67
10
1775
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <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
2 audio discs
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
20:02
35:36
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145436">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145436</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
Friedheim memorial lecture/recital series : Schumann's Carnaval, March 17, 2011
Recital Tape 2011-3-17
Description
An account of the resource
Held at 8:00 p.m., March 17, 2011, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Mallinson, Chai-Kyou
Schumann, 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
2011-03-17
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
2 audio discs
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
17:25
27:08
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145432">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145432</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
Out from behind the curtain : music of the former Soviet republics, March 10 2011
Recital Tape 2011-3-10b
Description
An account of the resource
Held at 8:00 p.m., March 10, 2011, Anderson Center Chamber Hall.
Creator
An entity primarily responsible for making the resource
Fallis, Tahnee
Browne, Peter
Buck, Carrie
Choi, Justin
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
2011-03-10
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/17025ee77a1c2eea81e97410525438de.pdf
f5db21c9f617814677beeb5587b673b1
PDF Text
Text
BINGHAMTON
U N I V E R S T E
S T A T E U N I V E R S I T Y O F N E W Y O R K
d
e
e
T M E N T
[4
D E P A R
M ARCH MUSIC
She
Wvioni
W
nd i Sm
yphony
Rober t G. S mith, Condu ctor
Daniel Fabr icius, Guest Cond uctor
Featu ring
The Univers ity Flu te Trio
The Univers ity Pe rcussi on Qu artet
Sunday, M arch 6, 2011
3:00 P M
Anderson Center Chamber Ha ll
�PROGRAM
Flute C ocktai l
A
Harry Simeone
..
(19112005)
Minuet, Scherzo and B lues“
The University Flute Trio
Mark Zh uang, Emily Morris, Natalie McCreary
Georgetta Maiolo, Director
Three Revolutionary Marches ........
I. Alleg ro con b rio
II. March of the Students’ Legion
Ill. Allegro maestoso
.. Bedric h Smetana
(March 2, 1824May 12, 1884)
Three Journeys to a Holy Mountain ...............Alan Hovhaness
Sympho ny No. 2 0 for Ba nd, Op. 223 (March 8, 1911–June 21, 2000)
I. Andante Espressivo
..........Percy Aldridge Grainger
Molly On The S h o r e
(18821961)
Irish Re el set fo r Militar y Band
St. Patrick’s Day, March 17
Toccata and Fugue in d minor............Johann Sebastian Bach
(March 21, 1685–July 28, 1750)
Trans. Erik Leidzen
.. James Hosay
Black Granite
March 29, 1973
U.S. forces leave Viet Nam
(b. 1959)
& INTERMISSION c=
Concertino for Four Percussion
and Wind Ensemble
David Gillingham
The University Percussion Quartet
Devin Tr acy, Amanda Jacobs
Benjamin Ramos, Adam Goldenberg
Daniel Fabricius, Director
Daniel Fabricius, Guest Conductor
(b. 1947)
B
O
U
T
ROBERT G. SMITH is Music Director and Conductor of the University Wind Symphony.
Professor Smith holds degrees from Hartwick College, Binghamton University and has
completed course work toward the Doctor of Musical Arts. Professor Smith also teaches
advanced instrumental conducting and graduate wind conducting at BU. His career
includes 32 years as a public school music educator. He conducts the annual Triple
Cities TubaChristmas and is former conductor of the Maine Community Band, the oldest
band of its kind in the United States. He has guest conducted allcounty bands
throughout New York State. Among other ensembles Smith has conducted are the
Goshen College (IN) Wind Ensemble an d Orchestra, The United States Army Ground
Forces Band (GA), the Southern Tier Concert Band (NY) and the Vestal Community
Band (NY). An active performer, he currently plays principal euphonium with the
Southern Tier Concert Band and tuba with the Brass Nickel Quintet and the Crown City
Brass Sextet. Smith is past president of the Broome County Music Educators
Association and recipient of the 2005 BCMEA Distinguished Service Award. Professor
Smith also has been active as an adjudicator for concert bands, marching bands, field
bands, DCI drum and bugle corps and indoor winter color guard. Professional
memberships include The Broome County Music Educators Association, the New York
State School Music Association, the Music Educators National Conference, The National
Band Association, The Association of Concert Bands, The Conductors Guild, The World
Association of Symphonic Bands and Ensembles, The College Band Directors National
Association and the International Tuba and Euphonium Association.
DANIEL FABRIClUS has been a member of the Binghamton University faculty as
percussion instructor since 1992. He also serves as Director of Bands at Owego Free
Academy where he has developed an outstanding instrumental music program that
features a concert band, two jazz bands, and various chamber music ensembles. He is
highly regarded in the region as a percussion soloist and ensemble player. He has been
a member of the Binghamton Philharmonic percussion section since 1982 but is also
comfortable performing in popular, rock, jazz, and other styles. He has played as a free
lance percussionist, accompanying national touring artists such as Michael W. Smith,
Tommy Tune, Jerry Vail, Lorrie Morgan, Ringling Brothers Circus, the Smothers
Brothers, and Ella Fitzgerald. Professor Fabricius has served the New York State School
Music Association as an AllState Percussion adjudicator for many years. He also
serves NYSSMA as the Instrumental Jazz Reviews editor o f The School Music News
titled, Teaching Jazz the Jazz editor for the NYSSMA Manual. In addition to his
collegiate work at BU, he has also served on the Summer Session faculty at Ithaca
College. He has trained many student teachers from IC, and recently ser ved as a
consultant and guest lecturer at the college for a summer workshop for NonJazz
Educators. He has presented many clinics at music conventions and conferences and
often serves as a guest conductor for honor band festivals.
�ABO UT THE MUSIC
with music by composers born
iday’s program celebrates the month of March t. Patrick’s Day. I n addition to
March, for an historical event and o f course, S er famous people were
day’s composers many notable musicians and oth
include Franz Joseph Haydn,
>rn in March. Other composers born in March wantner, Ctrad Kohoutec and
'. Francis McBeth, Samuel Barber, Joseph Sch lude Desi Arnaz, Vincent
rr Andrew LloydWeber. Other famous people inc, Leonard Nimoy and James
an Gogh and stars of Star Trek William Shatner
oohan.
nductor and composer who is
arry Sim eon e was a distinguished arranger, co e Little Drummer Boy. He
est known for arranging the Christmas classic Thb as arranger for Fred Waring.
tudied at The Julliard School but left to take a jo
variety of movie music
fter moving to Hollywood he was successful in a to produce a Christmas
sked
roduction jobs and later in television. When a l and recorded The Little
hora
ne C
imeo
ry S
Har
the
bled
Ibum he assem
o Yo u Hear What / Hear.
