69 10 1775 https://omeka.binghamton.edu/omeka/files/original/a6e36e4f30c783f2c4038602943b8c89.pdf 4e890f44bc8c8aa297d348cdf91c47fb 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 I T Y  O F   NEW  Y O R K D E P A R T M E N T THURSDAY M ID ­D AY  CONCERT [ 3We ,  C ve 4   Z R _   Fd w e s   Vd OCTOBER 27, 2011 1:20 P.M. CASADESUS RECI TAL Hall �TRANSLA TION PROGRAM Nocturne Atdake Lugano  4 Silhouett es, Op. 41 .. Karl Davidoff esnensseisant 1 338­1889) La fioraia florentina (The Florentine flow er girl) Buy these, the most beautiful of flowers! Young boy s and lovely spouses, Each lovely rose is fresh and will not die as love does Stephen Stalker, cello Carol Bernstein, piano Concerto in Eminor.............ccccveuu.........Felix Mendelssohn (1809­1847) Allegro, molto appassionato  Sissi Du, violin Pej Reitz, piano Yorkshire B allad........ ............... ............... ..........James Barnes (b. 1949) Robert Smith, euphonium Pej Reitz, piano la fioraia fl o r e n t i n g veeeen.....Gioachino Rossini (1792­1 868) Fly Away (Never Neverland)....................... c e s s e s  COTTE  Alan (b. 1978) Amanda Chmela, soprano Pej Reitz, piano   “Ain’t it a  pretty n i g h t * , . . 2 . 5 . Floyd (b. 1926) Susanna  Kathleen Jasinskas, soprano John Mario Di Costanzo, piano Alas! l implore you . . . My mother is so poor, and depends upon me she wants only for bread, and not for gold �Binghamton University Music Department’s 6 U P C O M I N G  E V E N T S M M M M M 6 W Friday, October 28 — Pianist Margaret Reitz presents “Forty Fingers” with pianists Ida Tili­Trebicka, Amy Heyman and Tina Toglia —  8 PM — Casadesus Recital Hall —  $6 general public; $3 faculty/staff/seniors; free for students Sunday, October 30 — Wind Symphony: Holst! — 3 PM — Anderson C enter Chamber Hall —  $6 general public ; $3 faculty/staff/seniors; free for students Thursday, November 3 — Mid­Day Concert — 1:20 PM — Casadesus Recital Hall —  free Tuesday, November 8 — Friedheim Memorial Lecture/Recital Series: Debussy’s “Rhapsodies for saxophone and clarinet” (Stephen Zank, speaker; April Lucas, saxophone; Timothy Perry, clarinet; Margaret Reitz, piano) — 8 PM — Casadesus Recital Hall  —  $6 general public ; $3 faculty/ staff/seniors ; free for students Thursday, November 10 — Mid­Day Concert (African) — 1:20 PM —  Anderson C enter Chamber Hall —  free Sunday, November 13 — University Chorus and the Symphony Orchestra present Felix Mendelssohn’s “Elijah” — 3 PM —  Osterhout C oncert Theater —  $10 general public ; $6 faculty/staff/seniors; $3 students Thursday, November 17 — Jazz Mid­Day Concert with guest artist — 1 :20 PM —  Osterhout C oncert Theater —  free (Co­ sponsored by the Binghamton University Music Depart ment and the Harpur Jazz Project) Q  l  .  1  If  you enjoyed and were inspired by this perform­ ance, please consider supporting the Department of Music with a financial gift.  Your support helps to  continue  the  work  of students,  faculty,  and guest artists and their contributions to our larger community.  Please make your  donation payable to the Binghamton University Music Department, and  send  to  P.O.  Box  6000,  Binghamton,  NY 13902. For ticket information, please call the Anderson Center Box Office 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&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 44:04:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145376">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145376</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 Mid-day concert, October 27, 2011 Recital Tape 2011-10-27 Description An account of the resource Works by Davydov, Mendelssohn, Barnes, Rossini, Alan, Floyd. Held at 1:20 p.m., October 27, 2011, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Stalker, Stephen Bernstein, Carol Du, Sissi Reitz, Margaret A. Smith, Robert Chmela, Amanda Jasinskas, Kathleen Di Constanzo, John Mario 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 2011-10-27 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/c09f1c9c719e32483d30b5dcca2d3d28.pdf 2a0804f8bfa2e54b7f8284ba79296ae9 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 I T Y   O F  N E W   Y O R K d e c [4 B E J O H NN   O VA K Organ (MM 2006) Sunday, October 23, 20 11 4 p.m. First Presbyterian Church R �PROGRAM ABOUT THE PE RFORMER Prelude and Fugue in G­major, BWV  541 ..  .].S. Bach (1685­1750) Prelude on Rhosymedre............c.ccocoueuennene...... Vaughan­Williams (1872­1958) Toccata in D­minor, Fugue in D­major, op59  Max Reger (1873­1916) &  PAUSE <3 Prelude in C­major, BWV 545  J O :  Bach (1685­1750) Three Hymn  Preludes ..Craig Phillips Divinum Mysterium  N e u m a Elove toiTell the Story r Sonata I in F–minor, op.65.. 1 .  Allegro moderato e serioso l c C r a i g Phillips   . Emma Lou Diemer Felix Mendelssohn (1809­1847) 2.  Adagio 3 .   Andante recitativo 4.  Allegro assai vivace ­ Guilbault­Thérien Organ, 1996 ­ John Novak is an act ive church organist, m usic educator and leader in the fields of school and church music. John has served as Organist and Minister of Music at University Presbyter ian Church in Buffalo, NY since September of 2005.  John also holds a full­time position as the middle and high scho ol vocal music teache r a t Le tchworth Central School in Gainesville, NY, directing four choral ensembles and teaching classroom music and music theory classes.  He studied organ wit h Dr. Jonathan Biggers and Dr. Judy Congdon, and holds degrees fro m Binghamton Univers ity (Master of Music in Organ Performance, 2006) and Houghton Colle ge (Bachelor of Music in Music Education, 2001). In addition to his teaching responsibilities, he also co­directs the spring musical production a t Letchworth Centra l School and has organized multiple regional solo and ensemble festivals for middle and high school students.  Certified as a NYSSMA piano adjudicator, he judges young pianists at NYSSMA festivals each spring.  John is an active perf ormer, appearing in organ r ecitals in Geneseo, B uffalo and East Auro ra in recent years.  He is also very involved in several Western New York organizations, curren tly serving as preside nt of the Genesee Va lley School Music Associa tion, Competitions Chair for the Buffalo Chapter of the American Guild of Organists, advisory board member of the Portageville Chapel (a retreat for organists) and president of th e Letchworth Central Teachers’ Association.  John is originally fro m Little Meadows, Pennsylva nia, a small town nea r Binghamton.  He resides in the rural community of North Java, betwe en Buffalo and Rochester, NY. �Binghamton University Music Department’s U P C O M I N G  E V E N T S m m m a a fi a fi a fi w e ­ Mid­Day concerts are he ld on Thursdays, 1:20 PM in Casadesus Recital Hall unless otherwise noted and are FREE Thursday, October 2 7 –  Mid­Day Concert –  1:20 PM – Casadesus Recital Hall – free Friday, Oct ober 28 — P ianist Margaret Reitz p resents “For ty Fingers” wi th pianists Ida Tili­Treb icka, Amy Heyman and Tina Toglia ­– 8 PM – Casadesus Recital Hall – $6 general public; $3 faculty/ s taff/ seniors; free for students Sunday, Oc tober 30 – W ind Sympho ny: Holst! ­ ­  3 PM – Ande rson Center Chamber Hall – $6 general public; $3 faculty/ s taff/ seniors; free for students Thursday, November 3 — Mid­Day Concert –  1:20 PM – Casadesus Recital Hall – free Tuesday, November 8 — F riedheim Memorial Lec ture/Recita l Series: Deb ussy’s “Rha psodies for saxophone and clarine t” (Stephen Zank, speak er; April Lucas, saxophone ; Timothy P er ry, clarinet; Margaret R eitz, piano) –  8 PM –  Casadesus Recital Hall – $6 general public; $3 facul ty/ s taff/ seniors; free for students Thursday, November 10  — Mid­Day Concert (Africa n) –  1:20 PM – Anderson Center Chamber Hall – free Sunday, November 13 — U niversity Chorus and the Symphony Orchestra p resent Felix Mendelssoh n’s “Elijah” – 3 PM – Osterhout Concert Thea ter – $10 general public ; $6 faculty/ s taff/ seniors; $3 students Thursday, November 1 7 — Jazz Mid­Day Concert wi th guest artist – 1:20 PM –  Osterhout Concert Thea ter –  free (Co­sponsored by the Binghamton University Music Department and the Harpur Jazz Project) If  you  enjoyed  and  were  inspired  by  this  performance,  please  consider supporting the  Department of  N i i w   ith a  financial gift. Your nppo n helps  to continue t  work o f students,  aculty, and guest artists and their contributions to our larger community.  Please  make your donation payable to  the  Binghamton  S h a o Music    Department, and send  to  P.O. Box 6000, Binghamton, NY 1 3902. For ticket information, please call the Anderson Center B o x  O ffice at 7 77­ARTS. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 sound discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 28:06 33:51 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145372">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145372</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 John Novak, organ, October 23, 2011 Recital Tape 2011-10-23 Description An account of the resource Works by Bach, Vaughan Williams, Reger, Phillips, Diemer, Mendelssohn. Held at 4:00 p.m., October 23, 2011, First Presbyterian Church. Creator An entity primarily responsible for making the resource Novak, John Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2011-10-23 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/1910156bacf5969aefb48a80cb7c3a55.pdf 6eca471b3aa3789247537d93e1cfdfbd PDF Text Text BINGHAMTON U  N  I  V  E  R  S  l  T  Y S TAT E  U N I V E R S I T Y  O F  N E W  Y O R K [  (  [4 B E P A R T M E N T T H U R S D AY M I D ­ D AY CONCERT o   0“5;1 df Q  e r :  4 5  A ( 7  'b 1 . /  pm. . u \ ®( % i ,  1 Th urs d ay, O ctob er »  2011 1:20 p.m . C asa d es us  R ecita l H all �SUNG TEXTS PROGRAM Beads of  Glass ( Z O ) . I fMusic    b e  the F o o d o  fLove     Adam Goldenberg, Marimba If Music be the Food of Love...  O Sleep, Why Dost Thou Leaw Me?  from Semele  Gordon Stout (b. 1952) .Henry Purcell (1659–1695) . George Frideric Handel (1685–1759) Katie Sucha, Soprano Chai­Kyou Mallinson, Piano Papagena! Papagena!. . from Die Zauberflote Serenade from Songs and Dances of Death Charles Hyland, Baritone William J. Lawson, Piano Kerianna Krebushevski, Soprano William J. Lawson, Piano S u l d ’   u n s  o ff i from Falstaff o A  Gluseppe Verdi (1813–1901) E un Hwn Bae, Tenor Chai­Kyou Mallinson, Piano , Meghan Cakalli, Soprano Margaret Reitz, Piano O sleep, why dost thou leave me, Why thy visionary joys remove? 0  sleep, again deceive me, To my arms restore my wand’ring love! Papagena! Papagena! (Papageno’s Suicide) P apagena, Papagena, Papagenal Little wife, little dove, my beautiful one, I n  vainl  Ah, she is lost! Giunse al fin i! momento Deh viens, non tardar­...........................cereeneen.  