am so proud to be wounded by the hand, the only hand in the world, My only, Laureola, my only, only, only one. 2. Al Amor (To love) Give me, Love, countless kisses, your hands seizing my hair, and a thousand and a hundred after those and then eleven hundred more and after many thousands, three more! And so that no one knows, let’s forget the count and count backwards! 3. 5Cora26n, porqué pasais? (Oh, heart, why do you lie awake?) Oh, heart, why do you lie awake during the nights made for love, When your mistress rests in the arms of another lover? Oh, heart, why do you lie awake during the nights made for love? 4. El majo celoso (The jealous lad) From the lad who is wooing me I have learned the sad song Which, night after night, a thousand And one times, he sighs at my window “My darling, I am dying of a wild and cruel love; I wish I could forget you, but though I try, I cannot!” They told him that in the Pradera I was seen with a fellow Dressed in a silk shirt and a velvet jacket. “My handsome boy, I love you! Never think I am dying, crazed with love, For that fellow!” 5. Con amores, la mi madre (Dreaming of love, dear mother) Dreaming of love, dear mother, dreaming of love, I fell asleep, and sleeping I dreamed of what my heart concealed. For love consoled me with more than I deserved. This favour which Love lovingly granted me lulled me to sleep. The loyalty with which I served him brought respite to my sorrow. Dreaming of love, dear mother, dreaming of love, I fell asleep. That you wear in braids I will make a chain to bring you to my side. A water­pot in your house, my love, I should like to be, and then, I could kiss your lips each time you take a drink. 7. Chiquitita la novia (A tiny bride) Ah! A tiny bride, a tiny groom, a tiny room, and a bedroom. That is why I want a tiny bed and a mosquito net. Ah! IV. Shin­ A rirang (New Arirang) The word ‘Arirang’ is impossible to translate. It is a Korean word and a concept which can mean many things (and even different things to different people) in this most traditional of Korean folk songs. Arirang, Arirang, Arariyo Go over the Arirang mountain pass. You wait, holding open the gate made of sticks. The wild duck frolics in the moonlight. The love I met when the peony blossomed does not return, Even now that the white chrysanthemums have withered. There is no hope of binding my beloved to my heart in which my love is still knotted. Arirang, Arirang, Arariyo, Over the Arirang mountain pass. Arirang, Arirang, Arariyo, Go over the Arirang mountain pass. Shall I build a humble cottage under that mountain and live like the flowing stream? Arirang, Arirang, Arariyo, Go over the Arirang mountain pass. Sanyuhwa (The Flowers in the Mountain) On the mountain there are flowers, blooming flowers. No care for the passing of spring or summer, flowers are blooming. On the mountain, this side and that side The blooming flower is shining alone. The bird crying through the mountain, enjoys dancing with the flower. A pleasure to live in the mountain. Flowers fading in the mountains, On the mountain there are flowers, fading flowers. No care for the passing of spring or summer, flowers are fading. �Gune (The Swing) When I see a far away, I can see like going out my sight, She looks like a butterfly. The cuckoo sings in the green forest. She takes o ff  the swing, Because she worries that lover waits her. After we make up And checking her hair and clothes, She breathes with gasping. When I see a far away, I can see like going out my sight, She looks like a butterfly. The cuckoo sings in the green forest. Gopunguisang (An ancient­styled costume) Sadly beautiful are the long eaves of the roof, heading towards the sky Half­Moon is hiding behind the curtain made with tiny marbles Night of the spring gets deeper and deeper like the cries of the bird Alas, beautiful. Truly Beautiful! Bright is the white strip attached to the top boarder of the “Hanbock” (*1) coat.  The long skirt of the Hanbock, 12­feet­long, flows like a wave. Aren’t you a swallowtail butterfly that signifies the tradition of a nation? Lower your eyes; And dance lightly like the butterfly.  I play “Geumungo” in the night, my eyes closed (*2).  My hands playing dance to the rhythm of the music like a willow in the wind. *1: Hanbock: Korean traditional attire. *2: Geomungo: a Korean musical instrument with six strings. Setahryung (Rhythm of birds) ­a traditional Korean melody­ Birds fly, birds are flying, Coming, coming are the birds. Birds from everywhere, birds of all kinds. Birds are coming with spring time. Birds sing, birds are singing. Singing singing are the birds. Spring time is everywhere, flowers of all kinds. Spring is coming with a bird’s song. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 51:41 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149357">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149357</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 Sung Jin Park, Master's recital, May 2, 2009 Recital Tape 2009-5-2 Description An account of the resource Works of Bach, Schumann, Obradors, Kim, Yun, Cho. Held at 3:00 p.m., May 2, 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Mallinson, Chai-Kyou Shon, Ju-Hyang Park, Sung Jin 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 2009-05-02 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 57:53 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149354">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149354</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 Graduate recital, May 10, 2009 Recital Tape 2009-5-10 Description An account of the resource Works of Rameau, Rossini, Thomas, Strauss, Ives. Held at 7:30 p.m., May 10, 2009, Fine Arts Room 21. Creator An entity primarily responsible for making the resource Moots, Jonathan Schum, Jody Lundy,Barbara Tayga-Hromek, Hakan Moots, Jonathan 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 2009-05-10 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 48:37 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149351">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149351</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 student music groups, March 5, 2009 Recital Tape 2009-3-5 Description An account of the resource Works of Scheinberg, Sussman, Cooper, De Longe, Hoppus, Berryman, Buckland, Champion, Martin, Hodges, Lee, Moody, Gaugh, Nowell, Roberts, Wilson. Held at 1:20 p.m., March 5, 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Kaskeset (Musical group) Binghamton Crosbys The Treblemakers The Binghamtonics Sulpoong 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 2009-03-05 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound