66
10
1775
-
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8f7ecf4cd68af322e0644eebf30bf659
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BINGHAMTON
V
N I V E R S I T
S T A T E U N I V E R S I T Y O
F N E W Y O R K
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D E P A R T M E
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R E C I TA L
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F ri d a y, M a y 6 , 2011
10:15 A.M.
Casadesus Recital H a ll
�PROGRAM
Sonatina for Flute and Piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Eldin
Allegretto grazioso
(1913–1979)
Andante sognando
Allegro giocoso
Mark Zhuang, Flute
ChaiKyou Mallinson, Piano
. . . . . . . Eugene Bozza
(1905–1991)
Eili – Eili
Raquel Goldsmith, Flute
ChaiKyou Mallinson, Piano
Syrinx pour Flute Seule.............. ...................Claude Debussy
(1862–1918)
Emily Morris, Flute
The Carnival of Venice with Variations, Op. 78. . . G iulio Briccaldi
(1818–1881)
Edited by Frederick Wilkins
Emily Morris, Flute
© ChaiKyou, Mallinson, Piano
Madrigal for Flute and Piano ...... ...................Philippe Gaubert
(1879–1941)
Lindsay Ralbovsky, Flute
ChaiKyou Mallinson, Piano
Variations on “Ah, Vous Dirae~j e, Maman”
for Flute Alone... ...................... ........Charles Henry Nicholson
Theme
(1795–1837)
Variation I
Arr. by Ransom Wilson
Variation II, Adagio
Variation 1111
Lindsay Ralbovsky, F lute
Quatre Pieces pour Flute et Piano.
Reves D’Enfant
Le Campanile
Menuet des Pages
Fantasy, Op. 79 for Flute and Piano. . . .
..Gabriel Faure
(1845–1924)
Natalie McCreary, Flute
ChaiKyou Mallinson, Piano
Sonatina for Flute and Piano........ ......................Amold Cooke
Allegro Moderato
(1906–2005)
Andantino
Allegro Vivace
Hagar Dayan, Flute
ChaiKyou Mallinson, Piano
F lutists are from the Flute Studio of Georgetta Maiolo
�Binghamton University Music Department’s
U P C O M I N G E V E N T S
«ede
M
MidDay concerts are held on Thursdays, 1:20 PM in Casadesus Recital
Hall unless otherwise noted and are FREE
Friday, May 6 – Faculty Recital: Jinah Lee, pianist – 8:00 p.m. – Casadesus
Recital Hall – $5 general public
l
l
Saturday, May 7 – African Drum Ensemble – 3:00 p.m. – Library Tower
(Spring Fling) – free
Saturday, May 7 – Master’s Recital: Robert Muller, French horn – 3:00 p.m.
– Casadesus Recital Hall – free
Saturday, May 7 – Student Recital: Briana Sakamoto, soprano – 8:00 p.m.
– Casadesus Recital Hall – free
Sunday, May 8 – Senior Voice Recital: Samantha Banton and Molly
AdamsToomey – 1:00 p.m. – Casadesus Recital Hall – free
Sunday, May 8 – University Chorus with the University Symphony
Orchestra: Mass Masterworks – 3:00 p.m. – Osterhout Concert Theater –
$10 general public; $5 facultyl/staff/seniors; free for students
Sunday, May 8 – Senior Honors Recital: Jieun Jang, piano – 7:30 p.m. –
Casadesus Recital Hall – free
Tuesday, May 10 – Percussion Ensemble – 8 p.m. – Anderson Center
Chamber Hall – free
Wednesday, May 11 – Composition Seminar Concert (Loy) – 7 p.m. –
Casadesus Recital Hall – free
Thursday, May 12 – Student Recognition MidDay Concert – 1:20 p.m. –
Casadesus Recital Hall – free
For ticket information, please call the
Anderson Center B o x O ffice at 7 77ARTS.
l
�
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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1 audio disc
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56:19:00
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145480">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145480</a>
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Flute studio recital, May 6, 2011
Recital Tape 2011-5-6
Description
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Held at 10:15 a.m., May 6, 2011, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Zhuang, Mark
Mallinson, Chai-Kyou
Morris, Emily
Ralbovsky, Lindsay
Goldsmith, Raquel
McCreary, Natalie
Dayan, Hagar
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Binghamton University Libraries
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2011-05-06
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In copyright
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sound
-
https://omeka.binghamton.edu/omeka/files/original/b5fef3d90b43c08964d92d5d64d66d6f.pdf
9bae68adeb7ba9e12e4512c7edb83a1f
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Text
BINGHA MT ON
U N T V E R B I T Y
U N I V E R S I T Y O F N E W Y O R K
R
E
Ze EC
P
MASTERS RE CITAL
IOLIN
JAMES H S I A , V
wiih
M L’ O h a e é j a Z f WJ / é ' j o e m j m f z g ;
]
Prano
abriele Mare; violing
Joes Ht &G
viola
A Z Z a / C m f d a / Q M OZ ’
A n dW
Bew Pochily,
Nander Edwards; cello
' S a n d a y Ma y 1 s t 2 011
Casadesus Recita l fall
7 : 3 0 p . [ 774
' ;
�PROGRAM
J.S. Bach
Sonata No. 2 in a minor for Solo Violin, BWV 1003
(1685–1750)
Andante
Allegro
F
\
Sonata in A Major for Piano and Violin
Op. 30 No.1...........coeeeeeiivnneninniennnne.... Van Beethoven
(1770–1827)
Allegro
Adagio molto expressivo
Allegretto con variazioni
A}
w INTERMISSION cs
String Quartet No. 8 in c minor, op. 110... Dmitri Shostakovich
(1906–1975)
Largo
Allegro Molto
Allegretto
Largo
Largo
l
Sonata in D Major for Violin and Piano
Op. 98bls
Moderato
‘Scherzo: Presto
Andante
Allegro Con Brio
Sergey Prokofiev
(1891–1953)
l
)
Mr. Hsia’s performance is in partial fulfillment of the requirements for the
Master of Music degree in Violin Per formance. He is a student in the
‘ studio of Professor Janey Choir
�ABOUT THE PERFORMERS
Taiwan ese violinist J AMES HSIA has performed regularly
throughout New York State presenting a wide range of
repertoire including concertos by Paganini, Mendelssohn,
and Bruch, leading numerous chamber groups, and in
ensembles such as the Empire State Yo uth Orchestra, and
the Southern Tier Symphony under the director John
Whitney. While attaining his Bachelor o f Music Education
degree at SUNY Fredonia, studying with Janet Sung, he was
regularly featured on their performance series as recitalist
and chamber musician, and was selected from the SUNY
Fredonia Symphony Orchestra to perform in the Chamber
Orchestra, and Chamber Opera Orchestra under the
direction of David Rudge from 2006–2010. This past
summe r, he participated in the Hot Springs Music Festival
working with violinist Jessica Mathaes, and Todd Cranson,
Director of the University of Illinois Chamber Orchestra. He
has also appeared in concert halls including Carnegie Hall,
the Tan glewoo d Music Hall, and Tr oy Savings Bank Music
Hall. He is currently a student of Janey Choi, studying at
Binghamton University pursuing a Master o f Music Degree in
Violin Performance.
MICHA EL SALMI RS, a founding member and artistic
director of the Finger Lakes Chamber Ensemble, is well
known as a recitalist and chamber musician, appearing as
soloist with the Corning Philharmonic, Binghamton
University, and Cayuga Chamber Orchestra. As a performer
of contemporary music, he has premiered numerous solo
and chamber works and has participated in such series as
Binghamton University’s Musica Nova, Cornell University’s
Ensemble X, and has toured and recorded for the Syracuse
Society for New Music. As a composer he has just
completed ,Silenced Voice for Viola and Piano, which was
premiered October 17 at Binghamton University.
1
,l
Mr. Salmirs studied at the New England Conservatory and
Eastman School of Music; his teachers have included
pianists Leonard Shure and Rebecca Penneys and
composer Ka rel Husa. Salmirs has taught at the Syracuse
University School of Music and Hobart and William Smith
Colleges. He is currently a faculty memb er at Binghamton
University, teaching piano and coaching chamber music. He
also maintains a private piano studio in Ithaca.
JIEUN JANG is a senior Bachelor of Music student from
South Korea. She has been studying piano with Michael
Salmirs, and she is graduating this semester. She plans to
pursue a Master’s degree in music history at Hunter College.
She performed with many departmental ensembles such as
University Symphony Orchestra, Wind Symphony, University
String Orchestra and University Chamber Chorus. She plans
to specialize in Sergei Prokofiev’s music.
I
I
ALLA CORDA was formed in September, 2010. The
members of the quartet include: Gabrielle Maire, a freshman
in PreMedical program studying violin with Professor Janey
Choi, Ben Pochily, a freshman Music Performance major
studying viola with Professor Roberta Crawford, and Xander
Edwards, a freshman Economics major studying with
Professor Stephen Stalker. H istory o f the A lla Co rda T
shirts — The quartet often gets together with or without
instruments to improve the quality o f our music making. This
includes but is not limited to: rehearsals, lunch/dinner
together, and late night runs to Walmart. The Alla Corda T
shirts are the products of a late night ru n to Walmart, and
were designed by the quartet’s own Gabrielle Maire.
}
�PROGRAM NOTES
Johan n Seb astian Bach (1685–1750) spent a great amount of his lif
e
composing a nd performing music for the or gan and for the Luthera
n
church. He was a virtuoso on organ, violin, and many consider hi m to b
e
the greatest composer o f his time. In 1717, Bach was hired b y Prin
ce
Leopold of Kéthen to serve as his director of music. During this service
Bach’s compositions were mostly secular. Ba ch completed the Three
Sonatas and Three Partitas for Unaccompanied Violin in 1720, but they
were not published until 1802. These works o f Bach were still largely
ignored even after the publication until the famous violinist Josef Joachim
began performing these works a halfcentury later.
German composer Ludw ig van Beeth oven (1770–1827) concentrated
his musical output o n piano and chamber music. Beethoven’s works are
often divided into three periods: the early phase, up to 1802; the middle
phase, 1802–1815, and the late phase, 1815–1827. Sonata for Piano
Violin No. 6 in A major, the first o f his Opus 30 set, was compos &
ed
between 1801 and 1802, published in M ay 1803, and dedicated to Tsar
Alexander I o f Russia. This was an example of Beethoven’s early wo
rks,
which marked the beginning of his transition into symphonic forms.
Beethoven wrote almost all his orchestral music between 1800–181
4
including 8 symphonies, and the Violin Concerto in D major.
The String Quartet No. 8 in C minor, b y Dmi tri Sh ostako vich (1906–
1975), was written in three days from July 12th to 14th, 1960.
Shostakovich wrote the piece after his diagnosis with polio, and his
reluctant joining of the Communist Party. This powerful piece explore
s
the darkest aspects of human experience: sorrow, terror, violence, death,
shock, and grief. He dedicated this piece t o the victims of war and
fascism but secretly it was a piece written for himself. He uses
his
personal signature motif: DSCH, a German transliteration of his nam
e
which translates to the notes D, EFlat, C, B, and appears throughou
t
this piece. Each movement contains an attacca leading to the next
movement that makes this quartet flow seamlessly from the beginning
to
the end. The first movement, filled with tense foreboding, foreshadows
the explosive and fierce second movement, whose massive violence
is
impossible to ignore. Shostakovich intends to show the confusion an
d
horror inflicted upon the Russian people by the government through the
violence in the second movement. Shostakovich ends this quartet with
the same tempo and same dynamics as at the start of the piece. This
brings out sadness — a reflection of the victims of war and fascism.
Sergey Proko fiev (1891–1953) was a ‘Russian pianist born
in
Sontsovka. H is mother Mariya Zitkova, an educated woman who loved
the arts, taught him piano at age four. His father took charge
of
Prokofiev’s education in the sciences and foreign languages. He wa
s
well taken care of at home by his parents because he was the only child
in the family who survived infancy. Prokofiev began composition at
a
very young age and composed his first opera, Ve/ikan, at age nine.
Prokofiev was considered one o f the greatest composers in the Soviet
Union during War World II, and was awarded the Honoured Artist title of
the RSFS R (Russian Soviet Federative Socialist Republic) in 1943.
During that time hi s compositions we re reactions to the war and we
re ,
often used as propaganda.
The Flute Sonata Op. 94 was written in 1943, an d was premiered
on
December 7 of the same year in Moscow. I t was later transcribed fo
violin and piano at the request of the famous violin virtuoso Davidr
Oistrakh. The transcription became Prokofiev’s Sonata for Violin
and
Piano No. 2 in Dmajor, Op 94b.Prokofiev’s arrangement f or violin and
piano is just as challenging, if not more so, than the original. It feature
s
technical challenges for the left hand such as w ide skips across the
range of the violin, artificial harmonies, octaves, an d running 32nd not
es
with different accidentals. The four movements in the Sonata contain
a
wide range o f emotions. This was a mature composition that was mean
to be played with great passion. The first movement is lyrical andt
Prokofiev experiments with different tone colors by having the violinis
play in many different positions that show off a variety of virtuosict
techniques. The second movement starts immediately with a playfu
style, as if musically demonstrating a cat and mouse playing hide andl
seek. Prokofiev ends the movement by going up to the highest regis
ter
on the violin with a C7 and finishing with a fortissimo pizzicato._ln th
e
third movement, Prokofiev returns to a slow tempo that is lyrical and
uses a very legato bowing that evokes a melancholy feeling. In the las
t
movement Prokofiev moves away from all the previous movements with
a very martial and metronomic style. The music moves forward with «a
very dry articulation by putting stress on almost every beat of t he ba
t;
leading to a strong and triumphant finish.
* \
4
¥:
A
�Binghamton University M usic D epartment’s
U P C O M I N G E V E N T S
6 & 6 @ 6 & 6 @ 6 & 6 é ¢ 6 & 6 r 3 ¢ 6 6 ~
Thursday, May 5 — MidDay C o n c e r t 1:20 p.m. — Casadesus
Recital Hall — free
Thursday, May 5 — African M usic Ensemble — 7:00 p.m. —
Anderson Chamber Hall — free
Friday, May 6 — F lute Studio Recita l — 10:15 a.m. — Casadesus
Recital Hall — free
Friday, May 6 — C omposition I Clas s Recital (Goldsta ub) — 1:10 —
2:10 p.m. — Casadesus Recital Hall — free
Friday, May 6 — Faculty R ecital: Jinah Lee, p i a n i s t 8:00 p.m. —
Casadesus Recital Hall — $5 general public
Saturday, May 7 — African Drum Ens emble — 3:00 p.m. — Library
Tower (Spring Fling) — free
Saturday, May 7 — Master’s Recital: Robert M uller, French horn —
3:00 p.m. — Casadesus Recital Hall — free
Saturday, May 7 — Student Recital: B riana Sakamoto, s oprano —
8:00 p.m. — Casadesus Recital Hall — free
Sunday, May 8 — Senior Voice Rec ital: Samantha Ba nton and Molly
AdamsToomey — 1:00 p.m. — Casadesus Recital Hall — free
Sunday, May 8 — Universi ty Chorus with the University Symph ony
Orchestra: Mass M asterworks — 3:00 p.m. — Osterhout Concert
Theater — $10 general public; $5 faculty/staff/seniors; free for students
Sunday, May 8 — Senior Honors Re cital: Jieun Jang, piano — 7:30
p.m. — Casadesus Recital Hall — free
Tuesday, May 10 — Percussion Ens emble — 8 p.m. — Anderson
Center Chamber Hall — free
Wednesday, May 11 — Composition S eminar Concert (L oy) — 7
p.m. — Casadesus Recital Hall — free
Thursday; May 12 — Student Rec ognition MidDay Concert — 1:20
p.m. — Casadesus Recital Hall — free
Friday, May 13 — Chinese Mu sic Ensemble Cla ss C o n c e r t 5:00
p.m. — Casadesus Recital Hall — free
Wednesday, M ay 18 — Voice Class Recital (MUS143 Chmela) — 1 1
a.m. — Casadesus Recital H a l l f ree ‘
For ticket information, please call the
Anderson Cent er B ox O ffice at 7 77ARTS.
�
Dublin Core
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Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
Template: PDF / Rosetta
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Original Format
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2 audio discs
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
30:55
45:18
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145476">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145476</a>
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Master's recital, James Hsia, May 1, 2011
Recital Tape 2011-5-1
Description
An account of the resource
Held at 7:30 p.m., May 1, 2011, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Hsia, James
Salmirs, Michael
Jang, Jieun
Alla Corda Quartet
Hsia, James
Gabrielle, Maire
Pochily, Ben
Edwards, Xander
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
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2011-05-01
Rights
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In copyright
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sound
-
https://omeka.binghamton.edu/omeka/files/original/f4f5991970ffba8771f953bac7b31b8b.pdf
05df6d6d7ae0f3db2de0f6a20fe07a00
PDF Text
Text
BINGHAMTON
U N I V E R S I T Y
S TAT E U N I V E R S I T Y O F N E W Y O R K
D E P A R T M E N T
SENIOR R EC ITA L
LAU RA MACAVOY
SOPRANO
wilh
Willcam,
peano
S u n d a y , Apr il/10 , 2 0 1 1
3.00 p. n a
Casadesus Recital Hal
�TR AN SL ATIO NS
PROG RA M
Let me wa nde r no t un see n
Text: John Milton
L’Allegro, il Penseroso ed il Moderato......
.... George Frideric Handel
Let me wander not unseen
(16851759)
Or let the merry bells
Venuto e A r ,
Ah, ma i non cessate
Ognun ripicchia e nicchia
Nac htgang, Op . 29 no 3 . .
Du meines Herzens Kronelein, Op 21
no. 3
Lei ses Lie d, O p. 39, n o. 1
Schlagende Herzen, Op. 29, no. 2
Let me wander, not unseen,
By hedgerow elms on hillocks
green.
There the ploughman, near at hand,
Whistles over the furrow’d land.
And the mildmaid singeth blithe,
And the mower whets his scythe,
And every shepherd tells his tale,
Under the haw thorn in the dale.
.Stefano Donaudy
(18791925)
Or l et th e m erry bel ls
..Richard Strauss
(18641949)
Or let the merry bells rin g round,
and the jocund rebecks sound.
To many a youth and many a maid,
dancing in the chequer’d shade.
Bio/N TE RMISS IONCU
La Courte Paille........
Le sommeil
Quelle adventure!
La reine d e coeur
Ba, Be, Bi, Bo, Bu
Les an ges musiciens
Le carafon
Lune d’Avril
Three Browning S o n g s
Ah, Love, but a day! Op . 4 4 ”no.
2
I send my heart up to thee! Op . 44 , no
The Year’s at the Spring. Op. 44 , no. 1. 3
IL Ven uto é I’ apr ile
(Ap ril has arr ived )
Tex t: Alber to Donaudy
...Francis Poulenc
(18991963)
Amy Beach
(18671944)
J
April has arrived, weaving garlands,
and gathering nymphs and sylvans
in the meadow.
The alder trees are tuning their
instruments,
and at the first harmonies o f the
wind among the branches,
the dance begins.
First a faun advances...
His nymph sees him ...
Sighs...
And they fly o ff together!
The couples frolic among the
fountains and the brooks,
and then disappear furtively into the
woods...
But Clori, who meanwhile is jealous
of Nice,
waits unhappily and lonely, in tears,
for the dance to end.
But a shepherd approaches...
And already Clori sees him ...
Sighs...
And they fly o ff together!
Ah, ma i n on c ess ate ...
(Ah , ne ver cea se.. .)
Ah, never cease your speaking, oh
desired lips to which I madly go;
With the honey o f your words
I want to ma ke a sweet pillow upon
which 1 will sleep.
Oh blessed dreams
never dreamed by anyone
which, sleeping upon that pillow; I
will have,
sleeping and dreaming, close to
your heart,
my sweet, desired dream o f love.
Ah! Sleeping, dreaming
dreaming of love!
Ogn un r ipic chia e n icch ia
(Eve ryon e re pea ts a nd hes itate s)
Everyone repeats and always
hesitates
over an event strange to tell.
But why, bu t how is it.
that so much love should end this
way?
Now I would like to tell m y story s o
comical as it is:
I was walking on e day with Mona
Lapa,
who was so dear to my heart,
through the fields to gather flowers.
But the stor y begins here.
Oh! Wha t is that I see the re?
A cricket or a nightingale?
The most beautiful!
My beauty sat on a little hill.
She hoped to be able to enjoy the
divine singer,
but at the trill of the cricket and at
his quick jump she gave a scream,
and with her flight, I fell o n the place
where she had sat.
And the story ends here.
�III Nachtga ng
(Night Walk)
Text: Otto Julius Bierbaum
We walked through the quiet, mild
night,
your arm in mine, your eyes in
mine.
The moon poured silver light over
yourface.
as if your head rested on a golden
bed.
And you appeared to me as a saint,
gentle and immense and full of
soul, holy and pure, l k e the beloved
sun.
And in my eyes rose up
a warm longing like a tearful
premonition.
More tightly I clasped you and
kissed you,
kissed you so softly.
My soul wept.
Du meine s Herzens Kronelei n
(You m y h eart’s litt le crown)
Text: Felix Dahn
You my heart’s little crown,
you are o f p ure gold,
when others are close by,
then you are still mo re lovely.
The others appear to be so clever,
you are very calm an d quiet,
that every heart takes pleasure in
YOU,
it is your fortune, no t your will.
The others seek love and favor
with thousands of false words,
you without deceit in word and look
are valued in all places.
You are like the rose in the forest,
she knows nothing o f her beauty,
yet to each, who wanders by,
she delights the heart.
Leises Ll ed
(Gentle S ong)
Text: Richard Dehmel
In a quiet garden
near the bottom of the well,
how gladly I would wait
the long grey night!
Many bright lilies bloom
around the base of the well;
therein swim the golden stars,
therein th e moon baths.
And just as into the well shimmer
the loving stars,
the light o f your loving eyes always
shines into my heart.
Yet the stars in the sky,
they remain so far away;
in your quiet garden
I would like to stand.
Schlagende Herzen
(Beating Hearts)
Text: Otto Julius Bierbaum
Over meadows and fields a boy
walked;
kling, klang, beat his heart;
On his finger shone a golden ring,
kling, klang, beat his heart!
Oh meadows, oh fields, how
beautiful you are!
Oh mountains, oh valleys, how
beautiful!
How good you are, how lovely you
are,
your golden sun so high in the sky!
Kling, klang, beat his heart.
Quickly hurried the boy with merry
step,
kling, klang, beat his heart.
He took many a laughing flower
with him;
kling, klang, beat his heart.
Over meadows and fields blows the
spring wind,
Over mountains and forests blows
the spring wind,
In the heart within me blows the
spring wind,
that drives me to you softly, gently.
Kling, klang, beats his heart.
Between meadows and fields stood
a maiden,
kling, klang, beats h er heart,
she shaded her eyes with her hand
to see,
kling, klang, beats h er heart.
“Over meadows and fields, over
mountains and forests, to me. to me
he quickly comes,
Oh, if only he were already her e
with me!”
Kling, klang, beats h er heart.
I V L a Courte Paille
(The Sho rt Straw)
Text: Maurice Careme
Le somm eil
(Sleep)
Sleep has gone on a joumey,
My goodness! Where has it gon e?
I have rocked my little one in vain,
He cries in his crib,
He has cried since noon.
Where has sleep put
Its sand and wise dreams?
I have rocked my little one in vain,
He turns as if swimming,
He sobs in his bed.
Ah! Come back, come back sleep,
On your handsome race horse!
In the black sly, the Great Bear
Has buried the sun
And rekindled his bees.
If the child does not sleep well,
He will not say hello,
He will have nothing to say
tomorrow
To his fingers, to his milk, to his
bread
That welcome his d ay.
Quelle aven tune!
(What adventure!)
A flea, in her cart,
Pulled a little elephant along
Gazing in the shop windows
Where diamonds sparkled.
My goodness, my goodness!
What adventure!
Who would believe me if I told
them?
The little elephant, with an absent
air, sucked on a pot of jam.
But the flea did not notice and
pulled on smiling.
My goodness, my goodness! If this
goes on I will really believe I am
going crazy!
Suddenly, along by a fence,
the flea disappeared in the wind
and I saw the young elephant make
off, breaking through the walls.
M y goodness, my goodness!
It’s all perfectly true,
But how shall I tell Mommy?
La reins de c oeur
(The Queen o f H
earts)
Gently leaning on the windows of
the moon,
The Queen greats you
With a flower o f the almond tree.
She is the Queen of Hearts
She can, if she wishes,
Lead you in secret to a strange
dwelling place
Where there are no more doors, nor
rooms, nor towers
And where the young dead people
come to speak of love.
The Queen greats you
And hastens you to follow her
Into her house of frost
With the sweet windows of the
moon.
Ba, B e, Bi, B o, B u
(Ba, B e, B i, B o, B u)
Ba, be, bi, bo, bu, be!
The cat has put on his boots,
H e g oes from door to door
Playing, dancing, dancing, singing.
Louse, cabbage, knee, owl!
“You must learn to read, to count, to
write,”
Everyone shouts at him.
But Rikketikketau,
The cat laughs loudly
And retums to his castle.
He is the Puss in Boots!
Les anges musiciens
(The ang el musici ans)
On the threads of the rain,
The Thursday ang els
Play all day on the ham.
And under their fingertips,
Mozart tinkles deliciously
In drops o f blue joy.
Because it is always Mozart
That is endlessly repeated
By the angelic musicians
Who, throughout Thursday,
Are singing on their harps,
The softness o f the rain.
�Le cara fon
(The Baby Carafe)
“Why,” complained the carafe,
“should I not have a baby carafe?
At the zoo, Madame the giraffe, has
she not a baby giraffe?”
A sorcerer who happened to be
passing by astride a phonograph,
Recorded the lovely soprano voice
of the carafe and let Merlin hear it.
“Very well,” he said, “very well!”
He clapped his hands three times
And the lady of the house
Still asks herself why
That very moming, she found
A pretty little baby carafe
Nestled close to the carafe
Just like in the zoo, the baby giraffe
Rests its long, fragile neck
Against the pale flank of the giraffe.
Lune d’Avril
(April Moon)
Moon,
Beautiful moon, moon of April
Let me see in my sleep
The peach tree with the saffron
heart,
The fish who laughs sleet,
The bird who, distantly like a ho m,
sweetly wakes the dead
And above all, above all, the land
where it is joyful, where it is clear,
where there are sunrays of
primroses,
Where all the guns have been
destroyed.
Moon,
Beautiful moon, moon of April.
V
Ah, Lov e, but a day!
Text: Robert Browning
Ah, Love, bu t a day,
And the world ha s changed!
The sun’s away,
And the bird estranged;
The wind has dropped,
And the sky’s deranged;
Summer has stopped.
Ah, Love, but a day,
And the world has changed!
Look in my eyes!
Wilt thou change too?
Should I fear surprise?
Shall I find aught new
In the old and dear,
In the good and true,
With the changing year?
Ah, Love,
Look in my eyes,
Wilt thou change too?
I send m y h eart u p to thee!
I send my heart up to thee, all my
heart
In this m y singing.
For the stars help me, and the sea,
and the sea bears part;
The very night is clinging
Closer to Venice’ streets
to leave one space
Above me, whence thy face
May light my joyous heart to thee,
to thee its dwelling place.
I send m y heart up to thee, all my
heart
In this m y singing.
The Ye ar’s at the Spr ing.
The year’s at the spring,
And day’s at the mom;
Moming’s at seven;
The hillside’s dew pearled;
The year’s at the spring;
And day’s at the mom;
The lark’s on the wing;
The snail’s on th e thom;
God’s in his heaven,
AIl‘s righ t with the world!
ABOU T TH E PERFORM ERS
L a u r a M a c Av o y, soprano, is currently a senior Bachelor of
Music candidate studying under th e direction of M ary Burgess at
Binghamton University. This past summe r, Ms. MacAvoy traveled
to Périgueux, France, where she sang the role of Cybelle in
Orphée aux enfers, as well as several art so ng revi ews with the
France American Vocal Academy. A s a member o f the Tri Cities
Opera Chorus, she has appeared i n Le nozze di Figao, L’elisir
d’amore, Cosi fan tutte, and in the upcoming production of Les
contes d’Hoffmann. She has also sung with Lake George Opera
in the Children’s Chorus of La Bohéme. Also through Lake
George Opera, she has participated in two youth operas, singing
the title role in Dido and Aeneas and The Rose, The Wate r, and
chorus parts i n The Little Prince: A Magical Opera. Ms. MacAvoy
has sung with numerous ch oirs in the Sa ratoga and B ingham ton
area, a s well a s severa l solo performances in both areas. In the
coming year, s he will begin work on a Master’s of Music in Voic e
at the University of MissouriKansas City (UMKC ).
William Jame s Law son coaches and ac companies 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 Wrig ht in c hurch music, and
Stevenson Barrett in vocal coaching. He holds a n M.A. from New
York University (198 4) and was o ne of t he first gradu ates of New
York University’s innovative Depar tment o f Performance Studies,
an interdisciplinary program in the performing arts. In 2008, he
conducted the Summ er Savoyards production of Princess Ida.
�
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Binghamton University Music Department Tape Recordings
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Concerts ; Instrumental music ; Live sound recordings
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Senior recital, Laura MacAvoy, April 10, 2011
Recital Tape 2011-4-10
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Held at 3:00 p.m., April 10, 2011, Casadesus Recital Hall.
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MacAvoy, Laura
Lawson, William James
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Binghamton University Libraries
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2011-04-10
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sound
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https://omeka.binghamton.edu/omeka/files/original/ab259ada974bfbc7d336ef061715a227.pdf
0a6fdb34f1a612e278767935930588d8
PDF Text
Text
BINGHAMTON
U N I V E R S I T Y
o
y
S T A T E U N I V E R S I T Y OF N E W Y O R K
t t h e
R
T
M
E
N
T
Graduation Recital
Briana Sakamoto, soprano
William James Lawson, plarust
Pej Reitz, plarust
Saturd ay, Ma y 7, 2011 at 8 pm
Casadesus H a l l
�p t o g a m
I. Selections from Tonadillas al estilo antiguo, 191011, H. 136 .
1. El majo timido, no. 5
2. El mirar de la maia, no. 6
3. El tra la la y el punteado, no. 7
4. El majo discreto, no. 3
11. Selected songs.
1. V tak mnohém srdci mrtvo iest
from Pisne milosme, 1888, op. 83, no. 2
2. Ten ptaéek, ten se nazpiva
from Veéemi’ pisné, 1876, op. 31, no. 5
3. Kdy2 mne stara matka
from Ciginské melodie, 1885, op. 55, no. 4
Enrique G ranados
18671916
Antonin Dvofak
18411904
.. George Frideric Handel
16851759
III. 11 primo ardor..
from the opera Ariodante, 1735, HWV 33
Intermission
IV. Selected songs of Spanish composers late 19% to mid 20* C
1. La zagala alegre.
...
from Seis canciones, no. 1” 1940
2. Después que te conoci
from Seis canciones, no. 6
..
3. Como quieres que adivine..
from Seis canciones castellanas, no. 5, 1939
4. Mananita de San Juan
from Seis canciones castellanas, no. 6, 1939
4. Cantare:
from Poema en forma de cancioncs, no. 3, 1917
V. Settings of English poetry
1. Loveliest of Trees
2. Now sleeps the crimson petal...
3. The Floral Dance.
wwerneene Eduard T o l d
18951962
C E Guridi
18861961
.Joaquin Turina
18821949
lohn Duke
18991984
Roger Quilter
18771953
.Kate Emily Barley Moss
18811947
�loitns
Thansa
a
d
Texst n
I . Selections from Tonad illac al entilo antiguo’
Little songs in an old style
1
dmido
1. El ma jo’
The timid ma jo
Uegaamire ia y memira
porlanoche unmaio
que, en cuanto me ve y suspira,
se va calle abajo.
lAy qué n’o mas tardiol
[Si asi se pasa la vida
estoy divertidal
every night – a majo
who, after looking at me and sighing,
continues down the stree t.
Ay! What a slowpoke!
If this is how life is going to go
I will be amused!
Texts: Ferna ndo Periquet, 18731940
He appears at my window and stares at me
Si hoy tambien pasa y me mira
y no se entusiasma
pucs después de ese saludo
[Adios Don Fantasmal
jAy que tic mas tardio!
Por estar enamorado
l f today he comes again and stares
and makes no effort
Las reias calladas.
Goodbye Mr. Ghost!
Ayl What a slowpoke!
For being so in love
He stays quiet!
2. El mirar de la maja
The gaze oft he ma ja
¢Por qué es en mis ojos
Why do my eyes
have such a deep look?
In order to hide
tan hondo el rnirar?
Que a fin de cortar
desdenes y enojos
los suelo entornar.
Qué fuego dentro llcvaran
que si acaso con calor
los clavo en mi amor
sonroio me dan
Por eso el chispem”
a quien mi alma di
al verse ante mi
me tira el sombrero
y diceme asi:
“Mi maia, no me mires mas
que tus oios rayos son
y ardiendo en passion
la muerte me dan.”
and then after this greeti ng it’s
disdain and anger
l lower my lids
So much fire is inside them
that if by chance, with their passion,
they look piercingly at my lover,
they make me blush.
3. El tra la Byel p u n teado
Es en balde, majo mio,
que sigas hablando
porque hay cosas que contesto
yo siempre cantando:
Themlalaandtheguit arstnrm
It is useless, majo of mine,
to keep talking
Por mas que preguntes tanto
because there are things I will answer
every time only singing:
Tra la la...
The more you ask
ni yo he de salir de mi canto.
or make me end my song.
4. El majo diocrem
The discree t ma jo
Dicen que mi maio es feo ;
Es posible q ue si que lo sea,
They say that my maio is ugly;
It is possible that indeed he is,
Because love is desire that blinds and takes over.
Tra la la...
i no causas quebranto
En m
que amor es deseo que ciega y marea.
I la tiempo que sé que quien ama no ve.
You won’t d istress me
I’ve had time to learn: she who kives cannot see.
Mas si no es mi maio un hombre
que por lindo descuelle y asombre,
en cambio es discreto y guarda un secreto
que yo posé en él sabiendo quc es fiel.
But if my maio is not a man
who shines and impresses with good looks,
he is, on the other hand, discreet and keeps a secret
which I told him, knowing he is trustworth y.
+Cuil es el secrcto que el majo gu ard ?
Seria indiscreto contarlo yo.
No poco trabajo costara saber
secretos dc un majo con una muicr.
What is the secret that the main kept?
It would be indiscreet i f s aid it!
Nacio en Lavapiés®.
{Eh, lehl il is un majo, un majo esl
He was born in Lavapiés.
Ha! Ha! He’s a majo, a majo he is l
Not a bit of effort is need ed to figure out
woman.
the secrets o f maio with a
Therefore, t his fine gangster
to whom I gave my soul
when he faces me
he pulls his hat down
and says to me:
“My maial Do not look at me anymo re
because you r eyes are lig htning bolts
and, burning with passion,
they kill me.”
s in the opus are
1
A “tonadilla ” is a dimin utive form o f “tona,” song, so it means “little song.” All the song
that of 18th
quite short, and tell of the romances be tween majos and majas in Madrid. The “old style” is
y
century /onadilla, a theatrical song based on the vernacular, and on folk music.
r class
2
“Maio” has no English equivalent, t hough it is a bit like “dude.” Originally it described spunky lowe
mean, roughly,
folk, especially in Madrid, who dressed in an exaggera tedly traditional manner. It came to
“good looking.” Recently it connotes friendlin
form.
In these tex ts, earlier meanings apply. “Maja” is t he female
acho,
“Chispero” is also difficult to transla te. It is something like “gangster” or “rogue” and refers to a m
gun.
ug, lighter or
ans spark pl
fiery, handsome man. It literally me
3
of person
* Lavapies is a barrio, a neighborhood, of Madrid . Keeping wit h the early d efinition of majo, a type
from Madrid, the speaker means that since her man was born t here, he is a legitimate majol
�II . Selected songs of Dvofik
1. V tak mnohém ardci mrtvo jest
I n so man y hearts everyt hing in dead
V tak mnohém srdci mrtvo jest,
jak v temné pustiné,
v ném na Zalost a na bolest,
In so many hearts everything is dead,
like in a dark wasteland,
ln it, pain and suffering,
are the only things that fit.
from Pisne milostne “Love songs™
Text: Gustav PflegerMoravsky, 18331875
ba, mista iediné.
Tu klamy lasky horouci
v to srdce vstup uje,
Here deceptions of passionate love
enter into the heart,
A srdce Zalem prahnouci,
to mni he miluje.
And the heart, weeping with hunger,
is aware that it loves.
A v tomto sladk ém domnéni
se jeste jednou v raj
To srdce mrtvé proméni
a zpiva starou bail
And in that swee t illusion
once more like a paradise
The dead heart revives
and sings an old tale!
2. Ten ptaéek, ten se nazpiva
from Veéemi’ pisné – “Evening songs»
Tha t little bird, who sings so much
Ten ptaéek, ten se nazpiva,
iak by byl pisefi ziva;
Ba kdo v svém srdci lasku ma,
nedivte se, i e zpival
That little bird, who sings so much,
as if he were song incarnate
But whoever has a heart with love in it,
do not be surprised that he sings!
A ptacek, ten tak od srdce
a k srdci mluvit umi,
And the little bird, that in this way, knows
how to speak from the heart to the heart,
Text: Vitézslav H alek, 18351874
Ze div by ¢lovek neplakal,
kdyZ srdcem porozumi.
Ba Casto mné to ptipada.
i e jsem mu druhem v lk ini,
neb i ty moje pisné isou
ien iemné nafikani.
3. KdyZ mne stard madta‘
from Ciganské melodie “Gypsy songs»
Text: Adolf Heyduk, 18351923
When my old mother
KdyZ mne stara matka zpivat ucivala,
podivno, i e éasto slzivala.
A ted’ také plaéem snédé lice muéim,
KdyZ ciganské déti hrat a zpivat uéiml
When my old mother taught me to sing,
it’s strange that often she cried.
And now 1 too, crying, torment my swarthy face,
when I teach gypsy children to play and to sing!
III. 11 primo ardor’
The first flame of love
ll primo ardor
é cosi caro a questo cor,
che stinguerlo non vuol,
quest’alma aman te.
The first flame of love
is so dear to this heart,
this heart will not extinguish it,
this loving soul.
lo son fedel,
ne mai crudel
e sempre a lui sara
il cor costante.
I am faithful,
never cruel,
and for him always
my heart will be constant.
Text: Anonymous
that a man can barely keep from crying,
when with his own heart he understands.
But often, to me it seems,
that I am his friend in sorrows,
for even these songs of mine
are only gentle laments.
6
$
Dvofak’s first attempt at song w riting was a cycle called “The Cyp resses,” which h e composed in 1 865, at the
age of 24. He earned a small living playing viola in the orchestra of Bedfich Smetana, and teaching piano. Two
of his students were Josefina Cermikova and her younger sister, Anna. He was in love with J osefina, but she
did not return his affections, and he later fell for Anna. Some say “The Cypresses” were written for one of the
two sisters, but it is unclear as to w hich sister the composer had in mind. In 1873, Dvofak and Anna married.
They had a long marriage, and nine children. the first three of which died in infancy. “The Cypresses,” like
Dvol’ak’s first pursuit of love, was not much of a success, but the ideas and poetry remained dear to the
composer. Twentythree years after that firs t try, a grown and betterpaid ma n, Dvol‘ak revised the group, and
it became the “Love Songs.”
The “G ypsy songs” were composed on a set of poems w ritten in German and Czech. The German version
was set first, for the work’s premier in Vienna. “KdyZ mne stara matka” is the most popular of the group, the
most popular o f all Dvofak’ songs for that matter, and is often sung in German (“Als die alte Mutter”) and
English (“Songs my mother taught me”).
7
This aria is sung by the character of Dalinda in Handel’s opera, Ariodante. Dalinda is an attendant to
G inerva, who is betrothed to Prince Ariodante. Lurcanio, Ariodante‘s brother, is in love with Dalinda.
Dalinda is in love with Polinesso, a duke, but Polinesso is in love with Ginerva. Scheming to win Ginerva from
Ariodante, Polinesso exploits Dalinda’s affections, using her as a pawn in a plot to make Ariodan te think that
G inerva and Polinesso are having an affair. The plot works. Ariodante goes to the woods to attempt suicide.
Ginerva is disowned by her father. Polinesso tries to have Dalinda killed as a coverup, but while run ning away
from the assassins, she meets Ariodante in the woods, his suicide attempt having failed. Ariodante saves
Dalinda from the assassins. Dalinda assures Ariodante of Ginerva’s fidelity. They return, Polinesso confesses
and dies, and all is well. Ginerva marries Ariodante. Dalinda marries Lurcanio. Near the end of the first act,
when none of this has yet been revealed, and Dalinda is still in love with Polinesso, she sings “Il primo ardor”
to Lurcanio, spu rning him, and affirming her faith fulness to the ma n she believes is her one true love.
�IV. Selected songs of Spanish composers – late 19% to early 20% C
1. La zagala alegre®
The happy maiden
A una donosa zagala su vieja madre refia,
cuando pasaba las horas alegres, entretenida;
y ella, su amor disculpando, con elocuencia sencilla,
cantando al son del pandero, asi mil veces decia:
Ahora que soy nina, madre, ahora que soy nina,
déieme gozar ahora, sin que asi me rina.
A happy maiden is scolded by her old mother,
as she spends happy hours, entertaining herself;
and she, excusing her love, with simple eloquence,
singing with her tambor”, says this a thousand times:
Now that 1 am a girl, mother, now that 1 am a girl,
Let me enioy myself now, without scolding me.
{Que mal nos hace Salicio si cuando pasa me mira,
y me tira de la saya o en el brazo me pellizca?
. . .No piense, madre, que busca mi deshonra;
no lo diga.
Mi gusto solo, y su gusto, queriéndome asi codicia.
Ahora que soy nina, madrc...
Text: Pablo de Jérica, 17811841
3. Cé6mo quieres que adivine
Text: Folk
How can I guess
Cémo quieres que adivine si estas despierta o dormienda, How can I guess if you are awake or asleep
when no angel of heaven will come down to tell me!
[como no baje del cielo un angel y me lo digal
How can I guess?
¢Como quieres que adivine?
hermosa paloma cuando seras mia,
cuando seras mia, [cuando vas a ser,
Joy and more ioy,
pretty dove when you’ll be mine,
when you are mine, when that comes to be,
pretty dove, laurel branch!
What harm is Salicio if he walks by and looks at me,
and tugs my skirt hem, or pinches my arm?
...don’t think, mother, that he wants to dishonor me,
don’t say it.
It’s only fun to me, and him, and he desires my love.
Now that I am a girl, mother...
Cuando voy por lena al monte
olé ya mi nifia y me meto en la espesura,
y veo la nieve blanca, ole ya mi nina,
me acuerdo de tu hermosura.
When I go to get wood on the mountain,
oh my girl, and I find myself in the thicket,
and I see the white snow, oh my girl,
I remember your beauty.
Cuando casada me vea, hecha muicr de farnilia,
me sobraran mil cuidados, me faltara mi alegria.
Por eso quisiera, madre, pasar alegres los dias
que me restan de soltera en bailes, iuegos y risas.
Ahora que soy nifia, madre...
When you see me married, the mother of a family,
I’ll have a thousand worries, I’ll miss my happiness.
Therefore, mother, I want to be happy in these days
when I’m still single, with dances, games and laughs.
Now that I am a girl, mother...
Quisiera ser por un rato anillo de tu pendiente,
para decirte al oido lo que mi corazon siente.
Quisiera ser por un rato...
I would like to be, just once, an earring you wear,
so I can tell your ear what my heart feels.
I would like to be, just once...
Las estrellas voy contando, ole ya mi nifia,
por ver la que me persigue.
Me persigue un lucerito, olé ya mi nina,
I count the stars, oh my girl,
to look at the one that follows me.
A little star is following me, oh my girl,
2. Despuéa q ue te conoci
After meeting you
Alegari y mas alegna..
Joy and more joy...
Después que te conoci,
todas las cosas me sobra
el sol para tener dia,
abril para tener rosas.
After meeting you
I don’t need all these things:
the sun in order to have day,
4. Maflanita de Sarrjtranm
Text: Folk
Moming on St. John’s day
Mananita de San Juan,
Por mi bien pueden tomar
otro oficio las auroras,
que yo conozco una luz
que sabe amanecer sombras
As far as I’m concemcd. there might as well be
another iob for the dawn,
because I know a light
that knows how to brighten shadows
In the morning on St. John’s day,
wake up early
and in the window you will see
Bien puede buscar la noche
quien sus estrellas conozca,
que para mi astrologia
ya son escuras y pocas.
It is better to search the night
as someone who can see her stars,
but in my astrology
the stars are faint and few.
Despues que te conoci...
After meeting you...
Ya no importunan mis ruegos
a los cielos por la gloria,
que mi bienaventuranza
tiene jornada mas corta.
And my prayers don’t plead
the heavens for glory,
Text: Francisco Gomez de Quevedo, 15801645
Bien puede la margarita
guardar sus perlas en conchas,
que buzano de una risa
las pesco yo en una boca.
pril in order to have roses.
because my own heavenly blis
is a much shorter trip away.
The oyster can just as well
keep her pearls in her shells,
because, when 1 fish for a laugh
I find them in a mouth.
" Toldra was especially influenced by traditional Catalan dances. Much of the musical and poetic form of “La
zagala alegre” bears resemblance to that of the jota, a lively, wal tzlike dance known throughout Spain.
9
A “pandero” (“tabret,” u tambor” or “timbrel") is an ancestor of the modern tambourine.
Alegria y mas alegria,
hermosa paloma, ramito laurel!
pequenito pero firme,
levantate tempranito
y en la ventana vera’s
de hierbabuena un poquito.
Aquclla paloma blanm
que pica en el arcipiés,
que por donde la cogenia,
que por donde la cogeré;
si la coio por el pico
se me escapa por los pics.
Coge nino la enramada,
que la noche esta serena
y la musica resuena
en lo profundo del mar.
it is small, but strong,
a little bit of mint.
That white dove
who picks at its leaves
how can I catch it
how can 1 get i ;
if I catch it by the beak
it will escape with its feet.
Go, boy, to the arbor,
because the night is serene
and the music resounds
in the depths of the sea.
5. Cantares
Songs
Mas cerca de mi te siento
Cuanto mas huyo de ti
Closer to me I feel you
The more I try to flee you
For your image is in me
Shadow of my mind.
Text: Ramon de Campoamor y Campoosorio, 18171901
Pues tu imagen es en mi
Sombra de mi pensamiento.
Vuélvemelo a decir
l’ucs embelesada ayer
Te escuchaba sin oir
Y te miraba sin ver.
Say it to me again
Because spellbound yesterday
I listened to you without hearing
And I looked at you without seeing.
'" In Spain it is traditional to celebrate the summer solstice on St. John’s night, June 23, using bonfires and
fireworks to ward o ff evil spirits, and bathing in the sea for purification.
�V. Settings of English poetry
1. Loveliest of Trees
Text: Alfred Ed ward Housman, 18561 936
Loveliest of trees, the cherry now
Is hung with bloom along the bough,
And stands about the woodland ride
Wearing white for Eastertide.
Now, o f my th reescore years and ten,“
Twenty will not come again,
And take from seventy springs a score,
It only leaves me fifty more.
And since to look at t hings in bloom
Fifty sp rings are little room,
About the woodlands I will go
To see the cherry hung with snow.
2. Now sleeps t he crimson pe tal?
Text: Lord Alfred Tennyson, 18091892
Now sleeps the crimson petal. now the white ;
Nor waves the cypress in the palace walk;
Nor winks the gold fin in the porphy ry font:
The firefly wakens: waken thou with me.
Now folds the lily all her sweetness up,
And slips into t he bosom of the lake:
So fold thyself, my dearest, thou, and slip
Into my bosom and be lost in me.
” This refers to Psalm 90:10, w hich states that
“T he days o f our years are three score years and
ten,” in other words, that we’ve seventy years to
live.
12 From the blank verse narrative poem, “The
Princess,” the story w hich inspired G il bert and
Sullivan‘s “Princess Ida.” This excerpt, in form
and imagery, is based on the ghazal, a type
Persian love poem.
3. The Floral Dance ”
Text: Kate Emily Barkley ("Ka tie") Moss (1881
1947)
As I walked home on a Summe r night,
When stars in Heav’n were shining bright,
Far away from the footlight’s glare
Into the sweet and scen ted air
Of a quaint old Cornis h town,
Borne from afar on the gentle breeze,
Joining the mu rmur of the summer seas,
Distant tones of an old world dance,
Played by the village band perchance,
On the calm air came floating down.
I thought I could hear the curious tone
Of the comet, clarinet and big trombone,
Fiddle, ‘cello, big bass drum,
Bassoon, flute and euphonium.
Far away, as in a trance,
I heard the sou nd of the Floral Dance.
And soon I heard such a bustling and prancing
And then I saw the whole village was dancing
In and out of the houses they came,
Old fol k, young folk, all the same
In that quaint old Cornish town.
Every boy took a girl ‘round the waist
And hu rried her o ff in tremendous haste
Whether they k new one another I care not,
Whether they cared at all, I know not,
But they kissed as they danced along.
And the re was t he band with that curio us tone
Of the cornet, clarinet and big trombone,
Fiddle, ‘cello, big bass drum,
Bassoon, flute and eu phonium.
Each one making the most of his chance,
All toge ther in the Flo ral Dance.
l felt so lonely standing there
And 1 could only stand and stare,
For I had no boy with me,
Lonely I should have to be,
In that quaint old Cornish town.
When suddenly hast’ning down the la ne
A figure I knew I saw q uite plain,
With outstretched hands he came along
And carried me into t hat merry throng
And fiddle and all went dancing down.
We dan ced to t he band with the curious tone
Of the cornet, clarine t and big trombone,
Fiddle, ‘cello, big bass drum,
Bassoon, flute and euphonium,
Each one making the most of his chance,
Altoget her in t he Floral Dance.
Dancing here, prancing there,
Jigging, jogging ev’ryw here,
Up and down, and ro und the town
Hurrah! For the Cornis h Floral Dance!
“ Th e poem is a story that actually ha ppened to
Moss, a t a Furry (or Flora) Dance in Cornwall.
About the Performers
Briana Sakamoto is pursuing a Bachelor of Music d egree in
Vocal Performance at SUNY Binghamton under
the direction o f Professor Mary Burgess. She also studie
s with TCO founder Peyton Hibbitt. Over the past
five years, Briana has been a frequent recitalist at Binghamto
n and in Westchester, near her home. This January
she organized and sang in a chamber concert in Briarcliff,
NY, w hich raised money for Partners in Health’s
Haiti relief efforts. She has been a membe r of the
Tri Cities Opera chorus, BU’s Harpur Chorale, the
Binghamton University Chorus and t he Taconic Ope ra Cho
rus. Singing in fund raisers and forums at BU, she
has lent her voice to such causes as “Voices Against [dome
stic] Violence,” and the fight against the genocide in
Sudan. A member of AEA, SAG and AFTRA, she has a lo
ng background in dramatic performance, and
between semesters, studies acting at t he Larry Singer Studio
s in Manhattan. She graduates this month, and will
return home to continue working towards a full time career as
an opera singer...
www.you tube .com / user/ einekleinesopran
William Jame s 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 stud ied at Binghamton University (B.A. 1
980), where his teachers included Seymour Fink and
Patricia Hanson in piano, M. Searle Wright in church mus
ic, and Stevenson Barrett in vocal coaching. He
holds an M.A. from N ew York U niversity (1984) and w
as one of the first grad uates o f New York University ’s
innovative Departmen t of Performance Stud ies, an interdis
ciplinary program in t he performing arts. In 2008,
he cond ucted the Summer Savoyards p roductio n of Pri
ncess Ida.
Pe j R eitz pianist, is a native of t he Binghamton Area.
She received her Bachelor and Master of Music degrees
in piano performance with accompanying emphasis.
She attended Boston University, New England
Conservatory and Binghamton University. She has stu
died piano with Jean Casadesus, Victor Rosenbaum,
Seymour Fink and Walter Ponce and accompanying with A
llen Rogers. She has accompanied throughout the
U nited States, in England, South America, Spain and at
the American Institute of M usical Studies in G raz,
Austria. She was a win ner of the Artistic Am bassado
rs P rogram by the U nited States I n formation Agency in
partnership with the J ohn . Kennedy Cen ter for the per
forming arts. She was an official accompanist for t he
MTNA State and Iias tem Division Competi tion held at It
haca College and played for the event again J anuary
2010. She has been a guest chamber music artist in Morges
, Switzerland. She also was selected to attend the
Accompanying Workshop for Singers and P ianists held at
Northwestern U niversity with Chicago Lyric Opera
Faculty and Coaches. She was recently invited to the
lntema tional Clarinet Con ference to play a recital in
Tokyo, Japan. She was a guest artist o n the Cornell
Summe r Series. She was an official pianist at the
International Double Reed Competition and Convention in 2
007 at Ithaca College and was invited to play the
2009 Convention in Birming ham, E ngland with the Glick
man Ensemble She will work on a CD project with
the Glickman Ensemble again this summer in Englew
ood, NJ. She was selected to accompany at the
Interpretation of Spanish Music in coniunction with U niversit
y of Madrid in G renada, Spain coached by Teresa
Berganza and at Mannes School of M usic su mmer 2
008. She was a Guest Artist playing two concerts
in
G ranada, Spain t his past summer and accompanied the Barcelo
na Song Festival in July. This past summer she
soloed with the Catskill Symphony at the Otesaga
in Cooperstown, NY under the direction of Charles
Schneider. This coming summer she will accompany and tea
ch at The In ternational Spanish M usic Festival in
Madrid, Spain.
�Coming Events
Sunday, May 8 – Senior Voice Recital: Samantha Banton and Molly AdamsToomey
1:00 p.m. – Casadesus Recital Hall – FREE
Sunday, May 8 – University Chorus with the University Symphony Orchestra: Mass Masterworks
3:00 p.m. – Osterhout Concert Theater – $5, FREE for students
Sunday, May 8 – Senior Honors Recital: Jieun Jang, piano
7:30 p.m. – Casadesus Recital Hall – FREE
Tuesday, May 10 – Percussion Ensemble
8 p.m. – Anderson Center Chamber Hall – FREE
Wednesday, May 11 – Composition Seminar Concert (Loy)
7 p.m. – Casadesus Recital Hall – FREE
Thursday. May 12 – Student Recognition MidDay Concert
1:20 p.m. – Casadesus Recital Hall – FREE
Friday, May 13 – Chinese Music Ensemble Class Concert
5:00 p.m. – Casadesus Recital Hall – FREE
Wednesday, May 18 – Voice Class Recital (MUS143 Chmela)
11 a.m. – Casadesus Recital Hall – FREE
For ticket information, please call the Anderson Center Box Ojfitr at 777ARTS.
�
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Binghamton University Music Department Tape Recordings
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Concerts ; Instrumental music ; Live sound recordings
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Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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Graduation recital, Briana Sakamoto, May 7, 2011
Recital Tape 2011-5-7
Description
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Held at 8:00 p.m., May 7, 2011, Casadesus Recital Hall.
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Sakamoto, Briana
Lawson, William James
Reitz, Margaret
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Binghamton University Libraries
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2011-05-07
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sound
-
https://omeka.binghamton.edu/omeka/files/original/383ab8cf16b75af90fd4931f3d79b4b2.pdf
43697232830515d17aa7c594cdefd9f4
PDF Text
Text
BINGHAMTON
U N I V E R S I T Y
S TAT E U N I V E R S I T Y O F N E W Y O R K
d e c
[4
D E P A R T M E N T
Joint Senior Recital
Samantha Banton, soprano
Molly AdamsToomey,
mezzo soprano
ChaiKyou Mallinson, piano
Sunday, May, 8, 20 11
7 p.m.
Casadesus Recital Hal l
�PROGRAM
Sound the T
r
u
m
p
A
e
Sweet Moment, So Tender..........c.ccccecuuvenenen.
Henry Purcell
(1659–1695)
t
...JeanBaptiste Lully
(1632–1687)
Three BORAGE –....vinssissamsicssminrinssssmsunsexsmaseresmmmnms Fauré
Mandoline
(1845–1924)
Chanson d’amour
En priére
Tre Ariette..
ll Fervido Desidero
Dolente Immagine Di Fille Mia
Vaga Luna Che Inargenti
Aria, “Fair Robin I Love,” from Tartuffe
av
INTERMISSION
Vincenzo Bellini
(1801–1835)
.......Kirke Mechem
(1925–present)
[<4
Sestero piesni milostnych ..............ccccceeeeieeeeeceseeeeeseennennnn. Eben
Noci Mila
(1929–2007)
Summer Is Come
Unter Der Linden
Du bist min
Non Mi Mandar Messaggi
Ballade Des Dames Du Temps Jadis
Four Songs............
Widmung, Op. 25 No. 1
Die Lotosblime, Op. 25 No. 7
Der Nussbaum, Op. 25 No. 3
Marienwirmchen, Op. 79 No. 13
Aria, “Voi che Sapete,
from Le Nozze di Figaro
Robert Schumann
(1810–1856)
Wolfgang Amadeus Mozart
(1756–1791)
Duet, “Via Resti Servita,”.............ccccveeennn...... Wolfgang Amadeus Mozart
from Le Nozze di Figaro
(1756–1791)
B
O
U
T
Samantha Banton is from Westchester, New York and is
completing her B.A. degree in Music this semester under the
direction of Prof. Mary Burgess. Samantha has been a
member of the Women’s Chorus and Harpur Chorale. She
recently sang in Tales of Hoffman and Cosi fan Tutte as a
member of the TriCities Opera Chorus. In the fall of 2009
Samantha spent a semester at the University of Hawaii at
Manoa through the National Student Exchange Program.
There she studied with Dr. Maya Hoover, herself a
Binghamton graduate who studied with Prof. Burgess. In
addition to the Thursday midday concerts, Samantha has
performed at various fundraisers, banquets and competitions
around campus and around Westchester. After graduation
she plans to continue her classical voice training and apply
to grad school in the fall.
Molly AdamsToomey is from Elkton, MD, and is completing
her B.A. in music under the direction of Prof. Mary Burgess.
In addition to performing in several Midday concerts, Molly
has been a member of the chorus in TriCities Opera’s
productions of Cosi fan Tutte and The Tales of Hoffmann. In
the past, she has also sung in the chorus for the
Ardensingers’ Gilbert and Sullivan productions, as well as
with OperaDelaware. In addition to her vocal studies, Molly
also studies piano under Professor Michael Salmirs, and
accompanies students who take private voice lessons. Molly
has been a member of Women’s Chorus, and she has also
conducted that ensemble. During her time living in England,
she was a member of the King’s School Chamber choir, and
was a soloist in their performance of the Vivaldi Gloria. On
graduating, Molly will pursue her M.M. In Voice and Choral
Conducting here at Binghamton University.
�TRANSLATIONS
Mandoline
(Mandolin)
poem b y P aul Verlaine
The serenading swains
And their lovely listeners
Exchange insipid remarks
Under the singing branches.
Gabriel Fau ré
There is Thyrsis, Amyntas
And the eternal Clytander,
And there’s Damis who, for many
Cruel women, wrote many tender verses.
Their short silk vests,
Their long dresses with trains,
Their elegance, their joy
And their soft blue shadows,
Whirl around in the ecstasy
Of a moon rose and grey,
And the mandolin chatters
Among the trembling of the breeze.
Chanson d’ amour
(Song o f L ove)
poem b y Armand Silvestre
I love your eyes, I love your face,
oh my rebellious and fierce one.
I love your mouth
where my kisses will exhaust themselves.
I love your voice and the strange
gracefulness of everything you say,
oh my rebellious one, my dear angel,
my hell and my paradise!
I love all that makes you beautiful,
from your feet to your hair,
O you, to whom ascend all my desires
En Priére
(A Prayer)
poem b y Stéphan Bo rdése
If the voice of a child can reach You, O my Father,
Listen to the prayer of Jesus, on his knees before You!
If You have chosen me to teach your laws on earth,
I will know how to serve You, noble King of kings, O Light!
On my lips, Lord, place the salutary truth,
So that he who doubts should revere You!
Do not abandon me, give me the necessary gentleness,
To ease suffering, to relieve sorrow and misery!
Reveal Yourself to me, Lord, in whom I believe and hope:
For You I wish to suffer and to die on the cross at Calvary!
Vincenzo B ellini
II Fervido D esiderio
(The Ferven t Wish)
Anonymous
When will that day come when I can see again
that love the heart desires?
When will that day come when I welcome you to my breast,
beautiful flame of love, my soul?
Dolente Imm agine Di Fil le Mia
(Sorrowful Image o f M y Phyllis)
Anonymous
Sorrowful image of my Phyllis,
why do you so desolately sit beside m e?
What more d o you wish for?
Ceaseless tears have I poured on your ashes.
Do you fear of me that, forgetting the sacred vow,
I could burn with Iove’s flame for another?
Shadow of Phyllis, rest in peace,
inextinguishable is the old love.
�Vaga L una Che Inarg enti
(Lovely Moon, W ho Makes Silve r)
Anonym ous
Lovely moon, who makes silver this shore and these flowers,
and breathes to the elements the language of love;
you are the only witness of my fervent desire,
you count my throbs and sighs to her o f whom I am enamored.
Tell her too that distance cannot assuage my grief,
that if I nurture a hope it is only, yes, it is only for the future.
Tell her too that, day and night, I count the hours of sorrow,
that a flattering hope comforts me in love.
Petr Eben
Noci M ila
(Dear N ight)
Anonym ous, 1 4 ” Centur y
Dear night, why are you long,
for my dear I am filled with desire,
because it is impossible for me to speak with he r,
who can console me?
Already my heart dwells in suffering, in sadness, in longing grief.
All this is because I am parted from my dearest,
the dearest of ladies.
Dear God, let not the desire for my beloved be long!
Dear God.
Unter Der Lind en
(Under The Lin denTre e)
poem b y Walter vo n der Vogelwe ide
Under the LindenTree, on the heather,
where the two o f us made our bed,
you may still find, as we both have,
the flowers, pressed together on the grass.
By the forest, in the vale, tandaradei!
sweetly sang the nightingale.
I went to the meadow,
my truelove was already there,
there was I received as a noble lady,
so that I am constantly glad.
Did he kiss me? A thousand times: tandaradei!
see, how red m y mouth is still.
He went to make us a bed
of flowers of many kinds;
If anyone passed by, he might well smile at the sight!
By the roses, h e may well, tandaradei!
mark where I lay my head.
That I lay there, if any saw,
God forbid, I would be ashamed.
How he was with me, n o one will ever know,
except he and I, and a little bird,
who will not say anything.
Du Bist Min
(You A re Mine)
Anonym ous, 1 2 ” C entury
You are mine, I am thine, of that thou should be sure.
You are locked up in m y heart.
Lost is the little key.
You must always remain inside.
You are mine, I am thine.
Non Mi Manda r Messa ggi
(Do No t Send Me Mes sages)
Anonym ous Fo lk Poem , 13” Centur y
Do not send me messages that are false,
do not send me messages that I am guilty.
Let the messages be from your eyes when you raise them.
Let the messages be from your eyes to mine.
Look at my red lips, cheated husband,
cheated husband who does not know.
Do not send me messages.
Ballade Des Da mes Du Temps Jadis
(Ballad Of The Lad ies Of T imes Pa st)
poem b y Francois Villon
Tell me where or in what country is Flora, the beautiful Roman,
Archippa, or Thais, who was her German cousin,
Echo who speaks when there is noise on the river, on the pond,
whose beauty was more than human?
But where are the snows of yesteryear?
Where is the very wise Héloise,
for whom they castrated and made a monk
�Pierre Esbaillart at Saint Denis?
For his love was this endured.
Likewise, where is the queen wh
o c
that Buridan be thrown in a sack ommanded
in
But where are the snows o f yeste the Seine?
The queen Blanche like a lily wh ryear!
o s
Bertha o f the large feet. Beatrice ang with the voice of a siren,
, Alice, Haremburgis who held M
and Joan the good maid o f Lorrain
aine,
where are they, where, Sovereig e whom the English burned at Rouen;
n Virgin?
But where are the snows o f yester
Prince, d o not ask this week whereyear?
nothing but this refrain remains to they are, nor in this year,
“But where are the snows o f yes you:
teryear?“
Ro be rt S ch um an n
Wi dm un g
(De dic ati on )
po em by Frie dri ch Rii cke rt
Yo u my soul, you m y hear t.
you my bliss, o you my pain,
you the world in which I live;
you my heaven, in which I float,
0 you my grave, into which
I eternally cast my grief.
Yo u are rest, you are peace,
you are bestowed upon me from h
That you love me makes me wort eaven.
hy of you;
your gaze transfigures me;
you raise me lovingly above myse
lf,
my good spirit, my better self!
Die Lo tos bli im e
(The L otu s Flowe r)
po em b y H ein ric h He ine
The lotus flower is anxious in the
And she waits, dreaming, for NighSun’s radiance,
t.
The moon, her lover, awakens he
And for him she unveils her innocer with his light,
nt flowerface.
She blooms and glows and gazes
She sends forth fragrance, and w silently upwards;
eeps and trembles,
With love and Iove’s torment.
Der Nussbaum
(The N ut Tre e)
po em by J uli us Mo se n
A nut tree stands so green in fron
fragrantly and airily, spreading o t of the house.
ut its leafy branches.
Gentle winds come to caress them
They whisper, gracefully inclining their lovely blossoms.
their tender heads to kiss.
They whisper o f a maiden
who thinks night and day —
Ah, she herself knows not what!
They whisper — but who can und
They whisper of a bridegroom an erstand so soft an air?
d o f the coming year.
The maiden listens, the tree rustles
yearning, hoping, she sinks smil ;
ing into sleep and dreams.
Ma rie nwiirm ch en
(La dyb ug )
An on ym ou s
Ladybug, sit on my hand
I will do you no harm.
I only wish to see your colorful w
ings:
your colorful wings are my joy.
Ladybug, fly away,
your house is burning, your childr
The evil spider is spinning her ween are crying so much,
Ladybug, fly home, your children b around them;
are crying so.
Ladybug, fly to the neighbor’s child
ren,
They will do you no harm,
they only wish to see your colorf
ul wings,
and greet them both for me.
�Wolfgang Amadeus Mozart
Voi Che Sa pete
(You Who Know )
SUSANNA: The lady o f hon or...
MARCELLINA: The Cou nts little sweetheart...
CHERUBINO:
You who know what love is,
ladies, see if I have it in my heart.
What I’m experiencing I’ll repeat to you,
It’s new to me, I don’t understand it.
I feel a longing full of desire,
that now is delight, that now is death!
I freeze, then I feel my soul burst into flame,
and in a moment I go back to freezing.
I’m searching for something outside myself,
I don’t know who holds it, I don’t know what it is.
I sigh and moan without wishing to,
I throb and tremble without knowing.
Nor do I find peace by night or day,
but yet it pleases me to pine this way.
You who know what love is,
ladies, see if I have it in my heart.
Wolfgang Amadeus Mozart
Via Resti Servita
(Afte r You )
MARCELLINA: After you, my brilliant lady.
SUSANNA: I’d not be so bold, my spicy madam.
MARCELLINA: No, first it’s your turn.
SUSANNA: No, no, it is yours.
SUSANNA & MARCELLINA: I know my duties, I’d not be so uncivil.
MARCELLINA: Th e new bride!
SUSANNA: The love o f all Spain!...
MARCELLINA: Your qualities...
SUSANNA: Your dress...
MARCELLINA: Your position...
SUSANNA: Your age.. .
MARCELLINA: [aside] By Bacchus, I’ll take her down, If I have to sta
y
here any longer.
SUSANNA: [aside] Decrepit old witch! She makes me laugh!
— translation by Briana Sakamoto
�Binghamton University Music D epartment’s
U P C O M I N G E V E N T S
Sunday, May 8 – University Chorus with the University Symphony
Orchestra: MASSterworks – 3:00 p.m. – Osterhout Concert Theater –
$10 general public; $5 faculty/staff/seniors; free for students
Sunday, May 8 – Senior Honors Recital: Jieun Jang, piano – 7:30
p.m. – Casadesus Recital Hall – free
Tuesday, May 10 – Percussion Ensemble – 8 p.m. – Anderson Center
Chamber Hall – free
Wednesday, May 11 – Composition Seminar Concert (Loy) – 7 p.m. –
Casadesus Recital Hall – free
Thursday, May 12 – Student Recognition MidDay Concert – 1:20
p.m. – Casadesus Recital Hall – free
Friday, May 13 – Chinese Music Ensemble Class Concert – 5:00 p.m.
– Casadesus Recital Hall – free
Wednesday, May 18 – Voice Class Recital (MUS143 Chmela) – 11
a.m. – Casadesus Recital Hall – free
For ticket information, please call the
Anderson Center Box O ffice at 7 77ARTS.
�
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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52:10:00
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145464">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145464</a>
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Joint senior recital: Samantha Banton, Molly Adams-Toomey, May 8, 2011
Recital Tape 2011-5-8
Description
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Held at 1:00 p.m., May 8, 2011, Casadesus Recital Hall.
Creator
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Banton, Samantha
Mallinson, Chai-Kyou
Publisher
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Binghamton University Libraries
Date
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2011-05-08
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In copyright
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sound
-
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
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Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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58:41:00
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE154629">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE154629</a>
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The University Wind Symphony solo competition winners concert, May 1, 2011,
Recital Tape 2011-5-1
Description
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Held at 3:00 p.m., May 1, 2011, 2011, Anderson Center Chamber Hall.
Creator
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Bessel, Daniel
Bartishevich, Jay
Goldenberg, Adam
Muller, Robert
Smith, Robert
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Binghamton University Libraries
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2011-05-01
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sound
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https://omeka.binghamton.edu/omeka/files/original/c55fbb53f257c9da0cbd81555dc24087.pdf
e2370a6497c03f59081b46de31a56298
PDF Text
Text
BINGHAMTON
U N I V E R S I T Y
S T A T E U N I V E R S l T Y O F N E W Y O R K
[4
247928
D E P A R T M E N T
J U N I O R R E C I TA L
M a r k R oss nag el
O rgan
(student in the class of
D r . J o na th a n B iggers)
A pril 2, 201 1
3 :00 p. m.
F irst Pr es byte rian C h u rc h ,
B in g ha m to n , N e w Y o rk
�Notes on the Progra m
PROG RAM
Sonata III in Amajor
1.
2.
Felix Mendelssohn
(18091847)
Con mo to maes toso
Andante tranqui llo
from El even ChoralePreludes.. ........... .......weereer... Johannes Brahms
I.
(18331897)
Mein Jesu, der du mich
(“My Jes us Leadeth Me”)
III. O
Welt, ich muss dich lassen (1% version)
(“O World, I now m ust leave Thee”)
X. Herzlich tut mich verlangen
(“My Hea rt is filled with long ing")
XI. O Welt, ich muss dich lassen ( 2 version)
(*O World, I now m ust leave Thee”)
Tocca ta a nd F ugue in D mino r ( “D orian”), BWV 538.
Variations on
Mein Ju nges L eben h at ein E nd
.J.S. Bach
(16851750)
JanPieterzoon Sweelinck
ChoraleVariations on Veni Creator, op.4...
.
(15621621)
. Maurice Duruflé
Guilba ultThérien Organ, 1996
Felix Mendelssohn (18091847) w rote his “Six Sonatas for the Organ” (Op. 65) in
response to a commission from the English publishing fi rm Coventry & Hollier. The
composer made several visits to London over the course of his short life, conducting
and performing as both a pianist and an organist, and was greatly respected and
admired there. Composed between 1844 and 1845, these works are not “sonatas” in a
strict sense, but are rather groupings of character pieces, with elements of the Bachian
counterpoint that Mendelssohn so admixed set against the composer ’s own lyrical,
Romantic style. The Sonata in Amajor is a confluence of the abovementioned
elements, incorporating magisterial, almost orchestral writing in the grand statement
that opens and closes the first movement, as well as a double fugue employing the
Lutheran chorale melody Aus tiefer Not schrei ich zu Dir ( “Out of deep distress I cry to
you”) as the cantus firmus. The second and final movement, a simple Andante
tranquillo , rounds out the to rtured ma terial o f the prev ious mov ement wi th its gen
lilting melodies and tender cadences.
tle,
The 11 Chorale Preludes, op. 122 by Johannes Brahms (18331897) are his last
completed works, and as s uch are concerned with death and the Chris tian hope for
redemption. Four are featured on this p rogram – two from the beginning of the set
(Nos. 1 and 3), and two from the end (Nos. 10 and 11). No. 1 is a collection of short
fugues, each one built on a phrase of the chorale Mein Jesu, der du mich, culminating in
a wonderful resolution marked by fascinating harmonic progressions and intense
suspensions, suggesting a “longing ” for life eternal. No. 10 is a setting of the Lenten
chorale Herzlich tut mich verlangen, which American ch urchgoers know today by the
title “O Sacred Head, now w o und ed It is the darkest and most brooding of the four
works presented today; the repea ted eighth notes in the bass voice suggest the slow
plodding walk towards death. Nos. 3 and 1 1 are both settings of the chorale O Welt,
ich muss dich lassen; No. 1 1 l is espec ially nota ble for its peaceful nature and meditative
repetitions of each phrase of the chorale. It is the very last piece of m usic that Brahms
wrote.
The organ music of Johann Sebastian Bach (16851750) is, like so much of the Leipzig
Master’s work, unparalleled in form, content, and its ability to elicit powerful emotions
in the listener – features tha t abound in the mighty Toccata and Fugue in D minor,
BWV 538 (“Dorian”). The
material for the Toccata springs almost entirely from its opening motive – rising 16 ”
notes tha t lend a motoric, obsessive quality to the music. The fugue that follows is a
work of c ontrapuntal genius that sets it apart e ven from other Bach fugues ; the basic
compositional style employ ed in this movement is stile antico (“antique s tyle”), a type
of contrapuntal w riting observed in the masters of the Rena issance period. Bach‘s
employment of this older style of fugal composition pays homage to the more
Palestrinalike, severe style of contra puntal w riting, but in many ways, Bach exceeds
the style of the older masters by crea ting a fugue that is unparalleled in intensity and
majesty, making it one of the finest w orks written by Bach that utilize this mode o f
composition.
Bach was greatly influenced by past North Eu ropean masters, one of whom was Jan
Pieterzsoon Sweelinc k (1562–1621), the socalled “Orpheus of Amsterda m”.
Sweelinc k held the position of chief organist at the Oude Kerk (“Old Ch urch”) in
�Amsterdam from the age of 1 5 until his death, and was kno wn both in his native city
and across Europe as a maste r improviser and teacher. He wrote numerous keyboard
toccatas, fantasies and variations, and the set of six variations on Mein Junges Leben
hat ein End (“My young life hath an end ”) is one of his most popula r and widely
performed works. One could almost follow a person’s progression from childhood to
maturity and adulthood and finally to old age, then a “second childhood”, in the course
of these remarkable, jewellike variations.
Staying in the genre of themeandvariations, but skipping ahead by almost four
centuries, we come to the final piece on this program: the Chorale Variations from
Maurice Duruflé’s Prelude, A dagio et Choral Varié sur le théme du ”Veni Creator”,
op.4 (1930). An obsessive perfectionist, Dumflé published very little, instead
destroying works he had written but regarded as “inferior”, but the pieces he did
release for publication have all become staples of the organ repertoire. Beca use of his
Catholic faith, he was highly influenced by Gregorian chant, w hich is
featured prominently in many of his works, as evidenced here in the theme and four
variations on Veni, Creator Spiritus (“Come, Creator Spirit”), which are themselves
the last “movement” of a much larger work, the Prelude, Adagio et Choral Varié sur
“Veni Creator”. Duruflé ex plores several interesting sonic environments in these
variations, ranging from light flutes to w a rm s trings to magnificent fortissimo
combinations. The final variation, a brilliant toccata, features the chorale theme in
canon and ends on full organ w ith blazing harmonies outlinin g the final chords.
Binghamton University Music D epartment’s
U P C O M I N G E V E N T S
fi t s “ M t b ' fi w t b fl fi t h fl fi t b ' fi
Sunday, April 3 – Organist Jonathan Biggers – A Bach Celebratio n!! Series – 4.00
p.m. – First Presbyterian Churc h, Binghamton – $10 general public; $5
faculty/staff/seniors; $2 students
Thursday, April 7 – MidDay C o n c e r t 1:20 p.m. – Casadesus Recital Hall – free
Friday, April 8 University String Orchest ra – 4:00 p.m. – Grand Corrid or free
Saturday, April 9 – Binghamton University F lute Tr i o Concert (Natalie McCreary,
Emily Morris, Mark Zhuang) – 12 noon – Fin e Arts Room 21 free
Saturday, April 9 – Master’s Recital: Victoria Cannizzo, soprano – 2:00 p.m. –
Casadesus Recital Hall – free
Saturday, April 9 Pianist Michael Salmirs: Fo r the Love o f M usic – 8:00 p.m. –
Anderson Center Chamber Hall – $15 general public; $10 faculty/staff/seniors; $5
students
Sunday, April 10 – Senior Recital: Laura M acAvoy, soprano – 3:00 p.m. –
Casadesus Recital Hall – free
For ticket information, please call the
ff i c e a t 777A R T5.
Anderson Center B o x O
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF / Rosetta
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49:36:00
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Dublin Core
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
Junior recital, Mark Rossnagel, organ, April 2, 2011
Recital Tape 2011-4-2
Description
An account of the resource
Held at 3:00 p.m., April 2, 2011, First Presbyterian Church, Binghamton, New York.
Creator
An entity primarily responsible for making the resource
Rossnagel, Mark
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
2011-04-02
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/9315fa6274c945d065d89741227c89cb.pdf
8b676690a7de8169c9c3317b80e10b39
PDF Text
Text
BINGH AM S 1TON
U N I V E R
T Y
STATE UNIV ERSI TY O F N E W Y O R K
i
h
0
D E P A R T M E N T
THURSDAY
MIDDAY Concept
oo \ \
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NA 4
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apY
u.E of
—
MAY 5, 2011
1:20 P.M.
CASADESUS R EC ITA L HIALL
�PROGRA M
Der Schwanendreher...
...
...Paul Hindemith
Zwischen Berg und tiefem Ta1 (lst Movement)
(1895–1963)
Benjamin Pochily (viola)
Pej Reitz (piano)
Déjeuner du Matin...
.................................Jacques Prévert
Jamie Catal famo (recitation)
(1900–1977)
Jose Rodriguez, Aaisha Fatima (actors)
RoyalFestival................,.............................................Gus Guentzel
(1868–1950)
Carrie Buck (horn)
Matt Gukowsky (tuba)
Daniel Romberger (trombone)
Olivia Santoro (trumpet)
Professor Robert Smith (euphonium)
Chacun le sait (La Fille du Régimeni).................Gaetano Donizetti
Christina Kompar (soprano)
(1797–1848)
Bill Lawson (piano)
Lydia...
Gary Leonberger (tenor)
Bill Lawson (piano)
p i i t s r o v ess Fauré
(1845–1924)
Le Message...
.....................................Jacques Prévert
Wenyan Gu (recitation)
(1900–1977)
Jasmine Carrig (actor)
Clair de Lune...
..
Samantha Banton (soprano)
Bill Lawson (piano)
Sérénade FIOTenting........v
Brister Hay (tenor)
Bill Lawson (piano)
Gabr1el Fauré
(1845–1924)
.. ..
The Message
The door that someone opened
The door that someone closed
The chair where someone sat down
The cat that someone ca ressed
The fruit that someone bit into
The letter that someone read
The chair that someone tipped over
The road where someone is still running
The woods that someone is running across
The river where someone throws himself
The hospital where someone is dead.
...Henri Duparc
(1848–1933)
Sonata 4 in CMinor........... .. .. .. .. ..Francesco Barsanti
Adagio and Con Spirito
(1690–1755)
Alexander Baron (recorder)
Pej Reitz (harpsichord)
Poison Aria...
...................................Charles LINO G
(Amour ranime mon courage)
(1818–1893)
Meghan Ca kalli (soprano)
Bill Lawson (piano)
Fantasie de CONCETL...........iooorressessarecsssseressanesssnnnesssnss Guentzel
(1868–1950)
Imogene Reverie.....
TRANSLATION
Clay Smith (arr. G. E. H olmes)
(b. 1953)
Breakfast
He poured the coffee
Into the cup
He poured the milk
Into the coffee
He put the sugar
Into the coffee with milk
With a little spoon
He stirred it
He drank the coffee
He put down the cup
Without speaking to me
He lighted a cigarette
He made circles
With the smoke
He put the ashes
Into the ash tray
Without a word
Without looking at me
He got up
He put his hat on his head
He put on his raincoat
As it was ra ining
And he left
Into the rain
Without speaking to me
Without looking at me
And I put
My head into my hands
And I wept.
�Bing hamt on U niver sity M usic D epar tmen t’s
U P C O M I N G EV EN TS
fitBMditb'fitbfiMtVfitb'fitbflufitb
Thursd ay, May 5 – Afr ican M usic En semble – 7:00 p.m. – Anderson
Chamber Hall – free
Friday, May 6 – Flute Studio Recital – 10:15 a.m. – Casadesus Recital
Hall – free
Friday, May 6 – Comp osition I Class Recital (Goldstaub) – 1:10 –
2:10 p. m. – Casadesus Recital Hall – free
Friday, May 6 – Facu lty Rec ital: Jin ah Lee, pianis t – 8:00 p. m. –
Casadesus Recital Hall – $5 general public
Saturd ay, May 7 – Afr ican Dr um Ensem ble – 3:00 p.m. – Library
Tower (Spring Fling) – free
Saturd ay, May 7 – Ma ster’s Recital : Rober t Mulle r, French horn –
3:00 p. m. – Casadesus Recital Hall – free
Saturd ay, May 7 – Stu dent Re cital: B riana S akamo to, sop rano – 8:00
p. m. – Casadesus Recital Hall – free
Sunday, May 8 – Seni or Voic e Recital: Samantha B anton a nd Mol ly
A d a m s To o m ey 1:00 p. m. – Casadesus Recital Hall – free
Sunday, May 8 – Univ ersity C horus with th e Univer sity Sy mphon y
Orches tra: Ma ss Mas terwork s – 3:00 p.m. – Osterhout Concert
T h e a t e r $10 general public; $5 faculty/staff/seniors; free for students
Sunday, May 8 – Seni or Hon ors Rec ital: Jie un Jan g, pian o – 7.30
p. m. – Casadesus Recital Hall – free
Tuesday, May 10 – Percus sion En semble – 8 p. m. – Anderson Center
Chamber Hall – free
Wedne sday, M ay 1 1 Comp osition Semin ar Con cert (Loy) – 7 p. m. –
Casadesus Recital Hall – free
Thursd ay, May 12 – S tudent Recogn ition M idDay Concer t – 1:20
p. m. – Casadesus Recital Hall – free
For ticket information, please call the
Ander son Ce nter B ox O ffice at 777 ARTS
To see all events, please visit m usic. binghamton. e du
Become a fan on Facebook by visiting
Bingh amton Unive rsity Music Depar tment
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF / Rosetta
PDF with Rosetta audio/video link
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
1 audio disc
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
30:38:00
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE154626">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE154626</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>.
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'Facing' - Up to two full pages will be visible and Zoom will be set to page height.
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Single
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Thursday mid-day concert, May 5, 2011
Recital Tape 2011-5-5
Description
An account of the resource
Held at 1:20 p.m., May 5, 2011, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Pochily, Benjamin
Reitz, Margaret A.
Catalfamo, Jamie
Rodriguez, José
Fatima, Aaisha
Kompar, Christina
Lawson, William James
Leonberger, Gary
Banton, Samantha
Hay, Brister
Baron, Alexander
Cakalli, Meghan
Buck, Carrie
Gukowsky, Matthew
Romberger, Daniel
Santoro, Olivia
Smith, Robert
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
2011-05-05
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/67364dbb64d793f04764c3890326d377.pdf
d019bedbb1acd4cde3d0b424b79c233b
PDF Text
Text
BINGHAMTON
U N I V E R S l E X
S T A T E U N I V E R S I T Y O F N E W Y O R K
/ u d w
D E P A R T M E N T
THURSDAY
MIDDAY CONCERT
GaP’ Xf
oC
‘a’ SS
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THURSDAY, APRIL 28, 2011
1:20 P.M.
FINE ARTS BLDG, ROOM 21
�.
PROGRAM
Sinfonies de Fanfares ...............................JeanJoseph Mouret
(16821738)
Rondeau
Daniel Fein, trumpet
Mark Rossnagel, organ
Clair Omar Musser
Etude, Op. 6, no. 8
(1 9011 998)
Amanda Jacobs, marimba
.William Schuman
Orpheus With his L I B
(19101992)
The Sweetest Flower that Blows......... ............C. B. Hawley
(18581915)
Love’s Philosophy...................................................Rog er Quilter
(1 8771 953)
Kerianna Krebushevski, soprano
ChaiKyou Mallinson, piano
Widmung, Op 25 no 1.. reer e
Die Lotosblume, Op. 25“ no 7
e
Der Nussbaum, Op. 25, no. 3
Marienwijrmchen , Op. 79, no. 14
Samantha Banton , soprano
ChaiKyou Mallinson, piano
Suite G o thique
IV. Priere a Notre Dame
Kevin Eng, organ
Sestero piesni milostnych.................cccccccocouu............Petr Eben
(b. 1929)
(Six Medieval Love Songs)
1.Noci mila
2. Summer is come
3. Unter den Linden
4. Du bist min
5. Non mi mandar messaggi
6. Ballade des dames du temps jadis
Molly AdamsToomey, mezzosoprano
ChaiKyou Mallinson, piano
Fugue in Dminor ("Dorian"), BWV538........................J. S. Bach
(1 6851 750)
Mark Rossnagel, organ
e Schumann
(18101856)
Leon Boéllmann
(18621897)
�Binghamton University Music Department ’s
U P C O M I N G E V E N T S
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M
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Thursday, April 28 – Trumpet Studio Concert – 8 :00 p. m. –
Casadesus Recital Hall – free
Saturday, April 30 – Harpur Chorale and Women ’s Chorus – 8:00
p. m. – Anderson Center Chamber Hall – free
Sunday, May 1 – Wind Symphony Concert : Solo Competition
Winners – 3:00 p.m. – Anderson Center Chamber Hall – free
Sunday, May 1 – Master ’s Recital : James Hsia, violin – 7:30 p.m. –
Casadesus Recital Hall – free
Thursday, May 5 – MidDay Concert – 1:20 p.m. – Casadesus Recital
Hall – free
Thursday, May 5 – African Music Ensemble – 7.00 p.m. – Anderson
Chamber Hall – free
Friday, May 6 – Flute Studio Recital – 10:15 a.m. – Casadesus Recital
Hall – free
Friday, May 6 – Composition I Class Recital (Goldstaub) – 1:10 –
2:10 p.m. – Casadesus Recital Hall – free
Friday, May 6 – Faculty Recital : Jinah Lee, pianist – 8 :00 p.m. –
Casadesus Recital Hall – $5 general public
Saturday, May 7 – African Drum Ensemble – 3:00 p.m. – Library
Tower (Spring Fling) – free
Saturday, May 7 – Master ’s Recital : Robert Muller, French horn –
3:00 p.m. – Casadesus Recital Hall – free
Saturday, May 7 – Student Recital : Briana Sakamoto, soprano – 8:00
p. m. – Casadesus Recital Hall – free
Sunday, May 8 – Senior Voice Recital : Samantha Banton and Molly
Ad amsToomey 1:00 p.m. – Casadesus Recital Hall – free
Sunday, May 8 – University Chorus with the University Symphony
Orchestra: Mass Masterworks – 3 :00 p.m. – Osterhout Concert
Theater – $1 0 general public; $5 faculty/staff/seniors; free for students
Sunday, May 8 – Senior Honors Recital : Jieun Jang, piano – 7 :30
p. m. – Casadesus Recital Hall – free
For ticket information, please call the Anderson Center Box
Office at 7 77ARTS. To see all events, please visit
music. binghamton. edu or become a fan on Facebook.
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF / Rosetta
PDF with Rosetta audio/video link
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
1 audio disc
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
53:20:00
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145443">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145443</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:
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'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.
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'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.)
Single
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Thursday mid-day concert, April 28, 2011
Recital Tape 2011-4-28
Description
An account of the resource
Held at 1:20 p.m., April 28, 2011, Fine Arts building, room 21.
Creator
An entity primarily responsible for making the resource
Rossnagel, Mark
Jacobs, Amanda
Krebushevski, Kerianna
Mallinson, Chair-Kyou
Banton, Samantha
Eng, Kevin
Adams-Toomey, Molly
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
2011-04-28
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&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: Universal Viewer / Rosetta
Rosetta audio media
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
1 audio disc
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
51:21:00
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145440">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145440</a>
Accessibility
Copy/Paste below:
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Thursday mid-day concert, April 7, 2011
Recital Tape 2011-4-7
Description
An account of the resource
Held at 1:20 p.m., April 7, 2011, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Teneriello, Lauren
Pittarelli, Zeno
Gaita, David
MacAvoy, Laura
Lawson, William James
Jiang, Jieun
Hsia, James
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
2011-04-07
Rights
Information about rights held in and over the resource
In copyright
Type
The nature or genre of the resource
sound