Wolfgang Amadeus Mozart from Le nogge di Figaro >» Pleasures invade both eye and ear, So fierce the transports are, they wound, And all my senses feasted are, Tho’ yet the treat is only sound, Sure I must perish by your charms, Unless you save me in your arms. O sleep, why d ost thou leave me? Wolfgang Amadeus Mozart (1756­1791) .Modest Mussorgsky (1839­1881) Lunge da lei  De’ miei bollents spiriti from La traviata If music be the food of love, Sing on till I am fill’d with joy; For then my list’ning soul you move To pleasures that can never cloy. Your eyes, your mien, your tongue declare That you are music ev’rywhere. Gluseppe Verdi I was born for misfortune, I chattered and chattered And that was bad, And therefore, it serves me right Therefore, it serves me right. Since I tasted this wine, Since I saw that beautiful little woman, It bums in the little chamber ofmy heart, So, it tweaks here, it tweaks there. Papagena, little wife of my heart! Papagena, dear little dove! It is all for nothing! It is in vain! I am tired ofmy life, Dying will make an end to love, When it burns so in my heart. That tree there, I want to adorn, By tying myself by the neck to it, Because life displmses me. Good night, you false woddl Because you have handled me wickedly, Bound me to no beautiful child, So, it’s over, so I die. Beautiful girls, think of mel If any ofthem for poor me Ere I hang, have some compassion, I could actually let it all drop. Just call ­ yes or no, No one hears me, all is still, All, all is still. So, is it your will? P apageno, ge t gonig, End the course of your life! Now, I will wait, may it bel Until one counts one, two, three! One, two, three, well on with it, then It will happen. Because nothing holds me back, Good night, you false world ! Serenade Languorous, magical dark blue night. Trembling spring twilight. With bowed head, a sickly young woman listens to the still murmurs of the night. Sleep has not closed her eyes. Life pleads with joy not to fade, But in the silence of midnight, D eath sings a serenade: “In the darkness of cruel captivity, your youth fades. I, an errant knight, unknown to you, will free you by my magic power. Stand up, look at yourself. You are beautiful. Your face shines, your cheeks rosy. Dark tresses like clouds envelope your body. Your light blue eyes brighter than the moon, Shine like the skies, Your breath hot as a midday fire. You charm me ... Over you I have cast a spell with my serenade. Your whisper was calling me. Your knight is here to claim his supreme reward. Your hour of bliss has come. Your body so soft, and your enchanting charm, Oh, I will strangle you in my strong embrace. Lover, hear my whisper ... Be silent ... You are mine!” �With her beside me, I feel myself reborn, revived by the breath of love, forgetting the past in present delights. Giunse al fi  n 17 momento . . . Deh viens The moment finally arrives When I’ll experience joy without haste In the arms of my beloved Fearful anxieties, get out of my heart! Do not come to disturb my delight. Oh, how it seems that to amorous fires The comfort of the place, Earth and heaven respond, As the night responds to my ruses. My passionate spirit and the fire of youth she tempers with the gentle smile of love. Since the day when she told me, “I want to live, faithful to you alone!” I have forgotten the world: I live, I live like, I live like one in heaven. Oh, come, don’t be late, my beautiful joy Come where love calls you to enjoyment Untl night’s torches no longer shine in the sky Aslongastheairisstilldark And the world quiet. Here the river murmurs and the light plays Sul fin d’un soffio etesio On the breath of an etesian breeze scurry, agile shadows That restores the heart with sweet ripples Here, little flowers laugh and the grass is fresh Here, everything entices one to love’s pleasures Come, my dear, among these hidden plants. Come, come! I want to crown you with roses. Lunge da l ei . . . D e ’ m   iei bollents s pirit There’s no pleasure in life when she’s away! It’s three months now since Violetta gave up for me her easy, luxurious life of love­affairs and expensive parties. There she was used to the homage of all who were enslaved by her beauty but she seems happy here in this charming place, where she forgets among the branches a bluish­grey glow of the rising moon has appeared. Dance! And may the gentle steps measure a gentle sound, combining the magical dances with the song. Let us wander beneath the moon, choosing flower by flower, each crown of petals, in its heart, brings its good fortune. With the lilies and the violets, let us write secret names; from our enchanted hands may words blossom words illuminated by pure silverand gold Magic incantations and charms. The Fates have, for letters, flowers. everything for me. W Binghamton University M usic Departm e n r’s UPCOMING E V E N TS  M M t b ­ Friday, October 21, 8pm & Sunday, O ctober 23, 3pm – Tri­Cities Opera pr esents Madama B u t t e r fl y  8pm ­­ The Forum Theatre – Call (607) 772­0400 for tickets Saturday, October 22, 3pm – F amil y  Wee kend Concert (Harp ur Chorale, Women’s Chorus an d  th e  U niversity Sym p hony Orchestra) – Osterhout Concert Theater ­­ Free Sunday, October 23, 4 p m Alum   ni Organ Recital: John Novak, MM * 0 6 F   irst Presbyterian Church, Binghamton Sunday, October 23 – U niversity Sym p hon y Orchestra : Concerto & Aria Com petition Winners’ Concert – 7:30pm – Osterhout Concert Theater For ticket information, please call the Anderson Center B o x  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&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 37:04:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145369">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145369</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 Mid-day concert, October 20, 2011 Recital Tape 2011-10-20 Description An account of the resource Works by Stout, Purcell, Handel, Mozart, Mussorgsky, Verdi. Held at 1:20 p.m., October 20, 2011, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Goldenberg, Adam Sucha, Kathryn Mallinson, Chai-Kyou Hyland, Charles Lawson, William James Krebushevski, Kerianna Bae, Eun Hwan Cakalli, Meghan Reitz, Margaret A. 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 2011-10-20 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/2988bc958748ed75d53556ec15bcc821.pdf b5949aa643ecbe4e335308e85ea77e23 PDF Text Text BINGHAMTON U  N  I  V  E  R  S  I  T  Y STATE  U N I V E R S I T Y  O F   N E W  Y O R K   E N T D E P A R T M MOBIUS TC NSEMBLE AND [FRIENDS Janey Choi, Violin Roberta Crawford, Viola Stephen Stalker, Cello Michael Salmirs, Piano With Guest Artists Timothy Perry, Clarinet Peter Rovit, Violin Sunday, October 16, 2011 3 p.m. Watters Theater �PROGRAM Sonata for Violin and Piano  A Johannes Brahms No. 2 i n  A ,  Op. 100  (1833–1897) Allegro amabile Andante tranquillo ­ Vivace Allegretto grazioso (quasi Andante) Ms. Choi, Mr. Salmirs Piano Quartet No. 7 G a b r 1 e l F a u r e ’ (1845­1924) In C minor, Op . 15  Allegro molto moderato Scherzo: Allegro vivo Adagio Allegro molto Ms. Choi, Ms. Crawford Mr. Stalker, Mr. Salmirs &  IN T ERMIS S ION  c z Clarinet Quintet in A, K V 581  .......Wolfgang Amadeus Mozart Allegro Larghetto Menuetto — Trio l  —  Trio ll Allegretto con Variazioni Ms. Choi, Ms. Crawford Mr. Stalker, Mr. Rovit, Mr. Perry (1756­1791) B O U T Canadian violinist, Janey Choi gave her Carnegie Hall recital debut in 1997 as a winner of the Artists International Auditions and continues an active career performing as a soloist and with such groups as the Ardelia Trio, New York City Ballet, and the Teaching Artists Ensemble of the New York Philharmonic. The recipient of numerous awards, including National First Prize in the Canadian Music Competition, and a Performing Arts Grant from the Ontario Arts Council, she has participated in such festivals as  Mostly Mozart, Norfolk, Taos, the Spoleto Festivals in the U.S. and Italy, Festival Musical de Santo Domingo, the Santa Fe Opera and the Sarasota Opera. An avid inter­arts and cross­genre collaborator, she is the Music Director of Thomas/Ortiz Dance, and has performed numerous times with the Parsons Dance Co. She initiated a collaboration between the Paul Taylor Dance Company and the Binghamton University Orchestra. Her other interests have taken her to  the visual arts world, developing and presenting an annual “Music + Art” show commissioning artwork based on chamber works.  She has recorded and appeared with such mainstream performers as Bono (U2) and Quincy Jones, Adele, Beyoncé, Aretha Franklin, Enya , Elton John, Ja y­Z, Sarah McLachlan, Lenny Kravitz, and Kanye West, on the Grammys, MTV, Saturday Night Live, The Today Show, at Live 8, Radio City Music Hall and Royal Albert Hall in London, England. Dr. Choi was the youngest, and only Pre­College student ever accepted by her late mentor, Joseph Fuchs at The Juilliard School, where she graduated from the accelerated BM/MM program with the Joseph Fuchs Graduation Prize.  Her other major teachers include Joel Smirnoff, Victor Danchenko, Harvey Shapiro, and Arnold Steinhardt. She attained her Doctor of Musical Arts degree a t Rutgers University with full scholarship and the Gradua te Fellowship Award. She has been on the faculty of Binghamton University since 2006 and is a Tea ching Artist for the New York Philharmonic and Chamber Music Society of Lincoln Center. She has presented educational workshops for the College Music Society National Conference, Tokyo College of Music and Lincoln Center Institute. In her free time, she enjoys marathon and triathlon training, playing soccer and ice hockey. Roberta Cra wford, violist, performs extensively as a recitalist and chamber musician. As co­artistic director and a founding member of the Finger Lakes Chamber Ensemble, Ms. Crawford has participated in over two hundred solo, chamber, and lecture­recitals presented by the ensemble since its formation in  1990. Ms. Crawford is violist with the �Mobius Ensemble, resident piano quartet at Binghamton University which performs frequently on campus and throughout the region. She has performed with the Catskill Chamber Players, appeared often on the Cayuga Chamber Orchestra’s Sunday Chamber Music Series and was a guest performer with the Ariadne String Quartet. Ms. Crawford has played with the Portland and Syracuse symphonies and has served as principal violist for the Cayuga Chamber Orchestra. Recent activities include performance in the world premiere of Fault Lines for piano quartet, written by award­winning composer, James Matheson and presented at Cornell University’s Mayfest 2010. An advocate of new music, Ms. Crawford has premiered numerous works featuring viola and has been the dedicatee of several works written specifically for her. She has participated in music festivals throughout the United States and in the Caribbean and has appeared in live performance broadcasts for public radio and television. A dedicated teacher, Ms. Crawford has served as clinician, coach, and adjudicator for numerous music organizations and as director of ViolaFest at Binghamton. Ms. Crawford also served for five years as a Faculty/Artist for NSOA ASTA String Institute at Ithaca College. She has been a guest faculty member at Phillips Academy, the Quartet Program, Ithaca College, and the Eastman School of Music and is currently coordinator of strings at Binghamton University. Stephen Stalker, cello, has made concerto appearances with numerous orchestras in upstate New York, including: Schenectady Symphony Orchestra, Cayuga Chamber Orchestra, Catskill Symphony Orchestra and the Binghamton Community Orchestra, performing concertos by Boccherini, Haydn, Beethoven, Lalo, St. Saens, Brahms, Dvorak, Hindemith and Shostakovich. He has performed in chamber groups throughout the United States and Europe. As a member of the Madison Quartet, he performed in the US, France, Germany and Switzerland, recorded for the Orion and Musical Heritage Society labels, was a finalist in the Evian International String Quartet Competition and the Naumberg Chamber Music Competition, and was an Artist­in­Residence at Colgate University. He has played extensively with the Catskill Chamber Players, performing and premiering many compositions by prominent American composers, including the world premiere of the late string quartets of Henry Bryant, “Four Score,” a t the Weill Recital Hall in New York City. He has performed the complete Beethoven Trio cycle with colleagues at Binghamton University. He performed with Solisti New York on their Alaskan cruise of the Inner Passage from Vancouver to Juneau and also toured Greece with the Schenectady Philharmonic. He graduated from the Manhattan School of Music and teaches cello and double bass at Binghamton University. Pianist Michael Salmirs is well­known as a recitalist and chamber musician. As a founding member and co­artistic director of the Finger Lakes Chamber Ensemble, he maintains a full season of chamber concerts and lecture recitals and recently presented a series on the last three piano sonatas of Beethoven. He has appeared as soloist with the Corning Philharmonic, Binghamton University Orchestra, Cayuga Chamber Orchestra, and is frequently a featured pianist on their Sunday Chamber Series. In addition to performing most of the standard chamber music repertoire for strings and piano, he has premiered numerous solo and chamber works, and recently gave the world premieres of Piano Quintets by David Liptak and Marek Harris. He has also participated in such contemporary music series as Binghamton University’s Music Nova, Cornell University’s Ensemble X, Chiron, and has toured and recorded for the Syracuse Society for New Music. This past season he premiered Piano Quartet by Wendy Wan­ki Lee with the Binghamton University resident piano quartet, Mobius Ensemble, as well as Diego Vega’s Piano Quartet with the Finger Lakes Chamber Ensemble. 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 Karel Husa. Salmirs has taught at the Syracuse University School of Music and Hobart and William Smith Colleges. He is currently a faculty member at Binghamton University where he teaches piano and coaches chamber music. As a composer, Silenced Voice, for Soprano, Baritone, Clarinet, and Piano Quartet, was premiered in 2010 at Binghamton University and is presently working on a string ensemble piece for the New Violin Family Orchestra to premiered in summer, 2012. Dr. Timothy Perry, Professor and Chair of Binghamton University’s Department of Music is now in his twenty­sixth season as director of the orchestral program at Binghamton University, serving as Director of the University Symphony and University String orchestras. Dr. Perry also directed the BU Wind Ensemble from 1986–2005 and served as the Music Director of the Binghamton Community Orchestra from 1994– 2004. He has guest conducted a wide range of orchestral, opera and musical theater repertoire with ensembles both regionally and internationally, most recently closing the season of the Catskill Symphony in May of 2012. As clarinetist he has appeared throughout the world as soloist, chamber musician and tea cher, including three appearances at the world conference of the International Clarinet Association and a tour as a United States Musical Ambassador for Latin America and the Caribbean. Recent activities have included concerto appearances with the Catskill Symphony Orchestra in 2009 and with the �PROGRAM NOTES BU Symphony in 2011. He presented a solo recital at Binghamton‘s Phelps Mansion for the “Second Sunday” series on September 25th and will perform the Premiere Rhapsodie of Claude Debussy for a Friedheim Memorial Lecture Recital at Binghamton University on November 8th. Dr. Perry performs on a Buffet basset clarinet built for him in 2005 by Stephen Fox of Toronto, and a “bel canto” mouthpiece by James Pyne. Peter Rovit (BM with High Distinction, Indiana University; MM, Hartt School; Professional Studies, Juilliard; DMA, SUNY at Stony Brook) was among the last students of Josef Gingold at Indiana University where he also studied Baroque violin with Stanley Ritchie. His other teachers have included Mitchell Stern, Philip Setzer, Cho­Liang Lin, Paul Kantor and Donald Weilerstein. Mr. Rovit has been the recipient of numerous awards and scholarships including the Kuttner Scholarship at Indiana University, the C.V. Starr Scholarship at the Juilliard School, and the Aspen Music Festival’s String Fellowship. As a chamber musician, recitalist, and soloist he has performed throughout the United States and at the Spring in Saint Petersburg Festival in Russia. Performances have included concert appearances on the Aspen Music Festival’s Young Artist Concert series, with the International Sejong Soloists, and on Baroque violin with the Rebel Ensemble and the Atlanta Baroque Orchestra. He has been a recipient of the prestigious Montgomery Symphony Fellowship in Alabama which involved performing as concertmaster and soloist with the symphony and giving numerous concert appearances throughout the area. He has performed as a chamber musician and recitalist with such musicians as Andrew Jennings, Felicia Moye, Volkan Orhon, Christina Jennings, Ricardo Morales, Larry Combs, and the Emerson Quartet. A concerto competition winner at both the Hartt School and at SUNY Stony Brook, Mr. Rovit has also performed as a soloist with the Montgomery Symphony, the Fort Smith Symphony, the Oklahoma City Philharmonic, and the Tuscaloosa Symphony. Mr. Rovit has been on the string faculty of the University of Oklahoma and the University of Alabama, a member of the Quartet Oklahoma, Associate Concertmaster of the Oklahoma City Philharmonic, and Concertmaster of the Tuscaloosa Symphony. He is currently the Violin Professor at Syracuse University. 1 Johannes Brahms Sonata No. 2 in A Major, Op. 100 In the summer of 1886, Brahms was once more vacationing near Lake Thun in Switzerland. The peace and beauty of the countryside often provided him with ideal working conditions and this summer’s efforts were especially productive. He composed many new lieder as well as the cello sonata in F Major, Op. 99, the piano trio in C major, Op. 101 and the second violin sonata in A Major, Op. 100. Of the three sonatas Brahms wrote for violin, the A Major Sonata is considered by many to be his most lyrical. Its overall character has been aptly described by Eduard Hanslick : “when we listen to the A Major Violin Sonata, we feel more or less as if, following a thunderstorm that has gloriously discharged itself, we are drawn into the delicious stillness of an aromatic summer evening.” The first movement, Allegro amabile, opens with a partial statement in the piano to which the violin responds. The voices soon join together in a complete statement of the the first theme, which critics and commentators have noted bears a resemblance to Walther’s Prize Song from Wagner’s Opera. Die Meistersinger. Speculation aside, Brahms himself has indicated that the second theme of this beautifully crafted movement owes its inspiration to his own song, Wie Melodien zieht es mir (Op. 105, No. 1), which he also composed during this idyllic summer. In the second movement, Brahms adroitly combines elements of a slow movement, which traditionally would be located in this placement, with the dance­like rhythms of a scherzo. The Finale, marked Allegretto grazioso, is a remarkably easy­going rondo which brings the work to a graceful and satisfying close. Violinist Joseph Hellmesberger, Brahms’s long­time friend and colleague, collaborated with the composer for the premiere performance of this work which took place in Vienna during the autumn of 1886. — Roberta Crawford Gabriel Fauré Piano Quartet No. 1 in C minor, Op. 15 The listening public is well acquainted with Fauré as a composer of songs and of his incomparable Requiem, while his excellent body of chamber music remains largely underappreciated: sonatas for cello and piano, violin and piano, two piano quartets, two piano quintets, a piano trio, a string quartet and a host of smaller pieces. Faure lived and �worked in a time of unprecedented creative exploration. In the midst of varying and conflicting aesthetics, Fauré managed to develop his own unique compositional language, which incorporated elements from both nineteenth and twentieth centuries, and retained a distinctly French character. His style continued to develop and unfold up until his death in 1924. The Piano Quartet in C minor is a relatively early work. Composed between 1876 and 1879, the influences of earlier 19th century composers, such as Brahms and Franck are apparent. The first movement is in sonata­allegro form with a rhythmic, declamatory first theme followed by a gently undulating second theme in the relative major. Fauré expertly weaves and transforms the character of these themes throughout the course of the development gradually building to a dramatic climax and restatement of the opening material. In the closing bars of the movement, Fauré revisits the first theme, now wistful and reminiscent, and the entire movement simply evaporates. Fauré follows the first movement with a playful Scherzo. The strings accompany the piano melody with a pizzicato ostina to figure. The middle section features a melody with muted strings, which personifies suavity and the movement ends with a return of the original material. The third movement is the heart of the quartet, an elegy which opens with an eloquent cello statement. Of the third movement, Robert Orledge writes: “the zenith of Fauré’s first period. Contemplative and beautiful, alternately serene and powerful, it demands the maximum of concentration from performer and audience alike.” The finale is a perpetual motion of brilliant piano passagework, which Fauré then contrasts with a singing theme — the two themes gra dually combine, building to a powerful climax, followed by a return of the first theme and an ecstatic coda. “At first they found my music noisy and discordant” — thus Fauré remarks on the first performances of this piano quartet. It is difficult for us to fathom today that Fauré had great difficulty finding a publisher for the piece and that a work that has brought so much pleasure to musicians and the public over so many years was a financial fiasco for the composer. Fauré went on to be revered as one of the great composers of France. In addition to his compositions, he left his legacy as the head of the Paris Conservatoire, where he modernized the curriculum, revamped administrative procedures and was the dedicated teacher of many composers of renown including Maurice Ravel, George Enescu, and Nadia Boulanger. — Roberta Crawford Mozart Clarinet Quintet (“Stadler­Quintet") in A Major, K. 581 While Mozart created a considerable body of music for wind instrument ensembles in the form of a variety of serenades, cassations, and divertimenti, his compositions for a solo wind with strings include far fewer compositions and only one undisputed masterwork — his last, the Clarinet Quintet in A Major, K. 581. Written during the summer of 1789 and premiered in December of that year (just prior to the premiere of Cosi fan Tutte), the Clarinet Quintet was composed specifically for showcasing Mozart’s close friend, the clarinettist (and enabler of bad behavior) Anton Stadler. Stadler’s relationship with Mozart was based upon their common predeliction for drinking, carousing and borrowing money that was never repaid, and upon their high regard for one another’s musicality. Indeed, Stadler’s artistry on the early clarinet was so respected by Mozart that he created three works with Stadler’s idiomatic skill­set in mind: the Quintet, and two of Mozart’s last works, the obbligato solo part for the aria “Parto, parto” from La Clemenza di Tito, K. 621, and the great Clarinet Concerto in A, K.  622. All three works were written for Stadler’s “basset clarinet,” a variation on the standard A­clarinet which extended the size and lower range of the clarinet by four additional semitones. (We will hear the work this evening on a modern basset clarinet made by Stephen Fox of Toronto). The Quintet is cast in four movements, each of which seems to illuminate a different aspect of Stadler’s playing, set in the context of some of Mozart’s most nuanced writing for string quartet. The opening Allegro is a large sonata­form in which the lyric melodicism of the string parts is contrasted with a huge arching arpeggio theme from the clarinet. Both aspects are exploited throughout the movement, the arpeggios cascading through the ensemble in mid­movement while the lyric passages alternate in episodes of major and minor key areas on the periphery. The Larghetto is justly regarded as one of the most sublime slow movements in all of Music, an exquisite and intimate conversation between the clarinet and first violin with all the expression and pathos of a great Mozart opera aria. Like those pieces, time is suspended while we and the world stop, breathless, before the master ’s divine genius. If the second movement is heavenly, the third movement Minuet celebrates humanity. Here is a view of the private Stadler/Mozart friendship of the street, the social dance, and the tavern. At turns �~~ 1  boisterous and refined, the minuet seems almost an elevated satire on the roots of this most courtly dance. Rare among his minuets, Mozart provides not one but two trios: the first a suave and darkly passionate serenade for the strings alone, and the second a rustic land/er led by the clarinet. The quintet’s finale showcases each player in turn through a set of variations on a theme reminiscent in its utter simplicity of a child’s tune. The variations provide in their wildly varied characterizations a lmost a mini­opera: in the first variation, the clarinet introduces a counter­melody with impossibly wide leaps; the first violin provides another in the second, accompanied by rushing “brook­music” triplets in second violin and viola; the viola moves to (mock?) tragedy in the third over a deep bass line in cello and clarinet; a hyper­elegant adagio with interrupted motives showcases the violin/clarinet (Mozart/Stadler) duet once again. There follows a brief moment of apotheosis (which brings to mind Figaro’s in the opera finale) of almost painful tenderness at parting. But Mozart will face the end with joy and not sorrow, and the last variation recapitulates the theme in high spirits. And so we are enjoined by Mozart to live: in friendship, and in joy. —Timothy Perry ‘ a  tH 5‘— > 4 db  k    ­  _.  3  ]  II.  4 4  °£ offs  r 2   S y u New B eginnings Beginnings Back 10 our Roots Sunday, M a r c h  11,2012, 3 : 0 0  p . m Sunda y, Octo ber 1 6, 2 01 1,  4:00 p.m St. Patrick’s Catholic Church 9 Leroy Street, Binghamton, NY Lessons and Carols tor Christmas  Saturday, November 2 6 .  2011, 7 : 3 0  p.m. &  Sunday, November 27 , 2011, 4:00 p.m   o l y  T r in i ty C hurch  o ft h e H 346 Prospect Street, Binghamton, N Y Trinity Memorial Church 44 M ain Street, Binghamton, N Y Crossroads Sunday. lune 7» . 2 01 1 44001 1  m Tabernacle United Methodist Church 83 Main Street, Binghamton, N Y For Tickers f  l 4  w n s “ N  fi f ’ g t u a l 7 0 ’ 4 I ‘ N I or call 60"­ “ 30­4 “ 6” ( C D   2011201213411. Season   The Madrigal CholrofBingha mton = 2011­2012 Season TRI­CI TIES PERA MADAME  BUTTE RFLY  u.t’1\1111.uu1fl<.\11x11<  October 21 A “  ‘ '   102 February 10 &  12, 2012   eL a d h e 1 . . . . . . .   h a g s   p e a t   T H E  M A G I C  FLUTE  vereries   7 ¢ April 2 _  Conran  w is   T R B at the FORUM THEATRE is Binghamios m u   tricitesopera.com Tix Info: 607­772­0400 « ww n — n n —  m a — m a n u m n m – n  D o v e r n c r g “ M m M – “ n ‘ w c m — m — w m   O   anama—nonhuma— m fi  ‘ M – M e m M ‘ w ‘ “ w a n n a – g m �Binghamt on Universit y Music Departme nt ’s U P C O M I N G  E V E N T S Mid­Day concerts are held on 7hursdays, 1:20 PM in Casadesus Recital Hall unless otherwise noted and are FREE Thursd ay, October 20 — Mid­Da y Concert –  1:20 PM — Casadesus Recital Hall — Free Friday , October 2 1 — Tri­Cities Opera pre sents “ Madame Butter– fl y ”  –  8 PM – The Forum Theatre! –  Call (607) 772­0400 for tickets Saturd ay, October 22 — Family  Weekend Con cert (Harpur Chorale, Women’s Chorus an d the U nivers ity Symphony Orchestra) –  3 PM –  Osterhout Concert Theater –  Free Sunda y, Octo ber 2 3  — Tri­Cit ies Opera presen ts “Mad ame B utter­ fl y ”  — 3 PM –  The Forum Theatre –  call (607) 772­0400 for tickets Sunda y, October 23 — Alum ni Orga n Reci tal : John Novak  (MM ‘06 ) — 4 PM – First Presbyterian Church, Binghamton — $10 general public; $6 faculty/staff/seniors ; $3 students Sunda y, October 2 3  — Binghamto n Univer sity Symphon y Orches tra : Concerto and Aria Competit ion Concert –  7:30 PM – Osterhout Concert Theater — $10 general public; $6 faculty/staff/ seniors; $3 students Thursd ay, October 27 –  Mid­Da y Concert –  1:20 PM –  Casadesus Recital Hall — free Friday , October 28 –  Pianis t Margaret Reitz presents “Forty Fingers ” w i t h  p ianists  I d a  T ili­Treb icka, Amy Heyma n and Tina Toglia — 8 PM — Casadesus Recital Hall — $6 general public; $3 faculty/staff/seniors; free for students Sunda y, October 3 0  — Wind Symphony : Holst!  — 3 PM — Anderson Center Chamber Hall — $6 general public; $3 faculty/staff/seniors; free for students Thursd ay, Novem ber 3 — Mid­Day Con cert — 1:20 PM — Casadesus Recital Hall –  free For ticket information, please call the Anderson Cente r Box O fl’ice 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&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 3 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 24:28 36:08 24:24 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145364">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145364</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 Mobius Ensemble and friends, October 16, 2011 Recital Tape 2011-10-16 Description An account of the resource Works by Brahms, Faure, Mozart. Held at 3:00 p.m., October 16, 2011, Watters Theater. Creator An entity primarily responsible for making the resource Choi, Janey Crawford, Roberta Stalker, Stephen Salmirs, Michael Perry, Timothy Rovit, 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 2011-10-16 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/b38d09c19d9188e3a8a3faeb164fb41c.pdf 59127d0eee4b2e0682c934638dae9487 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 I T Y   O F   N E W  Y O R K D E P A R T M E N T THURSDAY MI D­ DA Y CONCERT Rid (Ay — ‘>, TH UR S. OC TOBER 13,  2 011 1:20 P.M. CASADESUS RECIT AL HALL �PROGRAM Deh Vieni Q a  TNOSIA ......cotu,oeenrescencansersanneenees A.  Mozart from “Don Giovanni”  (1756­1791) I Got Me Flowers...............................Ralph Vaughan Williams (1 872­1 958) Charles Hyland, Baritone William Lawson, Piano LauriesSong..  Aaron Copland f r o m“The Tender L   and   (1 900­1 990) Sabrina Scull, Soprano Chai­Kyou Mallinson, Piano Ev ’ry Valley shall be Exalted .........,...George Friedrich Handel Behold and See (1 685­1 759) But Thou dids’t not Leave from “Messiah” (1 879­1 925) Christina Santa Maria, Soprano William Lawson, Piano Glitter and Be Gay  from “Candide”  Leonard Bernstein (1918­1990) Christina Kompar, Soprano Margaret Reitz, Piano Nemico della patria  from “Andrea Chenier”  Umberto Giordano (1867­1948) Hee­Pyoung Oh, Baritone Chai­Kyou Mallinson, Piano os iia  ......................Vincenzo Bellini f r o m I  Capuleti e  eiM   ontecchi”  (1801­1835) Meghan Cakalli, Soprano Margaret Reitz, Piano Silent Noon........................................Ralph Vaughan Williams (1 872­1 958) Kimberly Torres, Mezzo Soprano Chai­Kyou Mallinson, Piano Stefano Donaudy Ah, mai non cessate Oh quante volte..  Richard G. Leonberger, Tenor Chai­Kyou Mallinson, Piano Linden Lea Amorosi miei Giorni  Che gelida manina  from “ L a  B o he me ”   Eun Hwan Bae, Tenor Chai­Kyou Mallinson, Piano Giacomo Puccini (1 858­1 924 ) �Binghamton University Music Department ’s U P C O M I N G  E V E N T S fi w w w a b fi M M é fl Mid­Day Concerts are held on Thursdays, 1:20 PM in Casadesus Recital Hall unless otherwise noted and are FREE Sunday, October 1 6  — Mobius Ensemble and Friends: Chamber Music Masterpieces — 3 PM — Watters Theater — $1 0 general public; $6 faculty/staff/seniors; $3 students Thursday, October 2 0 — Mid­Day Concert  — 1 :20 PM — Casadesus Recital Hall — Free Friday, October 2 1 — Tri­Cities Opera presents “Madame Butterfly” — 8 PM — The Forum Theatre! — Call (607) 772­0400 for tickets Saturday, October 2 2 — Family Weekend Concert (Harpur Chorale, Women’s C horus and the University Symphony Orchestra) — 3 PM — Osterhout Concert Theater — Free Sunday, October 23  — Tri­Cities Opera presents “Madame Butterfly” – ­ 3 PM –­ The Forum Theatre — call (607) 772­0400 for tickets Sunday, October 23  — Alumni Organ Recital : John Novak (MM 0 6 ) —    4 PM – First Presbyterian Church, Binghamton — $10 general public; $6 faculty/staff/seniors; $3 students Sunday, October 2 3 — Binghamton Univ ersity Symphony Orchestra : Concerto and Aria Competition Concert — 7:30 PM — Osterhout Concert Theater — $10 general public; $6 faculty/staff/seniors; $3 students Thursday, October 2 7 — Mid­Day Concert  — 1 :20 PM –­ Casadesus Recital Hall — free Friday, October 28 –­ Pianist Margaret Re itz presents “Forty Fingers ” with pianists Ida  Tili­Trebicka, Amy H eyman and Tina Toglia — 8 PM — Casadesus Recital Hall — $6 general public; $3 faculty/staff/seniors; free for students Thursday, November 3 — Mid­Day Conc ert — 1 :20 PM –­ Casadesus Recital Hall — free For ticket information, please call the Anderson Center Box Office at 777­ARTS To see all events, please visit music. b inghamton. e du Become a fan on Facebook by visiting Binghamton University Music D epartment � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 51:49:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145349">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145349</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 Mid-day concert, October 13, 2011 Recital Tape 2011-10-13 Description An account of the resource Works by Mozart, Vaughan Williams, Copland, Handel, Donaudy, Bernstein, Giordano, Bellini, Puccini. Held at 1:20 p.m., October 13, 2011, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Hyland, Charles Lawson, William James Scull, Sabrina Mallinson, Chai-Kyou Leonberger, Richard G. Torres, Kimberly Santa Maria, Christina Kompar, Christina Reitz, Margaret A. Oh, Hee-Pyoung Cakalli, Meghan Bae, Eun Hwan 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 2011-10-13 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/19d9d5a537d432ba45fcebd382a49a42.pdf ad9bcbee794693a11d99b48b66afbf05 PDF Text Text BINGHAMTON U  N  I  V  E  R  S  I  E Y STATE  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 THURSDAY MID­DAY CONCERT o  fig  = Lv — — pF  d yy N a py  ~ ‘  THURSDAY, OCTOBER 6, 2011 1:20 P.M. CASADESUS RECITAL HALL �PROGRAM Piano Concerto in F minor ............................... Fryderyk Chopin 1 ! movement    Andante (from Sonata para clarinet)............. Carlos Guastivino (1912­2000) (1810­1849) Sungkyun Ryu, piano Ewa Mackiewicz, second piano Night Club 1960 (from History of the Tango) ...... Astor Piazolla (1921­1992) Vals Venezolano....................ccececeeueu........... D’Rivera (b.1948) Heavenly Road  .............Traditional Tibetan I stand on the high mountain at dawn, watching the railroad built in my hometown. A hugedragon flies through the mountain peaks, bringing luck and prosperity to our snowy plateau. Thatis a wonderful road to the sky— the mountains are no longer high and the roads are no longer far. The w ine is sweet, the tea is fragrant; happy songs fly everywhere. Beautiful M o o Timothy Perry, clarinet Margaret Reitz, piano Lento R o b e (from F ive Pieces in a Popular Mood)  r t Schumann   (1810­1856) d .............Meng Qingyun   Blue water, green mountains, sun rays saturate our sweet laughing. Wind sends the doves to the starry sky; the moon shines upon our happy dancing. Let our dreams grow auspicious wings; Let beautiful moods follow us everywhere Song without Words, op. 109 .. ......Felix Mendelssohn (1809­1847) Stephen Stalker, cello Margaret Reitz, piano Hong Zhang, mezzo soprano Margaret Reitz, piano Carnival of Venice .........cc..ccococeeeeeeeeeeennn........ Herbert L. Clarke (1867­1945) Concerto for Trombone.......................... II. Quasi una Leggenda lII. Finale William Marsiglia, trombone Margaret Reitz, piano Launy Grondahl Robert Smith, euphonium Margaret Reitz, piano �Bin gha mton U niver sit y M usic  D epa rtm ent ’s U P C O M I N G  E V E N T S fi m ­ a w q u fi w b fi w f b m Mid­Da y Concerts are held on Thursdays, 1:20 PM in Casadesus Recital Hall unless otherw ise n oted and are FREE Thursday, October 13  — Mid­Day Concert –  1:20 PM – Casadesus Recital Hall — Free Sunday, O ctober 16  — Mob ius Ensemble a nd Friends : Chamber Music Masterpieces — 3 PM — Watters Theater — $10 general public; $6 faculty/staff/seniors; $3 students Thursday, October  20 — Mid­Day Concert — 1:20 PM — Casadesus Recital Hall — Free Frida y, October  2 1 — Tri­C ities Opera presents  “Madame Butte rfly”  — 8 PM — The Forum Theatre! — Call (607) 772­0400 for tickets Saturday, October  22 — Family  Wee kend Concert (Harpu r Chorale, W omen ’s Chorus and the Univ ersity Symphony Orchestra ) — 3 PM — Osterhout Concert Theater — Free Sunday, O ctober 2 3 — T ri­C ities Opera pre sents  “Madame Butte rfly”  — 3 PM — The Forum Theatre — call (607) 772­0400 for tickets Sunday, O ctober 23 — Alum ni Orga n Re cital : John Novak (MM  ’06 ) — 4 PM – First Presbyterian Church, Binghamton — $10 general public; $6 faculty/staff/seniors; $3 students Sunday, O ctober 23 — Binghamton Un ivers ity Symphony Orchestra : Con certo  and Aria Com petit ion C oncert — 7:30 PM — Osterhout Concert Theater — $10 general public; $6 faculty/staff/seniors; $3 students Thursday, October 27 — Mid­Day Concert — 1:20 PM — Casadesus Recital Hall — free Frida y, October  2 8 — Pian ist Marga ret Reitz  presents “Forty Fingers” w ith pian ists I d a  Tili­T rebicka, Amy Heyma n and Tina Toglia — 8 PM — Casadesus Recital Hall — $6 general public ; $3 faculty/staff/seniors ; free for students Thursday, Nov ember 3 — Mid­ Day C once rt — 1:20 PM — Casadesus Recital Hall — free For ticket information, please call the Anderson Cen ter Box O ffice  at 777­ARTS. For our full concert listing, 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&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:05:13 Streaming Audio Streaming URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145346 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 Mid-day concert, October 6, 2011 Recital Tape 2011-10-6 Description An account of the resource Works by Chopin, Meng Qingyun, Gröndhal, Guastavino, Piazzolla, D’Rivera, Schumann, Mendelssohn, Clarke. Held at 1:20 p.m., October 6, 2011, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Ryu, Sungkyun Mackiewicz-Wolfe, Ewa Zhang, Hong Reitz, Margaret A. Marsiglia, William Perry, Timothy B. Stalker, Stephen 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 2011-10-06 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/6a75d94cede5c01827dfd203e5df6c2c.pdf 2a456ae18619754c4231782c64880770 PDF Text Text DUO MONTAGNARD at Joseph Murphy, S axophone M a tthew  Slotkin, G uitar Program to be selected from the following “Nicht Akzeptiert, S onatine” George Dara velis (b. 1964) “Les Trois Soeurs” Charles Stolte Water Air Rock “Before Clocks Cease Their Chiming (b. 1969) Andrew Walters (b. 1967) “Untitled ” Shane Endsley (b. 1975) John Orfe “Fast, C heap, and Out o f  Control” (b. 1976) Marilyn Shrude “Face o f  the  Moon ” “Messengers” (b. 1946) John Anthony Lennon (b. 1950) THURSDAY, M A R C H  11, 2 0 0 9 4: 25 P. M. CASADESUS RECITAL HALL FREE A N D  O PEN T O  T H E  P U B L I C Duo Montagnard’s visit is funded in part by the Harpur College Visiting Speaker Fund   pril Lucas Master class students are from the studio o f A �D U O  M O N T A G N A R D  was formed in 2002 and has performed over 130 concerts in 25 states, Canada, Slovenia, United Kingdom, Greece, Thailand, New Zealand,  and  Australia.  Festival  performances  include  the  Chautauqua Institution, the Hartwick College Summer Music Festival, and the Alexandria Guitar Festival.  Recent commissions include pieces by John Anthony Lennon, George Daravelis, John Orfe and Charles Stolte. J O S E P H   M U R P H Y   has  been  the  saxophone  professor  at  Mansfield University of Pennsylvania  since 1987.  He has also been director of bands, department chair, and taught a variety of courses.  He received the bachelor of music education from Bowling Green State University (OH), and the masters and doctorate degrees from Northwestern University.  Dr. Murphy was the music director of Tiffin (OH) Calvert High School from 1983­85.  In  1985­86 he received a Fulbright Award for a year of study in Bordeaux, France where he received a Premier Prix.  In  June 1996, Dr. Murphy performed a  solo recital at Lincoln Center.  He has performed in 13  countries including Australia, New Zealand, Thailand, Taiwan, Japan, Greece, and several countries in western Europe.  He is a  clinician  for  the  Selmer Corporation  and  Rico  Corporation  and  has  been recorded  on  Erol  (France),  Mark,  and  Opus  One  labels.  Dr.  Murphy’s memberships  include  Music  Educators  National  Conference,  Music  Teachers National Association, North American Saxophone Alliance, National Association of College  Wind  &  Percussion  Instructors,  College  Band  Directors  National Association, Phi Mu Alpha, and Kappa Kappa Psi.  His award winning website is w w w.saxophone­education.com. M A T T H E W  S L O T K I N  is an acclaimed performer, teacher, and scholar, and has appeared in leading venues throughout North America, Europe, Asia, and Australia.  He has achieved success in solo performance, chamber music, and as a  soloist with orchestra.  A commitment to the promulgation of new compositions  has  resulted  in  numerous  premieres  of  works  by  composers including John Anthony Lennon, Scott Lindroth, John Orfe, and many others. Recent  performances  include  tours  of  New  Zealand,  Australia,  the  United Kingdom, and Greece with Duo Montagnard (Joe Murphy, saxophone), as well as concerts at the Monadnock Music Festival, the Hartwick College Summer Music Festival,  the  Guitar  Foundation  of  America  convention,  the  Chautauqua Institution, and the World Saxophone Congresses in both Thailand and Slovenia. American  Record  Guide  praised  Slotkin  on  his  Centaur  Records  release, “Twentieth Century Music for Guitar,” for his “musical sensitivity and technical control,” and for giving “strong readings of this appealing music.”  A concert review from the Classical Voice of North Carolina stated that “Slotkin performed brilliantly.”  Centaur Records released his new recording with double bassist Craig Butterfield, “Dances, Songs, Refrains,” in 2010.  Slotkin directs the guitar programs at Mansfield University in Mansfield, PA and Bloomsburg University in Bloomsburg, PA.  He has  given  masterclasses  at  numerous  institutions  and festivals  including  the  Oberlin  Conservatory  of  Music,  the  University  of Melbourne, and the Alexandria Guitar Festival.  He received the Doctor of Musical Arts, Master of Music, and Bachelor of Music degrees from the Eastman School of Music, where he studied guitar with Nicholas Goluses and historical performance practice with Paul O’Dette. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:00:57 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145343">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145343</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 Duo Montagnard, March 11, 2010 Recital Tape 2010-3-11 Description An account of the resource Held at 4:25 p.m., March 11, 2010, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Duo Montagnard 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 2010-03-11 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/61f6eebb7f5bd65a722743154c5e6f6b.pdf 68405d815ead632120bed8ae071d888a PDF Text Text BINGHAMT ON U N I V E R S I T Y F  N E W  Y O R K D E P A R T M E N T UNIVERSITY SYMPHONY O RCHESTRA PRESENTS SLAVIC SPRING Timothy Perry, Conduc tor Heather Wor den, Assistant Conductor Sunday, May 2,  2010 7:30 p.m. Osterhout Concert Theater �About t he Music N o t e s   f r o m   t h e  C o n d u c t o r s The Binghamton University Department o f Music presents the Univers ity Sym phony O rchest ra History records no more seminal figure in the musical development o f Bohemia  (now  part  of  the  Czech  Republic)  than  Bedrich  Smetana: Organizer  of  his  country’s  first  music  school  ( 1 848);  Conductor  of  a prominent  national  chorus;  Founder/director  of  the  National  School  of Drama; Respected music critic; and, not least, Composer of a nationalistic music tradition that survives to this day through hi s opera The Bartered Bride and the set of tone poems Ma Viast (My Country). This effervescent and wildly popular overture to  his second opera, Heather Worden, A ssistant Conductor Dr. Timothy Perry, Director  Slavic Spring Osterhout Concert Theater Anderson Center for the Arts Sunday, May 2'", 20 10  7:30 p.m.  The Bartered Bride, was the composer’s answer to criticism to his first, The Brandenbergers in Bohemia. The composer, stung by criticism that Czechs P rogra m “were simply reproductive artists", resolved to sho w his compositional talents in an entirely different stylistic ve in. Overture to The Bartered Bride (1863) .......c.ccccccecvevvevvvvennn.......Bedrich Smetana (1824­1884) “I did not compose it from any ambitious desire, but rather as a scornful defiance. for they accused me after my first opera of being a Wagnerite, someone who could do nothing in a light and popular style. " .Franz Liszt Symphonic Poem No. 3 “Les Preludes ” (1850).  (1811­1886) The Bartered Bride went through several versions on its voyage from Heather Worden, Conductor a play with music to a fully developed opera.  In  contrast to normal procedure the overture was composed in 1 863, before the rest of  the opera.  The work is justly  famous  for  its  tremendous  energy, recallin g  in  its  headlong motor rhythms Mendelssohn’s overture to A Midsummer Night ’s Dream. 1t is among the most challenging opera overtures for the orchestra, requiring a high level of rhythmic accuracy and sensitivity to rapidly  shi fting textures.  There are two  fugal  passages  which presage  the  comic  machinations  of the  opera’s characters while the lyric themes frequently employ shifts of rhythmic accent in the style of the various Bohemian folk dances that make up a large and colorful part of the opera’s final score. (T.P.) intermission – ten minutes Symphony No. 6 in D Major, Op. 60 ( 1 8 8 0 ).................... ............ Dvorak (1841­1904) 1. Allegro non tant o  11. Adagio I11. Scherzo (Furiant): Presto Trio – poco meno mosso IV. Finale : Allegro con spirito I l l . – C l l l l l l l I I I – I I I – l l I I I I I I I I I I I I I I – I I I I I I I I I I I I I I I I I Thank You fo r  attending today ’s concert i n su pport of our stude nt­musici ans ! Please join us nexty earfor another season of outstanding m usic Note that we will be performing Saturday afternoons Saturday October 16, 2:00 P.M. Children’s Concert  “All Creatures ” Saturday. December 4. 3:00 P.M.  All­American Program Saturday. February 26, 3:00 P.M. Heather Worden Thesis Concert Saturday, May I . 3:00 P. .\I (with University Chorus & Soloists) Choral Masterworks:  Roman Maciejewski: Requiem: Poulenc Gloria O I I The Hungarian c omposer, Franz L iszt ( 1 8 1 1 ­ 1 886) is remembered by many  as  a  virtuosic  pianist  who  forever  changed  the  practice  of piano playing. For orchestral players, he is celebrated as the composer that created the symphonic (tone) poem; a single movement w ork that is based on another artistic  work,  like  a  novel,  painting  or  poem.  While  it  was  created  by expanding upon the opera overture, the genre varies in that it has no specific form ; there are no rul es on how to write a tone poem. L iszt loved the freedom that  this brought him  while composing. He no longer had to  worry about where the development occurred or i f he modulated (changed harmony) at the wrong time. This form quickly grew in popularity and many are regularly featured  in  orchestral  concerts.  Liszt  alone  wrote  thirteen.  with  the  most famous being his third, Les Preludes, which you w ill hear tonight. �It  is  easy  to  misinterpret  the  meaning  behind  Franz  Liszt ’s symphonic  poem  Les  Preludes  (1854)  just  by  looking  at  the  title.  Many would assume it to be an introduction to another larger work or perhaps the  this case, it  is neither. Le s Preludes is a poem   beginning o f collection. In from the collection. Nouv elles méditations poétiques, written by the French poet Alphonse de Lamartine. This lengthy and dense poem is a description of li fe which proceeds inevitable death. Li szt put this preface, taken from the poem in the o riginal score of  the piece. “ What else is our life but a series of preludes to that unknown Hymn, the first and solemn note of which is intoned by Death? Love is the glowing dawn of all existence; but what is the fate where the first delights of happiness are not interrupted by some storm..." Although the piece as we know it now is based upon the Lamart ine poem. it started as a piece of choral inc idental music which was based upon four elements:  the  stars,  earth,  wind and  water (or  floods).  This  original composition was abandoned afler the draft was written but then returned to when  Liszt  decided  the  themes  would  fit  nicely  with  the  poem  from Lamartine.  The most  recognizable  o f the  themes  are  the  storm/wind (the storminess  of li fe) and  the  earth (Spring  &  love)  sections  of the  work. Beginning in the middle  is the  storm,  which begins  with a low, brooding passage in the cello section. By using ascending and descending chromatic  ocean, tossing us back and   lines, Liszt creates the feeling o f storm on the forth. The earth, a pastorale, is the calm after the storm. Sparsely scored, this section  features  solo  French  Horn.  Oboe  and  Clarinet  players  over  static string parts.  While listening you can almost see the green countryside. The piece ends  with  victory,  whether that  be  victory  over  li fe or victory  over death we do not know, but it ends with a triumphant full orchestra.  (H.W.) Anyone experiencing con fusion about Antonin Dvorak’s magnificent Symphony  in D Major  can readily  be excused,  for since  its  premiere this work has been known variously as Dvorak’s First, Fi fth and Sixth Symphony. The composer wrote  the  work  in  1 880 just before his  fortieth birthday. a period in  which he  was  fast  becoming a  star in  the  firmament  of Central European  composers.  In  1879  Johannes  Brahms,  who  had  become  an enthusiastic advocate for D vorak, accompanied the Bohemian master to the triumphant  premiere  of  his  Third  Slavonic  Rhapsody  with  the  Vienna Philharmonic .  The  orchestra’s  influential  conductor,  Hans  Richter, immediately asked Dvorak for a symphony to play in the succeeding season. By the end o f the summer o f 1 880 the work was ready to play  for Brahms and Richter,  and both men  were enthusiastic  about  the  work’s qualit y and prospects. Then came nothing. Back in Prague. Dvorak waited in vain for the Vienna  orchestra  to  present  the  premiere.  Richter  wrote  apologies  and excuses. but could not bring h i m s e l f  admit that the Viennese had revolted, refusing to play works by an ‘unknown foreign composer‘ in two succeeding seasons. The premiere thus took place in Prague in March 1881, and Richter led a highly successful per formance in London in 1882. The haughty Vienna Philharmonic, astonishingly, did not per form the work until 1942. The symphon y, though not widely perfo rmed. is justl y styled one of Dvorak’s  four  ‘masterwork’  symphonies.  In  it  the  composer  successfully synthesizes the influences of Beethoven and Brahms with native Bohemian folk styles, and just a hint o f Wagnerism. Wagner had conducted in Prague in 1 863 (with Dv orak playing in the viola section) and D vorak, impressed, had applied  for  a  grant  to  study  with  Liszt  in  Weimar.  Interestingly  –  and fortunately ­ his failure to get that grant probably helped Dvorak maintain his independent  style  apart  from  the  wave  o f undistingui shed  Wagner/Liszt ded in  1874 by   clones. Instead, his ‘break’ came in the form o f stipend awar that point to ahms. From  a jury that included the aforementioned Johannes Br the end of hi s li fe the German titan proved a friend and mentor as  well as a selfless editor and  influence  on Dvorak’s  works (there  are many  startling aural parallels to Brahms’ Second Symphony from  1 877). The award likewise brought  Dvorak  to  the  attention  of Smetana,  who began  to  program  and conduct the  younger master’s  works throughout Prague, quickly enhancing his international reputation. The D major Symphony i s rich in every respect ­ melody, harmony, invention.  orchestration,  and  Bohemian  color.  Its themes  derive  from  the opening interval of  the  rising fourth heard in the celli /bass and answered in the woodwinds. Each of Dvorak’s mature symphonies treat the wind choir as an equal partner to the strings. and no other composer of the era writes more beautifully  and  graciously  for  woodwinds  and horns.  Formally  the  work, being intended for the conservative Viennese, is unremarkable; like Brahms and Bruckner, Dvorak employs three themes in his sonata expositions, while his developmental techniques are  very much in the tradition of Beethoven. The second movement song­rondo, dominated by woodwinds, contains some of the most tender and wi stful moments in any symphony. Here the interval ed slightly to produce a theme (introduced by the violins)   o f fourth is alter built upon so ftly cascading thirds. By  contrast, the  intervening sections are more powerful, serious and tonally unstable. In the end, however, calm and pastoral beauty prevails.  In the third movement, one of Dvorak‘s signature furiants,  the  boisterous  full  orchestra  palette  returns.  The  furiant  is  a Bohemian dance staple that  alternates  three  groups of two  beats  with  two groups  of three  beats.  Dvorak  handles  these  shifting  rhythms  with  utter confidence and ease. mak ing a comple x system sound completely organic. The thematic intervals have further contracted to a second. giving an urgent drive  to  the  music.  The  middle  of the  scherzo  comprises  a  lovely  trio, featuring the  only bars  for the birdlike piccolo. This bucolic respite evolves into a sweeping concert­waltz before transitioning once more into the raucous furiant. The  fourth­movement finale is  again a large sonata  form, opening �quietly (again outlining the fou rth interval) before stating the t heme in  full tutti.  The  second  subject  in  woodwind  triplets  brings  back  to  mind  folk ensembles. and, led by the brass, the exposition closes in a hymn­like fanfare that  recapitulates  the  first  subject.  After  an  interesting  and  art ful  (but otherwise conventional ) development and recapi tulation, a  ski ttering presto fugato in the c oda (reminiscent o f  t he Smetana overture‘s perpetuum  mobile) comments again upon the first theme.  The orchestra rises through a second development section culminating in a second grand fanfare and a glorious final plagal ("amen") cadence.  (T. P.) ABOUT THE PERFORMERS T I M O T H Y  P E R R Y ,  conductor and clarinetist, is Professor o f Music and currently Chair of the Department of Music for Binghamton University. A graduate of the  Manhattan  and  Yale  Schools  of Music, Dr.  Perry joined  the  Binghamton University faculty in 1986, becoming Professor of Music in 2002, and receiving the Chancellor’s A ward for Creative  Activities in 2005. A s Music Director, Dr. Perry has directed the  University  Orchestra (since  1986), directed the  University  Wind Ensemble  1986­2005, and led the  Binghamton  Community  Orchestra  from  1994­ 2004. Widely known as a clarineti st in virtuoso solo and chamber music, he toured Latin America and the Caribbean  as a United States Musical Ambas sador and has presented  recitals  at  three  world  conferences  of  the  lntemational  Clarinet Association. In Summer/Fall 2009 Dr. Perry served as Music Director in Binghamton and Santiago, Chile for a production of the Brecht/Weill Three­Penny Opera and led the Binghamton University Orchestra in a gala October 2009 program with the Paul Taylor Dance Company.  In addition to his duties as Chair. he currently serves as New York representative to the National Association o f Music Executives o f State Universities (NAMESU). and  was past President of the Northeast Division of the College Orchestra Directors ’ Association (CODA). Assistant  Conductor,  H E A T H E R   WO RDEN,  a  native  o f  Trumansburg.  NY, graduated from Houghton College in May 2008 with a Bachelor of Music degree in Music  Education.  Throughout  her  time  at  Houghton  she  served as  Chaplain  and President of the Houghton chapter o f CMENC (Collegiate Music Educators National Conference) and a Province Representative on the statewide board of CMENC. She is still an active member of the organization.  Heather has studied conducting w ith Dr. B. Jean Reigles, Dr. Brandon Johnson, Mr. Kenneth Brown, Dr. Gregory Magie, and Dr. Brian Casey. She has had the privilege of conducting premiere works for the composer Robert Summers Potterton lll, as well as the Frontier High School Wind Ensemble.  the  Houghton  College  Symphonic  Winds  and  the  Houghton  College Philharmonia.  Since  coming  to  Binghamton.  she  has  been  studying  with  Dr. Timothy  Perry  and  is  the  conductor  of the  University  String  Orchestra.  a  new ensemble formed this year. She also has joined the Binghamton chapter of Mu Phi Epsilon,  the  professional  music  fraternity.  After  Binghamton.  Heather  hopes  to pursue a Doctorate degree and teach at the collegiate level. University Sym phony O rchest ra Flute/Piccolo* Melanie Adler* Natalie McCreary Timothy Perry, Director Viola Percussion/ Maxim Pekarskiy Timpani Amanda Jacobs Kevin Christie Oboe Lee Vilinsky Mike Longo Patrick Hewitt Shane Thorn Valerie Hammel Keyboard John Lathwell  ' Clarinet Adam Davis Jacqueline Odgis James Wu Matthew Hassel Bassoon Alexandra Spadaro Julia Cenzoprano Janet Ievins Violin I Vi oloncello Ella Serrano Erin Chang Jaime MinJeong Jeon Chris Rogers Richard Law Daniel Bessel Xiang He Paige Elliott Sara Sunshine Imji Choi Emily Wong French Horn Alexa Weinberg Diana Amari Kirstie Cummings Robert Muller Zack Arenstein Trumpet Daniel Fein Ryan Levitan Trombone Jay Bartishevich Rob Menard William Marsiglia Tuba Matthew Gukowsky William Grandin Sangyun Bang Stephanie Radzik Jennifer Chen Zeno Pittarelli Eric Wuu Jin Woo Lee Raeleen Bichler Alan Wang Gregory Gerald Greene Nicole Boucicaut Jane Evans Victoria Cheung Wesley Ha Contrabass Violin Il Assistant Conductor Solomon Dawson Amy Su Ga Eun Kim Nathan Schmaling Jenny Raphael Hemangi Shah Gabriella Scull Andrew Tsai Jonathan Back Gozde Yildiz Rudolf Koegl Stephen Brooks Gabriel Felix Christopher Zavala Heather Worden The USO employs rotating seating: Woodwinds. Brass and Percussion rotate by composition and are listed alphabetically. Strings rotate by concert and are listed in seating order. Congratulations and best wishes to our graduating members! �Binghamton University Music Department ’s UPCOM ING E V E N TS m m m m w a ­ ss Concert, 2:00 PM ­ FREE   Wednesday, May 5 ” composition I Cla Casadesus Recital Hall Wednesday, May 5  Conductor’s Concert, 8:00 PM – FREE Watters Theater   tudent Recognition Mid­Day Concert, 1:20 PM, Thursday, May  6 ° S Casadesus Recital Hall, FREE Thursday, May  6°" Harpur Chorale and Women’s Chorus, 8:00 PM, Anderson Center Chamber Hall, FREE Friday, May 7*" Master’s Recital: Julian Whitley, baritone, 8:00 PM, Casadesus Recital Hall, FREE anzhou Li, piano,   Saturday, May 8 ” Student Recital: D Hall, FREE tal  3:00 PM, Casadesus Reci s Recital: Jennifer Groves, soprano,   Saturday, May 8 ” Master’ 8:00 PM, Casadesus Recital Hall, FREE s Recital: Jana Kucera, soprano,   Sunday, May 9 ” Master’ 3:00 PM, Casadesus Recital Hall, FREE   erman Lyric Diction Concert, 8:00 PM ­ FREE Thursday, May  1 3 ” G Casadesus Recital Hall For ticket information, please call the Anderson Center Box Office at 777­ARTS To see all events, please visit music. binghamton. edu Become a fan on Facebook by  visiting Binghamton University Music Department � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 27:29 55:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145339">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145339</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 Slavic spring, May 2, 2010 Recital Tape 2010-5-2 Description An account of the resource Works by Smetana, Liszt, Dvorak. Held at 7:30 p.m., May 2, 2010, Osterhout Concert Theater. 