Jrummer Boy and later another then new song D
layed by just the flute trio. The
‘lute Coc ktai l opens w ith a graceful minuet p z flavored Blues. We are very
tand joins in for the rollicking Scherzo and the jazing with us tod ay.
ileased to have the University Flute Trio per form
o pioneered the development o f
3edrich Smetana was a Czech composer wh with his country’s aspirations to
1 musical style which became closely identified d in his homeland as the
ndependent statehood. He is thus widely regarde
known for his opera The
ather of Czech music. Internationally he is best
ast (“My Fatherland”) which
Bartered Bride, for the symphonic cycle Ma Vl
f the composer’s native land, and
portrays the history, legends and landscape o
for his First String Quartet From My Life.
ritten in 1848, an inflammatory
These “ Thre e Revolu tion ary Marches” were w a, then a young man o f 24,
etan
time in European history. It is known that Sm raged in his city o f Prague.
hting
et fig
stre
hile
es w
arch
composed these m
third march also had a vocal text.
Although written as pieces for piano solo, the wo easily recognizable and
The “March of the Student Legion” is based on tmus Igitur” and a European
traditional sources — the student song “Gaudea “AH unti ng W e Will Go".
s
folk song resembling th e familiar tune known a
r of Armenian and Scottish
Alan Hov han ess was an American compose many cultures but is most
of
ancestry whose music assimilates the music a kind o f exoticism. The
into
rials
mate
its’
urns
y it t
American in the wa
nostalgic. Among the most
atmosphere is hushed, reverent, mystical and
’s catalog includes 67
ness
prolific o f 20th Century composers, Hovha ripts indicate ove r 70 symphonies
nusc
symphonies and 434 opus numbers. Ma
comprised of two or more
and over 500 works as many opus numbers are
individual works.
pho ny N o. 20) was composed for
Thre e Jo urneys T o A H oly M oun tain (Sym
rst movement is in the spirit of
the Ithaca High School Concer t Band. The fi arcs, the last having the mood
Armenian religious music in three great melodic
of a spiritual.
breadth and vision, with
Per cy G rain ger had a musical mind of unusual ic to the latest twentieth
interests spanning the ages from Mediaeval mus s and Arnold Dolmetsch he
century developments. With Dom Anselm Hughe
later life he devoted his energies
made modern transcriptions of early music. In achines on which a composer
to the design and construction of Free Music m heets to be performed by the
could write his music as graphs on transparent s
itch.
machine free of restrictions o n rhythm and p
ay gift for Grainger’s mother in
Mol ly O n Th e Sh ore was written as a birthd eels, Temple Hill and Molly On
1907. It is an arrangement o f two contrasting r of textures and
The Shore, that present the melodies in a variety
d long stretches o f thematic and
orchestrations, giving each section o f the ban for string quartet or string
counter thematic material. Originally composed nd orchestra by the composer
nd a
orchestra the piece was arranged for wind ba
in 1902.
s in his synthesis and
Joh ann Sebastian Ba ch’s main achievement lieal idiom of the late Baroque,
advanced development of the primary contrapuntrial. He was able to
and in the basic tunefulness o f his thematic mate
monic and formal frameworks o f
successfully integrate and expand upon the har
nch, Italian, and English, while
the national schools of the time: German, Fre e output.
larg
retaining a personal identity and spirit in his
ess is his treatment o f the organ
Not the least among Bach’s claims to greatn
art. The Preludes and Fugues
and his appreciation of it as a vehicle for creative
ment such as the Toc cata and
include many of his loftiest works for the instru as describing the fact that
eted
Fug ue i n d min or. The title m ay be interpr
�Mem ber s o f T he Win d Sy mph ony
the fugue theme and subsidiary material constitute a
toccata, not that the fugue
is preceded by a toccata, which, in the modern sense, w
brilliant composition for technical display. The breadth e understand as a
music makes it ideal for transcription for wind band. and magnificence of this
A special thank you to Dr.
Jonathan Biggers, Link Professor of Organ for his as
sistant in the preparation
of this work.
During his 20 year military career J ame s Ho say rece
Service medals, two Army Commendation Medals an ived two Meritorious
commendation from the Chairman o f the Joint Chie d a personal letter o f
Powell — after writing a special march for the Gen fs of Staff — General Colin
eral’
Now retired from the United States Army, Hosay re s retirement ceremony.
sides in his hometown o f
Norfolk, Virginia and writes exclusively for Curnow Mu
sic Press.
The title B lack Gra nite is of course a reference to
Washington, DC. The Viet Nam War is an event in the Viet Nam Memorial in
U.S
controversial to this day. But let there be n o controv . History that is
ersy regarding the high
level of valor, courage, and honor displayed by the me
Armed Forces during that conflict. Without regard to n and women of the U.S.
the politics behind the
involvement, they served diligently and to the highe
st sta
ndards o f military
tradition. This march is dedicated to the men and w
omen who died in that war,
to those whose heroic deeds went unsung, and to th
find shattered remnants of what was once their “Am ose who returned home to
erican Dream”.
Dav id G illing ham has an internation reputation for
his works for wind band and
percussion, many of which are now standards in the lit
erature. His
compositions have been recorded by, and are regularly
nationally recognized ensembles. Dr. Gillingham is cu performed by,
rrently Professor o f Music
at Central Michigan University.
The Con cert ino f or F our Perc ussi on a nd Win d en
sem ble seeks to exploit
keyboard, membrane, and auxiliary percussion instr
ume
nts with the marimbas,
xylophone, timpani, vibraphone, and bass drums a
s the featured instruments.
These are assisted by the other percussion instrume
wind ensemble and the solo instruments. We are ve nts to enhance both the
Percussion Quartet performing with us today. A spe ry pleased to have The
cial thank you and welcome
to ou r guest conduc tor, Professor Daniel Fabriciu
s.
Picc olo
Kathleen Spelman
Flute I
Mark Zhuang
Lindsay Ralbovsky
Raquel Goldsmith
Judy Kahn
Flute Il
Kimberly Hom
Hagar Dayan
Nicole Safran
Christina Peragine
Recorder
Alexander Baron
Oboe I
Kimberly Muller
Oboe II
Hao Sun
Bass oon
Kristen Grennan
Anna McAllister
Sean Manning
BP C larin et I
Kerry Goodacre
Jaclyn Adler
Clarinet
Mark Dello Stritto
Abby Cohen
David Morrissey
Clari net Ill
Sophia Schneiderman
James Mayr
Rachael Mott
Joo Won Kim
Trum pet I I
Peter Schwarz
Brian Lee
Samuel Weintraub
Carolina Montenegro
Trum pet l ll
John Marschhauser
Jonathan Calhoun
Anthony Smaldone
Bas Calrniet
Alto Saxophone I
Sopr ano Saxophone
Lauren RossHixson
Trom bone I
Drew Perotti
Alto Saxophone Il
Anthony DeGelorm
Trom bone lI
Matthew Kratenstein
Teno r Saxophone
Stephen Kassinger
Euph oniu m
Andrew Kaufman
Kenrick Georges
Baritone Saxophone
Toni Bruno
F Ho rn I
Carrie Buck
Tuba
Matthew Gukowsky
Daniel Nevins
Hayden Kramer
EHornll
Keyboard
David Schwartz
F Ho rn III
Haleigh Doetchman
Perc ussio n
Adam Goldenberg
Benjamin Ramos
Mike McManamon
John Erdman
Rose Steenstra
David Schwartz
Trac i Rubin
Natalie Rivera
TRUMPET
Olivia Santoro
Nicholas Quackenbush
�
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.)
49:13:00
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145429">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145429</a>
Accessibility
Copy/Paste below:
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
PDF Layout
This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous']
Options:
'Single' - Only the entire current page will be visible and Zoom will be set to page width.
'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width.
'Facing' - Up to two full pages will be visible and Zoom will be set to page height.
'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height.
'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.)
'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.)
Single
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
University Wind Symphony: March Music, March 6, 2011
Recital Tape 2011-3-6
Description
An account of the resource
Held at 3:00 p.m., March 6, 2011, Anderson Center Chamber Hall.
Creator
An entity primarily responsible for making the resource
Smith, Robert
Fabricius, Daniel
Zhuang, Mark
Morris, Emily
McCreary, Natalie
Maiolo, Georgetta
Tracy, Devan
Jacobs, Amanda
Ramos, Benjamin
Goldenberg, Adam
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
2011-03-06
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/a1eb3f5c0a784a1f3953ac57ccf8fcfa.pdf
ad72fb828f21eef10dbf542524a7a8ce
PDF Text
Text
N
O
T
M
A
H
G
N
I
B
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 NEW Y O
:
:
RK
E B C
P
E
P
A
A
T
R
T HURSDAY
M I D D AY CONCERT
ff
S S v c
,
» ,' N
4
=
S
E
T 2 8
4 4
>,
T h u rs d a y
M ar ch 1 0 , 2 011
1 :2 0 P .M.
IT A L H A L L
S R E C
C A S A D E SU
�PROG RAM
P e r l a Gloria
Giovanni Bononcini
(1677–1726)
Antonio Caldara ‘
(16701736)
Alma del Core
Halt
Danksagung an den Bach
Yii Lee, piano
(
Johann Sebastian Bach
(1685–1750)
4” movement, Allegro
James Hsia, violin
The Vagabond.
Ralph Vaughan Williams
(1872–1958)
Benedetto Mar cello
(16861739)
Il mio DEL Loco
Brian Evans,baritone
Yfi Lee, piano .
S u e J o tuba...................
1’l move ment, allegro m aestoso
2”m
ovement, andante espressivo
3 ” movement, allegro con brio
(17971828)
Richard G. Leonberger, tenor
Brister Hay, tenor
ChaiKyou Mallinson, piano
Sonata #2 i n minor
3” movement, Andante
S a s s i Franz Schubert
W O R I N G
from Carnival, Opus 9 ...............
Preambule (prelude)
Valse noble (noble waltz)
Eusebius (Schumann)
Florest an (Schumann)
Coquette (coquettish woman)
Papillo n (butterfly)
Chiarina (Clara Schumann)
Chopin
Estrella
,
Fes
RObErt Schumann
(18101856)
ChaiKyou Mallinson, piano
Concertina...
II. Calm
Paul Creston
(19061985)
...............Don Haddad
Matthew Gukowsky, tuba
Pej Reitz, piano
Adam Goldenberg, marirnba
Pej Reitz, piano
(b. 1935)
Vignettes: Ellis Island
I. Prologue
:
...............Alan Louis Smith
Ii. Emma
III. Anna
IV. Catherine i
V. Anna
Cabiria J acobsen, mezzosoprano
Pej Reitz, piano
(b. 1955)
�Bingha mton Univer sity M usic D epartm ent’s
U P C O M I N G E V E N T S
fl é w é ' fi M é é é ' é r b fl fi r an é w é fl
Thursday, March 1 7 — Friedheim Memorial Lecture/R ecital
Series: Ro bert Schu mann’s Ca rnavaI(Al ice Mitche ll,
speaker and Chai Kyou Mall inson, pia no) — 8:00 PM —
Casadesus Recital Hall — $5 general public; free for students (100
student tickets available)
Saturday, April 2 — Junior Recital: M ark Rossn agel, orga n
— 3:00 PM — First Presbyterian Church, Binghamton — free
S u n d ay, April 3 — Organist Jonathan B i g ge rs — A B a c h
Celebratio nl! Series — 4:00 PM — First Presbyterian Church,
Binghamton — $10 general public; $5 faculty/staff/seniors; $2
students
:
Friday, Ap ril 8 — Un iversity St ring Orch estra — 4:00 PM —
Grand Corridor — free
Saturday, April 9 — Binghamt on Univer sity Flute Trio
(Natalie M cCreary, E mily Morr is, Mark Z huang) — 12 noon —
Fine Arts Room 21 — free
~ Saturda y, April 9 — Master ’s Recital: Victoria C annizzo,
soprano — 2:00 PM — Casadesus Recital Hall — free
Saturday, April 9 — Pianist Michael S almirs: Fo r the Love of
Music — 8:00 PM — Anderson Center Chamber Hall — $15 general
public; $10 faculty/staff/seniors; $5 students
Sunday, April 10 — Senior Recital: L aura Mac Avoy, sop rano
— 3:00 PM — Casadesus Recital Hall — free
For ticket information, please call the
Anderson Center B o x O
ffice at 777ART S
To see all events, please visit music.bi nghamto n.edu
Become a fan on Facebook by visiting
Bingham ton Universi ty M usic D epartme nt
�
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.)
01:11:09
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145423">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145423</a>
Accessibility
Copy/Paste below:
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
PDF Layout
This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous']
Options:
'Single' - Only the entire current page will be visible and Zoom will be set to page width.
'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width.
'Facing' - Up to two full pages will be visible and Zoom will be set to page height.
'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height.
'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.)
'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.)
Single
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Thursday mid-day concert
Recital Tape 2011-3-10
Description
An account of the resource
Held at 1:20 p.m., March 10, 2011, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Hay, Brister
Mallinson, Chai-Kyou
Hsia, James
Evans, Brian
Lee, Ü
Gukowksy, Matthew
Reitz, Margaret A.
Leonberger, Richard G.
Goldenberg, Adam
Jacobsen, Cabiria
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
2011-03-10
Rights
Information about rights held in and over the resource
In copyright
Type
The nature or genre of the resource
sound
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&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.)
53:28:00
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145420">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145420</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
Wind Symphony Solo competition, Februar 27, 2011
Recital Tape 2011-2-27
Description
An account of the resource
Held at 6:30 p.m., February 27, 2011, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Muller, Robert
Reitz, Margaret A
Weintraub, Samuel
Marsiglia, William
Gukowsky, Matthew
Bartishevich, Jay
Ramos, Benjamin
Goldenberg, Adam
Bessel, Daniel
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
2011-02-27
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
2 audio discs
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
28:36
42:10
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145416">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145416</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
Vive la France Februaury 26. 2011
Recital Tape 2011-2-26
Description
An account of the resource
Held at 3:00 p.m., February 26, 2011, First Presbyterian Church.
Creator
An entity primarily responsible for making the resource
Perry, Timothy
Worden, Heather
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
2011-02-26
Rights
Information about rights held in and over the resource
In copyright
Type
The nature or genre of the resource
sound
-
https://omeka.binghamton.edu/omeka/files/original/1e05132faf330ee912aff4e7e98a751d.pdf
06af09d39235712b479acfde9f735a88
PDF Text
Text
BINGH AMTO N
U N I V E R S E ]
S T A T E U N I V E R S I T Y O F N E W Y O R K
d e e
Ld
D E P A R T M E N T
MASTERS R ECI TAL
Cabir ia Jacobsen,
mezzosoprano
Pej Reitz, pia no
Saturda y, Februar y 19%, 201 1
3 P.M.
Casadesus Hall
�PROGRAM
Johannes Brahms
Selections from Op. 57
(18331897)
Vom waldbekrantzter Hohe
Es traumte mir
Ach, wende diesen Blick
In meiner Nachte Sehnen
Unbewegte laue Luft
u
Chansons de BilItiS w
s
s Debussy
(18621918)
La flute de Pan
La chevelure
Le tombeau des Naiades
& INTERMISSION CZ
Arias from Ariadante
E vivo ancora ...Scherza infid
G.F. Handel
(16851759)
Dopo notte
Vignettes: Ellis Island
Prologue
Emma
Anna
Martha
Clara
Catherine
Anna
Epilogue: Anna
..Alan Louis Smith
(b. 1955)
�ABOUT THE PERFORMERS
Mezzosoprano C a b i r i a J a c o b s e n was born and raised in
Brooklyn, NY. She attended Northwestern University, where she
received her Bachelor of Music in Voice Performance, and her Bachelor
of A rts in Drama. While there, she performed the roles of
Maurya/Riders to the Sea and Larina/Eugene Onegin with the Mary
Ragland Opera Theater. She also appeared in concert with the many
chamber music and choral organizations on campus. In 2007, Cabiria
founded OperaHub in Boston, MA with three other musicians. Recently
covered in Opera America, the company will celebrate its fourth
birthday in june. Cabiria has most recently been seen as
Dorabella/Cosi fa n tutte with TriCities Opera, and will sing the role of
Nicklausse/Les contes d’Hoffman on April 29th and May 1st. Other
roles with the company include Cherubino/Le nozze di Figaro, Mother
and Grandma/Little Red Riding Hood, Hansel/Hansel and Gretel, and
La Ciesca /G ianni Schicchi. On campus, Cabiria has performed with the
University Chorus in works by Corigliano, Vivaldi, and Schubert
P e j R ei t z, pianist, is a native of the 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 studied
piano with jean Casadesus, Victor Rosenbaum, Seymour Fink and
Walter Ponce and accompanying with Allen Rogers. She has
accompanied throughout the United States, in England, South
America, Spain and at the American Institute of Musical Studies in
Graz, Austria. She was a winner of the Artistic Ambassadors Program
by the United States Information Agency in partnership with the john
F. Kennedy Center for the performing arts.
Pej was an official accompanist for the M TNA State and Eastern
Division Competition held at Ithaca College and will play for the event
again january 2010. She has been a guest chamber music artist in
Morges, Switzerland. She also was selected to attend the
Accompanying Workshop for Singers and Pianists held at
Northwestern University with Chicago Lyric Opera Faculty and
Coaches. She was recently in vited to the International Clarinet
Conference to play a recital in Tokyo, japan. She was a g uest artist on
the Cornell Summer Series. She was an official pianist at the
International Double Reed Competition and Convention in 2007 at
Ithaca College and was invited to play the 2009 Convention in
Birmingham, England with the Glickman Ensemble She w ill perform
with the Glickman Ensemble again this fall in Engleweod, N]. She was
selected to accompanying at the Interpretation of S panish Music in
adrid in Grenada, Spain coached by
conjunction with University of M
usic summer 2008. She
Teresa Berganza and at Mannes School of M
was a Guest Artist playing tw o concerts in Granada, Spain this past
summer and accompanied the Barcelona Song Festival in july. This
past summer she soloed with the Catskill Symphony at the Otesaga in
Cooperstown, New York under the direction of Charles Schneider. This
coming summer she will accompany and teach at The International
Spanish Music Festival in Madrid, Spain.
She is currently on the fa c ulty at Binghamton University since 1991
and Ithaca College School of Music since 1 999. She is president of the
local District VII Music Teachers Association and is an active
adjudicator for the National Piano Guild Organization.
�PROGRAM
Vom waldbekrdnt zter Hohe
(From forestcrowned heights)
From forestcrowned heights
I cast the burning gaze
Of my lovemoistened eyes,
Back to the meadow, green around you.
I lower my gaze to the brook,
How I want to flo w with it
As a wave,
Back, oh friend, to you!
I fix my gaze to the pull
Of clouds above me,
Ah, to fly their flights.
Back, oh friend, to you!
How i would like to ensnare you
My salvation and my pain,
With my lips and my glances
With your bosom, heart and Soul.
Es traumte mir
(I dreamt)
I dreamt
I was dear to you ;
But I hardly needed to awaken;
For even in the dream,
I already knew
That it was a dream.
I already knew
That is was a dream.
Ach, wende diesen Blick
(Ah, turn away that gaze)
Ah! Turn away that gaze,
turn away that face!
Do not fill my innermost self
with ever new fire, with ever new grief!
If once, the tormented soul rests,
And the feverish, w ild blood does not
Roll, scalding, through my veins —
One beam, one fleeting ray of your light
awakens the full rage of my pain,
which, snakeline, bites into my heart.
I n m einer Nachte Sehnen
(In my nigh t’s longing)
In my night’s longing,
So deeply alone
With a thousand, thousand tears,
i think of you.
Oh, whoever beholds your face,
Whoever is intimate
with the beautiful fire of your mind
that glows through you,
Whoever your kisses have burned,
Who, over and above desire,
Has submerged all his senses
in your breast,
How should his soul and body
rest in peace
If he were parted from you,
You divine woman!
Unbewegte laue Luft
(Unm oving warm air)
Unmoving warm air,
Deep peace of nature
Through the still garden night
Only the fountain splashes.
But in my feelings sw ell
hotter desires,
But in my veins life quivers
And longs for life.
Should not your breast, too,
Longingly rise with desire?
Should not my soul call
Through to the depths of your own?
Softly with ethereal feet
Do not linger, floating there!
Come, oh come,
So that we can give each other
Heavenly satisfaction.
�Chansons de Bilitis
(Songs of Bilitis)
ll.
La fl i t e d e Pan
(The flute of Pan)
For the day of the hyacinths,
He gave me a flute
Made of welltied reeds.
Bound with white wax
That is sweet on my lips
Like honey.
He teaches me to play,
Sitting on his knee.
But I tremble a little.
He plays after me so softly
That I can hardly hear it.
We have nothing to say,
So close are we one to the other.
But our songs want to converse,
And turn b y turn, our mouths unite on the flute.
It is late.
Here is the song of the green frogs
That begins with the night.
My mother will never believe
That I stayed so long looking for my
Lost belt.
La chevelure
(The Tresses of hair)
He said to me:
“This night, I have dreamed.
I had your hair around my throat.
I had your tresses like a black collar
Around my neck, and on my chest.
I caressed them, and they were mine
And we were tied together forever like that,
By the same hair, mouth upon mouth.
just as two laurel trees often have but one root.
And, little by little, it seemed to me,
So much were our limbs intertwined
That I became you yourself,
And that you entered into me
Like my dream.”
When he had finished
He put his hands gently on my shoulders
And he looked at me with such a tender gaze
That I lowered my eyes
With a shiver.
Le tombeau des Naiades
(The tomb of the Naiads)
Along the forest covered with frost,
I walked
My hair in front of my mouth
Flowered with little icicles
And my sandals were heavy with snow,
Muddy and hardpacked.
He said to me: “What do you seek?”
“I follow the trail of the satyr.
His little cloven tracks
Alternate like burrows
In a white cloak.”
He said to me: “The satyrs are dead.
The satyrs and the nymphs too.
In thirty years there has not been
Such a horrible winter.
The tracks that you see are those o fa deer.
But let us stay here, near their tomb.”
And with the iron of his spade
He broke the ice of the spring
Where once the Naiads had laughed.
He took up great pieces of ice, and,
Holding them up to the pale sky,
He looked through them.
�Arias from Ha ndel’s Ariodante
II.
E vivo ancora . . . cherza infida
(And I still live . . . Laugh, faithless one)
And I still live, and without my sword!
Oh gods, what should I do?
What do you say, my sorrows?
Laugh, faithless one, in the bosom of your beloved.
By your fault I was betrayed
Into the arms of death I go!
But to break your shameful bond,
I shall return as a ghostly sorrow,
A naked spirit, to torment you.
The stories I heard about America! They have roast ducks and roast chickens that
fly through the air. All you have to do is pick them out of the sky. And the streets
are full of milk and honey. That’s how beautiful it is.
Clara S turz Schmidt, born 1905, emigrated from Germany in 1923 at age 18.
My mother was sick when I le ft. And when I left, she went partways with me. We
had no clinic in our hometown, and she had to go to the clinic. She went with me
when I left for America and went to the clinic on the same day that I left. And she
said, “Oh, kiss me, because I’m not going to see you anymore.” [ should never have
left her.
Catherine Gae tano Gallippi, born 1914, emigrated from Italy in 192 2 at age 8.
Dapa notte
(After the night)
After the night, bitter and deathly
The sun spledors
More beautifully in the sky.
And the earth is bathed in joy.
When we came to America, my mother complained, “My God, I thought America
was supposed to be something great. They have gaslights here. We had electric
lights in Italy.”
Anna Zagar Klarich
While in the horrible tempest
My boat was almost destroyed;
It arrived in the port, grasped by the shore.
Vignettes: Ellis Island
Martha Kallens Reininger, born 1911, emigrated from Germany in 1924 at age
13.
IV.
Emma Schmid Schwarz, born 1907, emigrated from Germany in 1926 at age 18.
The morning that I left, my mother was already sitting on my bed at five o’clock,
telling me to be always nice and decent, clean, and do the right thing. Work hard,
as good as you can, the best is not too much. And she says, “Always see to it that
people look up to you, not down to you. And be a good worker.” And my mother
always kept saying, “I know I’ll always have you. You are my youngest. I’ll always
have you with me.” And it didn’t happen. I was the one that left, that went away
the furthest.
Anna Zagar Klarich, born 1902, emigrated from Yugoslavia in 1920 at age 18.
I really didn’t have too much to pack. 1 had a pair of new shoes, and I was walking
barefoot because I wanted to save my new shoes for America. And I had a new
dress but I just wore my skirt and blouse because I was saving my new dress for
America.
I came into my mother’s apartment and she had lace curtains. We didn’t have that
in Europe. And I was just admiring those lace curtains. They were so beautiful.
And my mother said, “There are cookies in the kitchen. When you want, you just
go and help yourself.” And she gave me her nightgown, a big nightgown and I put
it on. I got up a six o’clock in the morning and then went into the kitchen and I got
myself four big cookies and I put them on my lap. And I’m eating my cookies and
admiring those curtains and my mother peeked in my bedroom. And I was so
embarrassed that I had these cookies in my lap and I was so hungry for cookies.
She said, “Don’t be embarrassed. Just eat them. Eat all that you want.” I was in
heaven.
Epilogue: Anna Zagar Klarich
This is my life and that’s how I lived it and that’s how I came here and that’s it.
�NOTE S O N T H E PROG EAM
Johann es Brah ms’ Op. 57 — Songs on tex ts by Da umer
Claude Debussy’s Chansons de Bilitis
Published in the late summer o f 1871, the eight songs of Op. 57 received their first
performance as a set on December 18'", 1872. United by a theme of erotic and
unrequited love, the eight poems are all by Georg Friedrich Daumer. Only three
other cy cles by Brahms consist of works entirely by one poet: the OpheliaLieder,
Op. 33, and the Vier ernste Gesdnge. The cycle i s characterized in musical terms by
a tonal trajectory from G Major in the first song, through several seemingly
unrelated keys, to a center of E, ending in E Major.
Debussy’s Chansons de Bilitis were completed in March of 1898, and they contain
some of Debussy’s most descriptive and evocative music. He described the poems
(There are over 130 in the original set) by his good friend Pierre Lo iiys as
containing: “all that is passionate, tender, and cruel about being in love, so that the
most refined voluptuaries are obliged to recognize the childishness of their
activities compared to the fearsome and seductive Bilitis.” The poems are part of a
The five songs i chose comprise the first, third, fourth, fifth, and eighth song. i
chose them because they represent the overarching trajectory of the cycle:
beginning in fiery, tearsoaked longing, the narrator brings the audience through
dreamlike consciousness, into bitter fury, and finally to ecstatic (almost)
satisfaction. Textually, these songs are deeply rooted in the natural, physical
world. The narrator’s experience of lo v e and desire is intrinsically linked to the
woods, the fields, and the waters of the countryside around him. Imagery
involving blood, fire, and snakebites evoke . . . well, you know.
The first song begins with the narrator looking down onto green fields from
“forestcrowned heights” The atmosphere is immediately one of unrequited
longing and desire, and is reflected in the wide range of dynamics and registers
throughout both the individual song, and the set as a whole. From this emotional
beginning. Brahms pulls back and offers a more reflective, but still unrequited,
lover, one who has seen his happiness in a dream, but knows it to be false. The
harmonic texture in this song mirrors the suspended sense of dreaming described
in the poem itself. Pulled violently from this state of calm acceptance, the third
song shows the narrator as openly angry and in deep pain from the start. She
gathers herself together, however, and begins a slow burn of jealousy and
remorse, of opening an old wound anew. This sense of a gitation flows into the
fourth song, in which the narrator describes many nights spent weeping over his
lost love. He asks how anyone can find peace in the aftermath of losing such a
passionate love, and the many transitions to new tonal centers emphasize this
sense of loss and confusion. in the final song, which is the last song of the full set
of eight as well, the narrator seems to have found peace. He describes a calm,
unmoving quality of air in a still garden. This peace is purely external, however,
and again we find the narrator’s experience of love at odds with the serene nature
around him. in his veins, “life longs for li fe,” and his soul reaches out to a love that
remains "floating” out of his reach, too “heavenly” and “ethereal” to give him the
“heavenly satisfaction” that he once had, and is unable to find again. Do you think
his final plea was successful? is the last music you hear the sound of resignation,
or is his wish being granted at last?
long literary tradition in France; they were sold at first as a translation o f ancient
texts discovered at a gravesite. Only after their initial publication did it become
clear that they were the contemporary response to Moroccan and Algerian tribal
women. Zohra ben Brahmin and Meryem ben Ali were tw o women with whom
Loiiys had welldocumented and apparently very exciting sexual relationships.
Meryem ben Ali was the first Bilitis in many ways; Louys became aquainted with
her in 1894, just months before he began work on the Chansons. He had
previously described the character who would become Bilitis as 16 years of age,
precocious, and inventive. When he met Meryem ben Ali in Algeria with his friend
André Gide, she possessed all of these qualities and more. Zohra ben Brahmin was
a later acquaintance, and became a true companion. Louys caused the scandal of
the season in Paris when he brought her back with him and installed her in her
own apartment. She held a beloved place in Louys’ circle of friends, and was close
in particular with Debussy, who was a good friend of Louys'.
Bilitis’ companion throughout the first section of the cycle of poems, from which
these three are drawn, is the shepard boy Lykas, who introduces Bilitis to her
seductive powers. The first song, “La flit e,” is marked “Lent et sans rigeur de
rythme. ” Although the key signature indicates B maj/g# min, pentatonic tonalities
of the east take precedence over western ideas of key. ”La chevelure” is both the
second song in Debussy’s setting of Trois chansons de Bilitis as well as the
following poem to ”La flate” in Louys’ Chansons. Musically, this song has a much
wider dynamic range than the first, and although it is marked “Assez lent” at the
outset, the song has a lo ng rhythmic arc that pulses from the firs t moment of the
piece. Again, although a key signature is indicated, musical devices outside of
traditional conceptions of key are employed, such as eastern/ancient Greek —
influenced chromaticism and pentatonicism. For the final song, Debussy chose to
jump to the end of t h e fi rst set o f Louys’ poems, to close the cycle with “Le
tombeau des Naiades.” Debussy provides us with a “Tres lent” marking but once
again creates an evocative musical texture that is alive with motion. The songs as
a whole document the passage from innocence into experience; in the poem that
directly precedes “Le tombeau des Naiades” Bilitis sings a lullaby to her newborn
daughter.
�G. F. Handel’s Ariodante
Alan Louis Smith’s Vignettes: Ellis Island
The whole thing! just kidding. In “E vivo ancora . . . Scherza infida” Ariodante has
just been prevented from committing suicide by his brother, Lurcanio. The plot of
Ariodante is, like many of Handel’s Greek mythologyinspired operas, obtuse and
wacky yet also fabulous. The libretto was adapted from Canti 5 and 6 of Ludovico
Ariosto’s Orlando Furioso. Ariodante is a young knight in love with the princess
Ginerva. She has many suitors, and an unfaithful friend, two things which prove to
be problematic plot points. Dalina, her ladyinwaiting with a heart of coal,
dresses in Ginerva’s clothes and accepts advances from Polinesso, one of the many
hopefuls at Ginerva’s door. Ariodante sees this, and it is his horror at her betrayal
that motivates him to seek his own death. When he is prevented from this, he
turns his grief into vengeful anger, and sings the first aria I present here. The plot
thickens when he is announced as dead in court, and Ginerva goes insane with
grief! More plot thickening ensues, but in the end, Ariodante pulls ye olde disguise
trick himself, and emerges triumphant with the girl on his arm. “Dopo notte” is
Ariodante’s expression of relief and joy at finding himself betrothed to the right
girl, alive, and rescued from his own bitter sorrow. “The earth is bathed in joy " for
Ariodante and Ginerva.
The music for Smith’s Vignettes: Ellis Island includes a preface written by the
author. He writes: “This song cycle was actually the brainchild of Paul Sigrist, Jr.,
Director of the Ellis Island Oral History Project. I n 1997, he sent me a large
number of excerpts from interviews he had conducted with persons who had
passed through Ellis Island on their immigrations to America. He specifically
chose excerpts in which ‘the use of language, narrative description or emotional
content’ struck him ‘as being inherently musical in some way.” He selected specific
quotes with music in mind.” The entire cycle consists of 31 songs, and was
originally composed for mezzosoprano Stephanie Blythe. They tell the story of
young people, mostly between the ages o f and 21,
leaving their homelands in
Europe for America, and their passage through Ellis Island in the Port ofNew York.
Musically, the songs in Vignettes: Ellis Island draw on folk idioms, classic American
song forms, and Europeanderived concert music forms. I do not know if Smith
was influenced by Charles Ives in his creation of these songs, but to my ear there is
a strong relationship to many of that composer’s works in this vivid cycle.
The arias both follow a classic Baroque form: an unornamented A section in which
a single emotion is illustrated is followed by a contrasting (both musically and
textually) B section, in which an opposing emotion is presented. The singer then
Acknowledgeme nts
returns to the A section to sing the same material again, but this time, with
ornaments or embellishments ofher own creation. In the first aria, there is also a
recitative before the aria itself. Recitatives in Handel operas were often where the
raw emotion of the drama was found. This raw emotion would then be harnessed
and channeled into the more formal confines of the following aria. The creativity
made possible by this combination of freedom and control is one of the most
thrilling and emotionally pleasurable aspects both of singing Baroque opera, and
experiencing it as an audience member.
I would like to thank Diane Richardson for introducing me to the wonderful
Vignettes: Ellis Island songs, and for her help with this program as a whole. My
thanks also to Pej Reitz for being such an ex cellent collaborator, and for all of her
help navigating the logistical details of a recital. Many, many thanks to Peter
Sicilian for being an inspirational, motivational, and allaround wonderful voice
teacher, and to judy Berry for her excellent and reassuring help with the beautiful
German language!
�Bingh amto n University Musi c Department’s
U P C O M I N G E V E N T S
MidDay concerts are held on Thursdays, 1.20 PM in Casadesus Recital
Hall unless otherwise noted and are FREE
Thursday, February 2 4 – MidDay Conc ert — 1:20 PM – Casadesus
Recital Hall — free
Saturday, February 2 6 — University Symphony Orches tra : Vive la
France – 3 PM O sterhout Concert Theater — $10 general public; $5
faculty/staff/seniors; free for students
Sunday, February 2 7 — Wind Symphony Con certo and Aria
Compe tition – 6:30 PM – Casadesus Recital Hall — free
Thursday, March 3 — MidDay Concert — 1:20 PM — Casadesus
Recital Hall — free
Saturday, March 5 — Junior Recital : Mark R ossnag el, organ — 3
PM — First Presbyterian Church, Binghamton — free
Sunday, March 6 — Wind Symphony : Passa caglia (Homage on
BAC H) — 3 PM — Anderson Center Chamber Hall — free
Thursday, March 1 0 — MidDay Conc ert — 1:20 PM — Casadesus
Recital Hall — free
Thursday, March 1 7 — MidDay Conc ert — 1:20 PM — Casadesus
Recital Hall — free
Thursday, March 1 7 — Friedheim Memorial Lecture / Recital
Series : Robert Schumann’s Carnaval (Alice Mitchell, speaker and
ChaiKyou Mallinson, piano) — 8 PM — Casadesus Recital Hall — $5
general public; free for students (100 student tickets available)
For ticket information, please call the
Anderson Center B ox O ffice at 7 77AR TS.
�
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.)
59:59:00
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145413">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145413</a>
Accessibility
Copy/Paste below:
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
PDF Layout
This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous']
Options:
'Single' - Only the entire current page will be visible and Zoom will be set to page width.
'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width.
'Facing' - Up to two full pages will be visible and Zoom will be set to page height.
'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height.
'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.)
'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.)
Single
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Master's recital, Cabiria Jacobsen, mezzo-soprano, February 19, 2011
Recital Tape 2011-2-19
Description
An account of the resource
Held at 3:00 p.m., February 19, 2011, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Jacobsen, Cabiria
Reitz, Margaret
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
2011-02-19
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.)
58:14:00
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE154623">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE154623</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
To Paris and back, February 6 2011
Recital Tape 2011-2-6
Description
An account of the resource
Held at 3:00 p.m., February 6, 2011, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Joel Dieger
Mariam Vardzelashvili
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
2011-02-06
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/8248c2bd43f396b337eddc3cfc856d53.pdf
b5f57bdcfd8b825d71fa34b01acbcd58
PDF Text
Text
BINGHAM TON
U N I Y E R S L I T Y
S I A I E U N I V E R S I T Y O F N E W Y O R K
WIDEO
[4
D E P A R T M E N T
B INGHAM TON U NIVERSI TY
C HAMBER C HORUS
Tahn e e Kallis, conductor
In partial fulfillment of t h e d egree of
Master of Music in Choral Cond ucting
Assisted by
Student Bra ss a n d Percussio n Ensemble
and
Peter Brow ne, organ
Sunday, January 30, 2011
3:00 p. m .
Trinity Memorial Church
Binghamton, New York
�U NIVERSITY C HAMBER C HORUS
PROGRAM
G. F. Handel
( 1685– 1 759)
Sing Unto God (Judas Maccabeus) ..
Thomas Tallis
( 1505– 1585)
UF You Love Me
lives).... Ludwig van Beethoven
Hallelujah (Christ on the Mount o f O
(1770–1827)
(©7107) R
A
R
E
I. Gloria in excelsis Deo
ll. Domine Deus Rex caelestis
III. Quoniam tu solus sanct us
John Rutter
(b. 1945)
Susan MacLe nnan, Michel le Anderson, sopranos
Cheryl Jacobson, alto
Trumpets
Dan Fein, Nicholas Polacco,
Olivia Santoro, Samuel B. Weintraub
Trombones
Jay Bartishev ich, Bill Marsiglia, Rob Menard
Tuba
Matt Gukowsky
Percussion
Amanda Jacobs, Benjamin Ramos
SOPRANO
Jayde Doetschman
MayBelle Golis
Susan MacLennan
Cathie Makowka
Kelly Pueschel
Ligita Poznere
Susan Sarzynski
Barbara Thamasett
Jennifer Walsh
Lois Wilston
ALTO
Michelle Anderson
Michelle Doherty
Diane A. Ferraccioli
Sylvia Horowitz
Cheryl Jacobson
Ethel F. Molessa
Greta L. Mye rs
Joyce Printz
TENOR
Kevin Dohert y
H.B. King
Lee Shepherd
Sherry Willia mson
BASS
Bruce Borton
Carl Bugaisk i
J. Scott Hust ed
Tom Lamphe re
Jacob Myers
Joseph E. Nelson
William Clark Snyder
�Binghamton University M usic D epartment’s
U P C O M I N G E V E N T S
MidDay Concerts are held on Thursdays at 1:20 PM in Casadesus
Recital Hall unless otherwise noted and are FREE
Friday, February 4 — Early On (Peter Browne, keyboards, Barbara
Kaufman, recorder, Christina Salasny, soprano, Stephen Stalker,
cello, Paul Sweeney, guitar) — 8 PM — Casadesus Recital Hall — $10
general public; $5 faculty/staff/seniors; free for students
Thursday, February 17 — Organist Jonathan Biggers — A Bach
Celebration!! Series – 8 PM — FA21 — $10 general public; $5 faculty/
staff/seniors; $2 students
Friday, February 18 — Organist Jonathan Biggers — A Bach
Celebration!! Series (11 / 17 repeat performance) — 4 PM — FA21
$10 general public; $5 faculty/staff/seniors; $2 students
Saturday, February 19 — Master’s Recital : Cabiria Jacobsen,
mezzosoprano — 3 PM — Casadesus Recital Hall — free
Thursday, February 24 — MidDay Concert — 1:20 PM — Casadesus
Recital Hall — free
Saturday, February 26 — University Symphony Orchestra : Vive la
France — 3 PM — Osterhout Concert Theater – $10 general public; $5
faculty/staff/seniors; free for students
Sunday, February 27 — Wind Symphony Concerto and Aria
Competition — 6:30 PM — Casadesus Recital Hall — free
Thursday, March 3 — MidDay Concert — 1:20 PM — Casadesus
Recital Hall — free
Saturday, March 5 — Junior Recital : Mark Rossnagel, organ — 3
PM — First Presbyterian Church, Binghamton — free
For ticket information, please call the
Anderson Center B ox O ffice at 777ARTS
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&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.)
35:45:00
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE154620">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE154620</a>
Accessibility
Copy/Paste below:
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
PDF Layout
This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous']
Options:
'Single' - Only the entire current page will be visible and Zoom will be set to page width.
'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width.
'Facing' - Up to two full pages will be visible and Zoom will be set to page height.
'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height.
'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.)
'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.)
Single
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Binghamton University Chamber Chorus January 30, 2011
Recital Tape 2011-1-30
Description
An account of the resource
Held at 3:00 p.m., January 30, 2011, Trinity Memorial Church, Binghamton, New York.
Creator
An entity primarily responsible for making the resource
Fallis, Tahnee
Browne, Peter
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
2011-01-30
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/3defcb321ed2ae7f89f40421766e1628.pdf
13e5198d13f91477f640794a7da2c1c7
PDF Text
Text
BINGHAMTON
U
N
I
V
E
R
U N I V E R S I T Y O F N E W Y O R K
C E P A B T M E N T
DEPARTMENT OF MUSIC
M ID D A Y R EC I T A L
Thursd ay, M arch 31, 2011
1:2 0 p.m.
Casadesus Recital Hall
�PROG RAM
Selected Songs...........
Violin Sonata No. 2 in D major, op. 94bis .............Sergey Prokofiev
(18911 953)
Scherzo : Presto
AAS :yg af
Antonin Dvorak
(18411 904)
V tak mnohém srdci mrtvo jest
. from Pisne milostne (Love songs), op. 83, no. 2
Ten ptacek, ten se nazpiva
from Vecerni pisné (Evening songs), op. 31, no. 5
James Hsia, violin
J ieun J ang, piano
KdyZ mne stara matka
\
from Cigédnské melodic (Gypsy melodies), op. 55, no. 4
:
y
Horn Concerto No. 1 in E flat major, Op 11
Movement 2
y
Richard Strauss
(18641949)
Robert M uller, French horn
Margaret Reitz, piano
La cour te paille ..
...Franc is Poulenc
(18991963)
Le sommeil
Quelle aventure!
La reine de coeur
Ba, Be, Bi Bo, B u
Les anges musiciens
Le carafon
Lune d’Avril
Laura MacAvoy, soprano
William James Lawson, piano
Briana S akamoto, soprano
Margaret Reitz, piano
‘
�Saturday, A pril 2 – Jun ior Recital: Ma rk Rossnag el, organ – 3:00
p.m. – First Presbyterian Church, Binghamton – free
Sunday, Ap ril 3 – Orga nist Jonath an Biggers – A Bach C elebration!!
Series – 4:00 p.m. – First Presbyterian Church, Binghamton – $10
general public; $5 faculty/staff/seniors; $2 students
Thursday, A pril 7 – MidDay C oncert – 1:20 p. m. – Casadesus Recital
Hall – free
.
Friday, Apr il 8 – Univers ity String O rchestra – 4:00 p.m. – Grand
Corridor – free
Saturday, A pril 9 – Bing hamton Un iversity Flute Tr i o Concert
(Natalie Mc Creary, Emily Morr is, Mark Zh uang) – 12 noon – Fine Arts
Room 21 – free
Saturday, A pril 9 – Mas ter’s Recita l: Victoria C annizzo, so prano –
2:00 p. m. – Casades us Recital Hall – free
Saturday, A pril 9 – Pian ist 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, Ap ril 10 – Senior Recital: Lau ra MacAvo y, soprano – 3:00
p. m. – Casades us Recital Hall – free
Tuesday, A pril 12 – String Departmen t Recital: S tring Fever – 8.00
p.m. – Casa desus Recital Hall – free
Thursday, A pril 14 – Jazz M idDay Con cert with gu est artist – 1:20
p.m. – Osterhout Concer t T h e a t e r free (Cosp onsored by the
Binghamton University Music Department and the Harpur Jazz Project)
Thursday, A pril 14 – Harpu r Jazz Ense mble Conce rt with gues t
artist – 8:00 p.m. – Osterhout Concert T h e a t e r $10 general public; $5
faculty/staff/seniors; free for students (Cosponsored by the Binghamton
University Music Department and the Harpur Jazz Project)
Friday, April 15 – Lectur e on “ B l i n d T o m ” W
iggins, 1 9 ” century
AfricanAm erican com poser b y Stephanie J ensenMou lton – 3:00
p.m. – Casa desus Recital Hall – free
For ticket information, please call the Anderson Box Office at 7 7 7ARTS.
�
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.)
29:24:00
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145426">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145426</a>
Accessibility
Copy/Paste below:
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
PDF Layout
This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous']
Options:
'Single' - Only the entire current page will be visible and Zoom will be set to page width.
'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width.
'Facing' - Up to two full pages will be visible and Zoom will be set to page height.
'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height.
'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.)
'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.)
Single
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Department of Music Mid-day Recital, March 31, 2011
Recital Tape 2011-3-31
Description
An account of the resource
Works by Prokofiev, Strauss, Poulenc, Dvorak. Held at 1:20 p.m., March 31, 2011, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Hsia, James
Jang, Jieun
Muller, Robert
Reitz, Margaret A.
MacAvoy, Laura
Lawson, William James
Sakamoto, Briana
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
2011-03-31
Rights
Information about rights held in and over the resource
In copyright
Type
The nature or genre of the resource
sound
Format
The file format, physical medium, or dimensions of the resource
audio/wav