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 2010-05-02 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/bda3a9a1e2a15e1e0dc826c193a5b3dc.pdf 7f962e36ed5beff35eee0163ce0e02a8 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 oweet  dlbion The €nglish Clarinet  ~~ with elaringlisl Timothy Perry  & pisnist Margaret Reitz  .  * / }  .  . 1 i joined hg zoprano Judy H o r i A p r i l  10, 2010 8:00 p.m. “Anderson Center Chamber Hall �A The Binghamton University Department of Music presents a Faculty Recital “Sweet Albion” assisted by times. I wanted to offer an evening of music that would bring calm without an excess of conventionality, to be a balm without being boring. I was immediately drawn to the music of the British Isles, and of England in particular. My plan proved more of a challenge than I anticipated for, while there exists a good supply of repertoire, I spent much of the year trying to sort out what comprised the essential “Englishness” of these pieces. My greatest aid on this journey was Peter  Ackroyd’s  remarkable  book  Albion:  The  Origins  of  the  English Imagination. Ackroyd writes a wide­ranging cultural history of England seeking I.  The Consonant Tradition Suite from The Victorian Kitchen Garden Paul Reade Prelude  ­ Spring ­  Mists ­  Exotica  ­ Summer (1943­1997) Three Intermezzi, Op. 13 .. .Charles Villiers Stanford Andante espressivo – Allegretto leggiero Allegro agitato – Tranquillo Allegretto scherzando to  identify  the  common  threads  of  a  culture  through  its  literature,  art, (1852­1924) philosophy, science, and ­ albeit in a small chapter ­ its music. Culture, at least living culture, does not admit to tidy reducti on. All II. Longing and Loss Thea Musgrave Threnody (in Memoriam R F )   (b. 1928) III. Genius loci: Garden and Village ..Sir Arthur Bliss Two Nursery Rhymes . The Ragwort The Dandelion (1 891­1975) Judy Berry, Soprano Air and Variations on ‘The Harmonious Blacksmith'........G.F .Handel, arr. Perry (1685­1759) t t t i k i t t t t l n t e r m i s s i o n  ‘ fi ‘ t ‘ t ‘ t IV. The F oIk­song Eternal Three Vocalises (1958).  Pastorale (1923)  Le Tombeau de Ravel (Valse­Caprices) Judy Berry, Soprano T When, about  a  year ago, I  was contemplating a  program  for this evening’s concert, I  wished to offer something to  counter the anxious nature  of these Chamber Hall P rogram U technically equipped, is not able to give us? ­Ralph Vaughan Williams, ‘National Music ’ (1932) Timothy Perry, Clarinet  Margaret Reitz, Piano Saturday, April 10, 2010  O “Is it not reasonable to suppose that those who share our life, our history, our customs, even our food, should have some secret to give us which the foreign composer,  though  he  be  perhaps  more  imaginative,  more  powerful,  more Musical Meditations on ‘Englishness’ Judy Berry, Soprano B ..Ralph Vaughan Williams Ralph Vaughan Williams (1872—1958) trans. T. Perry V .  Postcards from Abroad ............Arthur Benjamin (1893­1960) 1 cultures are made up of much  the same elements. Where they vary is in the mixtures – the ‘recipes’, if you will – of their elements, and the mechanisms by which these elements either grow, flower, and pass, on the one hand, or renew themselves, on the other. Ackroyd views the English imagination as the latter, taking for his central  image  words of the metaphysical  poet Henry Vaughan (1622­1695):  “Like a great  Ring of  pure and endless light”.  Thus, says the author, “The English imagination takes the form of a ring or circle. It is endless because it  has  no  beginning  and  no  end;  it  moves  backwards  as  well  as forwards This means that English culture operates more like a kettle of boiling water, constantly circulating diff erent elements t o  the top only to replace them over time with others. 1 found, however, a few constants of English culture that may bring some increased enjoyment to your evening’s listening pleasure. They are, in no particular order: 1 .  Collective memory, real and imagined. The English taste for the past, expressed through a taste for the  antiquarian and a tradition of practical conservatism,  is  unrivaled.  With  these  come  a  deep  and  abiding melancholy for times past, a real and elemental sense of longing and loss that  colors much of English  art.  This  is  true of both  bases of English  culture, the  Celtic cultures and the Anglo­Saxon.  The  Celts were suppressed first by the Romans and then effectively exiled by the Anglo­Saxons. (Of the one  hundred most  commonly used  words in modern  English,  not  a  single  one  is  of  Celtic  origin;  the  entire vocabulary of Old English contains fewer than a dozen Celtic words.) Despite their linguistic and geographic exile, the Celts were  able to maintain and  eventually return elements of their culture to England. The  shadowy  Iron  Age  Celtic  culture  lives  on  in  its  magical  oral �traditions of myth and legend and the pantheism of the Druidic religion. The epic poetry, with its consonant alliteration, lingers forever in the long and  internally  balanced  lines of  English  melody.  The  love  of exquisite detail made its way from Celtic jewelry to the illuminations of medieval monks to the flowery divisions of Elizabethan virginalists and the arias and variations of Handel. The Anglo­Saxons, in  their turn, were assailed by the Norse and later conquered by their French cousins, the Normans. With the Norse the similarities of language and a largely stalemated political situation required an accommodation of language and custom  that  developed  the  longstanding  English  preference  for practical over theoretical solutions. The Norman Conquest, on the other hand,  installed  a  ruling  class  with  an  unintelligible  language  (Old French).  Until  Middle  English  was  reinstated  in  court  in  the  late thirteenth century, it was the turn of the Anglo­Saxons to pine for the ‘glory days’ of  Kings  Alfred  and  Aethelstan.  This  habit  of  wistful reminiscence has persisted through the centuries. The great revival of composition  in  the early twentieth century was born and  fuelled  in looking backwards to the music of the Elizabethan age.  That legacy endured,  reviving  not  only  old  church  music  (through  Vaughan Williams English Hymnal) but the entire range of folk­song as well, first  in  classical  pieces  and  later  in  the  revival  of performing  folk ensembles. In ‘recent ’ history the sense of loss is still dominated by the two ‘Great Wars'.  The English, who lost immeasurably much more in people than in things, have channeled personal and communal grief in a body of greatly moving  compositions that  honor  both  memory and hope. English Music, Janus­like, looks backwards as much as forwards. Class division. As  was the case  with  the  Romans a thousand  years before them, the installation in  1066 of a new ruling class had little effect on basic English mores. When the Norman court largely severed its cultural connection to France in the early thirteenth c entury, they likely protected and promoted the independence of a new tradition of English polyphony. These full triadic harmonies built upon the sweeter consonant  intervals of the  third  and  sixth  have  persisted  for seven centuries in the vocabulary of English musical practice.  The trials and triumphs of the ‘sturdy yeoman’ found expression in innumerable folk songs in  musical  forms of smaller  scale. The myriad collections of short  songs,  catches,  ballads  and  other  vocal  miniatures  dwarf  the production of ‘major’ works composed primarily for the Church. This tradition  carries  over  as well  to  instrumental  forms.  English  music abounds in smaller suites and collections composed almost entirely of small (though intensely organized) pieces. There is in  such  music – whose descendants we hear tonight ­ little of the overt virtuosity of the French  or  Italian,  but  a  great  concern  for  detail  and  honest craftsmanship. It  was not  until  England becomes an international sea power with its trading tentacles spread over the known world that the foreign  fashion  for larger oratorios, concerti  and  symphonies took a significant  hold over the affections of the  English concert audience. The spread of empire brought the physical exotica of colonial cultures back to England long before their inhabitants were adm itted to their current  uneasy residency.  Until  recently,  however, little  such  music survived the voyage. Today the English and their music flow outwards as well as in, and in the last half century its classical com posers have become thoroughly internationalized. Many are the critics who lament (see  #1,  above)  that  the  railroad,  the  radio  and  the  commercial recording mean that truly indigenous local music is now as extinct in England as it is in America.  More’s the pity. Genius loci ­ A Place of One’s Own. Since pre­Roman tim es England has had an intense sacred and secular relationship with its bounded land and  with  the  sea  that surrounds it.  The  English, like  most  agrarian societies, had for centuries a culture with a tiny geographical orbit. This is similar to the continent, where barely 150 years ago more than half of France’s  population  had never  been out of earshot of their  local parish’s church bell during their lifetimes. This localized cycle of life intensely connected the  loyalty of the common man to  his  place  of birth, his dialect, and today to his football team and local brand of ale. The English retain a deep devotion to the village, with its varied social and political structures.  They have a special reverence for their small, very organized and largely ubiquitous row/farm house; and, not least, a love for that smallholder’s realm of control over nature, the garden. The replacement of open­field agriculture with private holdings gave hope to the abiding dream of a ‘small and simple plot’ of one’s own. In every age from medieval to Victorian the English garden, with  its trenches, palisades, cordons, and other military terminologies, is a reflection of the  Englishman’s  desire  for  security and  sanctuary from  the  world beyond. We are all familiar with the grand formal public gardens of the ‘great  houses',  but  the  English garden  is at  its root a private affair. Ackroyd notes, “The earliest maps of London reveal a city of gardens, each  one  carefully  delineated...The  same  pattern  of  enclosure  is repeated on  the large, as  well as the small, scale.  That is why the walled  garden  became the  model  of  secrecy  and  enchantment;  the English  imagination  can  grow  only  in  an  enclosed  space...  The reclusive and unremarked spot of soil guards the genius loci. It is the charmed space of the English imagination. ” The garden is the link to childhood wonders and innocence, myth and legend. An Englishman’s home may be his castle, but an Englishwoman’s garden is her realm. The garden and its sensibility inspires much o f  English music, some titled, some not ; it permeates literature and art ; it is central to design. More  than any other it  is  the central  image  that  binds together the program you shall hear, and hopefully enjoy, tonight.  I close with Mr. Ackroyd’s final words: “..in England the reverence for the past and the affinity with the natural landscape join together in a mutual embrace. We owe so much to the ground on which we dwell. It is the landscape and the dreamscape. It encourages a sense of longing and belonging. It is Albion. ” Timothy Perry, April 2010 �ABOUT THE PERFORMER(S) TIMOTHY PERRY, conductor and clarinetist, is Professor of Music and currently Chair of the Department of Music for Binghamton University. A graduate of the Manhattan and Yale Schools of Music, Dr. Perry joined the Binghamton University faculty in 1986, becoming Professor of Music in 2002, and receiving the Chancellor’s Award for Creative Activities in 2005. As Music Director, Dr. Perry has directed the University Orchestra (since 1986), directed the University Wind Ensemble 1986­2005, and led the Binghamton Community Orchestra from 1994­2004. Widely known as  a  clarinetist in virtuoso solo and chamber music, he toured Latin America and the Caribbean as a United States Musical Ambassador and has presented recitals at three world conferences of the International Clarinet Association. During 2008­2009, he appeared as concerto soloist with the Catskill Symphony, as guest conductor with the Binghamton Community  Orchestra,  and  as  guest  artist  with  the  Finger  Lakes Chamber Ensemble.  In Summer/Fall 2009 Dr. Perry served as Music Director in Binghamton and Santiago, Chile for a new production of the Brecht/Weill  Three­Penny  Opera  and  led  the  Binghamton  University Orchestra in a gala October 2009 program with the Paul Taylor Dance Company. In addition to his duties as Chair, he currently serves as New York representative to the National Association of Music Executives of State Universities (NAMESU). PEJ REITZ, 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. Ms. Reitz was an official accompanist for the MTNA State and Eastern Division  Competition  held  at Ithaca  College.  She  has  been  a  guest chamber  music  artist  in  Morges,  Switzerland.  Ms.  Reitz  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  invited  to  the  International  Clarinet Conference to play a recital in Tokyo, Japan. She was a guest 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. In the summer of 2008, Ms. Reitz was selected to accompany at the Interpretation of Spanish Music in conjunction with University of Madrid in Grenada, Spain, coached by Teresa Berganza, and at Mannes School of Music.  She was a Guest Artist  playing two concerts in Granada, Spain this past summer and accompanied the Barcelona Song Festival in July.  She is the pianist for Theater  Street  Productions  and  performed  concerts  in  Lenox, Massachusetts and Newport, Rhode Island this past fall. Ms. Reitz has been on the faculty at Binghamton University since 1991 and Ithaca College School of Music since 1999. She is on the Executive Board of the New York District MTNA organization.  She is President of the  local  District  VII  Music  Teachers  Association  and  is  an  active adjudicator for the National Piano Guild Organization. JUDY BERRY, Soprano, is a graduate of Tri­Cities Opera’s Resident Artist  Training  Program  and  holds  the  MM  in  Opera  degree  from Binghamton University.  Ms. Berry is  internationally renowned  for her signature  interpretations  of the  title  roles  in  Lucia  di  Lammermoor, Lakmé, The Ballad of Baby Doe, Madama Butterfly and Lulu, as well as those of “Violetta” in La Traviata and “Gilda” in Rigoletto. Ms. Berry was engaged in Germany with the Wuppertal Opera from 1993­2001.  With a repertoire of over 50 roles in opera, operetta and musical theatre, Ms. Berry  has  graced  the  stages  of  Leipzig,  Frankfurt,  Mannheim, Dusseldorf,  Amsterdam,  Paris,  Nurnberg,  Wiesbaden,  Dortmund, Bremen,  Osnabriick,  Mainz,  the  Eutiner  Festspiele,  the  Edinburgh Festival, Los Angeles Opera, Baltimore Opera, Knoxville Opera, Virginia Opera, Syracuse Opera, Pittsburgh Opera Theater, Brooklyn Academy of Music, the Kennedy Center for the Performing Arts, Edmonton Opera in Canada,  Teatro de la  Opera  in Puerto Rico, Festival of Perth in Australia, and in concert at Lincoln Center and Carnegie Hall. Ms. Berry garnered top honors in major vocal competitions including the Enrico Caruso  Voice  Competition  USA,  Baltimore  Opera  Competition, Liederkranz Foundation, New York Grand Opera, Queens Opera, New Jersey State Opera, Musicians Emergency Fund, and Loren L. Zachary Society for the Performing Arts. All the major oratorios belong to her performance repertoire, and she is equally at home on the concert stage and in the realm of modern music. She has appeared extensively in recital, both in America and Europe, and has recorded on the WSW and Orfeo labels. Ms. Berry currently holds the position of Adjunct Lecturer of German Lyric Diction at Binghamton University. �Binghamton  University Music D epartment’s M P o p / w q  u E V E N T S FREE, FA 21 Thursday, April 1 5 ”  Mid­Day Concert, 1:20 PM —  Fr i d ay,  A p r i l 1  6 ”  Master’s Recital: Stephen Brooks, double bass, 8:00 PM, Casadesus Recital Hall, FREE FREE Saturday, A p r i l  1 7 ?  Clarinet Studio Recital, 3:00 PM —  Casadesus Recital Hall Satu rd ay,  A p r i l 1  7m University Chorus: Honegger’s KING DA VID, 8:00 PM, Osterhout Concert Theater, $$ (FREE for students) S u n day,  A p r i l 1  8 ?  Junior Recital: Laura MacAvoy, soprano, 3:00 PM, Casadesus Recital Hall, FREE S u n day,  A p r i l 1  8 ”  Senior Honors Recital: Stephen Kong, piano, 7:30 PM, Casadesus Recital Hall, FREE Tuesday, A p r i l  2 0 ”  String Fever: String Studio & Chamber Recital, 8:30 PM, Casadesus Recital Hall, FREE Thursday, A p r i l  22™ Mid­Day Concert, 1:20 PM – FREE Casadesus Recrta/ Hall Friday, April 23™ Junior Recital: Mengru Zeng, piano, 8:00 PM, Casadesus Recital Hall, FREE Satu rd ay,  A p r i l  2 4 ”  Master’s Recital: Robert Muller, French horn, 3:00 PM, Casadesus Recital Hall, FREE Satu rd ay,  A p r i l  2 4 ”  Master’s Recital: Julie Williams, soprano, 8:00 PM, Casadesus Recital Hall, FREE For ticket information, please call the Anderson Center Box O ffice at 7 77­ARTS To see all events, please visit music.b inghamton.edu Become a fan on Facebook by visiting Binghamton University Music D epartment � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 46:26 33:17 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145332">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145332</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 Sweet Albion, the English clarinet, April 10, 2010 Recital Tape 2010-4-10 Description An account of the resource Works by Reade, Stanford, Musgrave, Handel, Vaughan Williams, Benjamin. Held at 8:00 p.m., April 10, 2010, Chamber Hall. Creator An entity primarily responsible for making the resource Perry, Timothy Reitz, Margaret Berry, Judy 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 2010-04-10 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/86c481de6fa4d43645e7e9b453d35574.pdf 94f15c6fb954378eec1e65cd6f898fae 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 I T Y   O F  N E W  Y O R K B E ze dec A PROKO FIEV &  THE LOVE FOR T HREE G ERMAN  B’S   PIANO JIE UN J A NG,  JUNIOR RECITAL Saturday, April I 0, 2010 3:00 p. m . Casadesus Recital Hall R �A PROGRAM Toccata in E minor, BWV 914.....  .Johann Sebastian Bach (1685­1750) Sonata No. 21 in C, Op. 53 “Waldstein”..  ..Ludwig van Beethoven Allegro con brio  (1770­1827) Introduzione, Adagio molto – Rondo, Allegretto moderato =INTERMISSIONcs Four Ballades, Op. 10..........................................Johannes Brahms Andante (“Edward’)  (1833­1897) Andante Intermezzo, Allegro Andante con moto Sonata No. 3 in A minor, Op28  Allegro tempestoso  Sergei Prokofiev (1891­1953) B O U T JIEUN JANG was born in 1988, and raised in a small rural town of South Korea.  Her mother dreamt of a soaring golden dragon before her birth, which is very uncommon as a dream for  the conception of a baby girl. Jieun started playing piano at the age of six because her mother wanted to help strengthen her innately weak fingers. She continued taking piano lessons  for  the  next  six  years.  As  a  child,  she  accompanied  her elementary school choir for two years, and at the age of ten, she led them to first prize in a city competition and second prize in a province (state)  competition.  She  started  serious  piano  studies  again  in  her freshmen  year,  and  she  is  pursuing  her  undergraduate  degree  at Binghamton University. As a junior piano major, she is currently studying under professor Michael Salmirs.  Jieun also holds a good academic standing and has been on the Harpur  Dean’s List for 4  consecutive semesters. She has appeared several times in the music department‘s Mid­day  concerts,  and  she  has  also  performed  with  the  University Symphony Orchestra and Wind Symphony. Recently she performed with the University Symphony Orchestra as a soloist. Her favorite composer is Sergei Prokofiev, and she also loves the music of Beethoven, Haydn, Stravinsky and Mussorgsky. �Binghamton University Music Department’s U P C O M I N G  E V E N T S x fi w m n e i m fi m ­ fi w t b ’ Satu rday,  A p r i l 1  0 ” S   weet Albion: The English Clarinet with clarinetist Timothy Perry and pianist Margaret Reitz, 8:00 PM, Anderson Center Chamber Hall, $$ Thursday, A p r i l 1  5% Mid­Day Concert, 1:20 PM ­ FREE, FA 21 Fr i d ay,  A p r i l 1  6 ”  Master’s Recital: Stephen Brooks, double bass, 8:00 PM, Casadesus Recital Hall, FREE S a t u r d ay,  A p r i l 1  7 ”  Clarinet Studio Recital, 3:00 PM ­ FREE Casadesus Recital Hall S a t u r d a y,  A p r i l 1  7 ” U   niversity Chorus: Honegger’s KING DAVID, 8:00 PM, Osterhout Concert Theater, $$ (FREE for students) Sunday, A p r i l 1  8 ”  Junior Recital: Laura MacAvoy, soprano, 3:00 PM, Casadesus Recital Hall, FREE S u n d ay,  A p r i l 1  8 ” S   enior Honors Recital: Stephen Kong, piano, 7:30 PM, Casadesus Recital Hall, FREE Tuesday, A p r i l  2 0 ”  String Fever: String Studio & Chamber Recital, 8:30 PM, Casadesus Recital Hall, FREE Th u rs day,  A p r i l  2 2 ” M   id­Da y Concert, 1:20 PM ­ FREE Casadesus Recital Hall Friday, A p ri l  2 3 ”  Junior Recital: Mengru Zeng, piano, 8:00 PM, Casadesus Recital Hall, FREE For ticket information, please call the Anderson Center Box O ffice at 7 77­ARTS To see all events, please visit music. b inghamton. e d u Become a fan on Facebook by visiting Binghamton University Music D epartment � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 33:00 30:11 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145328">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145328</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 Prokofiev and the love for three German B's, junior recital, April 10, 2010 Recital Tape 2010-4-10 Description An account of the resource Works by Bach, Beethoven, Brahms, Prokofiev. Held at 3:00 p.m., April 10, 2010, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Jang, Jieun 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 2010-04-10 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound