7 10 1775 https://omeka.binghamton.edu/omeka/files/original/11d929be13403ec1dd8cbd102176f157.pdf 177e45e4774426440cb7033efa96382e PDF Text Text U NI V A R C RECit al\ l ape 2003 3 - 22 SPEC COL BINGHA!\1TON U N I \' E R S I T Y State University of New York Department of Music Junior Recital Jody Schum, piano Samantha LaDue, soprano with Chai-Kyou Mallinson, piano Saturday, March 22, 2003 8:00 p.m. Casadesus Recital Hall ��Program I. .. Sonata in E-flat major, Op. 27, No. l ................................ Ludwig van Beethoven (Sonata quasi una Fantasia) (1770-1827) Andante Allegro molto e vivace Adagio con espressione Allegro vivace Sonetto 104 del Petrarca .......................................................... Franz Liszt ( 1819-1886) (from Années de pelerinage: deuxième année, Italie) Two Preludes ................. :...................................................... Sergei Rachmaninoff I. E-flat major, Op. 23, No. 6 (1873-1943) II. G minor, Op. 23, No. 5 L' isle Joyeuse ............................................................................... Claude Debussy (1862-19 l 8) Jody Schum, piano II. En Prière ........................................................................................... Gabriel Fauré Mai (1845-1924) Notre Amour From Hermit Songs: St Ita's Vision, Op. 29, No. 3 ....................................................... Samuel Barber The Crucifixion, Op. 29, No. 5 (1910-1981) The Monk and His Cat, Op. 29, No. 8 Malinconia, Ninfa gentile ............................................................ Vincenzo Bellini Per pieta, bell 'idol mio ( 1801- 1835) From La Sonnambula Aria & Rondo: Ah non credea mirati - Ah, non giunge ............. Vincenzo Bellini (1801-1835) Samantha LaDue, soprano Chai-Kyou Mallinson, piano �Translations En Prière (In Prayer) If the voice of a child can reach You 0 my Father, Listen to the prayer of Jesus on His knees before You. If You have chosen me to teach Your laws on the earth, I will know how to serve You, holy King of Kings. 0 Light! Place on my lips, o Lord, The salutary truth, So that whomever doubts should, with humility, revere You! Do not abandon me, give me the gentleness so necessary to relieve the suffering, to alleviate pains, The misery! Reveal yoursel f to me, Lord, in whom I have faith and hope, I want to suffer for you, and to die on the cross At Calvary! Mai (May) As May, all in flower, calls us to the meadows, Come, do not cease to bring close to your heart The countryside, the woods, the charming shades, The vast reflections of the moon over the shores of sleepy rivers, The path that ends where the road begins And the air, the Spring and the immense horizon The horizon, modest and cheerful, which the world places as a lip at the bottom of the gown of the skies. Come and let the gaze of the chaste stars, Falling on earth though so many veils, The tree, imbued with perfumes and songs, The warm wind of the south in the fields, And the shadow, and the sun, and the tide and the greenery, And the radiance of all nature, Let them brighten, like a twofold flower, The beauty of our face, and the love in your heart! Notre Amour (Our Love) Our love is a light thing Like the perfumes which the wind Lifts from the top of the fem To be inhaled in dreaming. Our love is a light thing. Our love is a thing with charm, Like the songs of the Mom, With no expression of regret, In which vibrates an uncertain hope .. . Our love is a charming thing! Our love is a sacred thing Like the mysteries of a forest, Where a strange soul is trembling, Where stillness has a voice; Our love is an infinite thing, Like the paths of sunsets, Where the sea united with the skies, Slumbers under declining suns; Our love is an eternal thing Like all things that Almighty God Has touched with the fire of his wing, Like all that comes from the heart; Our love is an eternal thing! Malinconia, Ninfa gentile Melancholy, gentle Nymph, My life I consecrate to you. Whoever considers your pleasures slight �Is not born to true pleasures. Rivers and hills I asked of the gods. They heard me at last, I shall live satisfied. Not ever shall I cross that river with my desires, Not ever cross that mountain. Not ever shall I cross, no, no, never. Per pietà, bell'idol mio For pity's sake, my beautiful idol, Do not tell me that I am ungrateful! Heaven is making me unhappy And unfortunate enough. If I am faithful to you If I am consumed by your beautiful eyes, Love knows it, the gods know it, My heart and yours know it Yes, they know it. Ah, non credea mirarti Oh, I never thought to see you die so soon, sweet flowers! You faded like love itself, Which lasted but for a day. Perhaps my tears will revive you, But my tears cannot Revive love, alas! Ah, non giunge l Ah! Beyond all human thought Is the joy that fills me now. I can hardly believe my senses: You trust me, my treasure! Ah, embrace me, and together for always, United in a single hope, We will make of the world we live in A paradise of love! �About the Performers Jody Schum is in his junior year at Binghamton University pursuing a Bachelor of Music Degree in piano performance. Schum began studying piano at the age of seven under the instruction of Lael Bagg. He currently studies with Michael Salmirs. In May of 2002, Jody was awarded the John M. and Marcella M. Keeler Scholarship in Music in recognition of his work. Besides solo piano, Schum also studies/enjoys vocal accompanying, chamber music, and voice. Since October of 200 I, Schum has served as resident organist and pianist at the First United Methodist Church of Endicott, N.Y. Schum would like to thank his professors, his scholarship donors, and his family and friends for their continued support. Samantha LaDue is a junior at Binghamton University, pursuing a Bachelor of Music degree as a student of Professor Mary Burgess. Other teachers in her seven years of study whom she would like to recognize and thank for their contributions are Patricia Blankenship-Mortier, Pamela-Jill Gardner, Timothy Lefebvre, Jake Gardner, Mary Burgess and this past semester, with Judy Berry. LaDue has achieved several awards; Endwell Community Chorus Scholarship, Whitney Point Rotary Community Service Scholarship, National Foundation for Advancement in the Arts merit award, first place in the Ithaca College Young Artists Vocal Competition; and the Keeler Scholarship at Binghamton. She has attended the Tanglewood Institute Young Artists Vocal Program, and has been a member of honor choirs, including the ACDA first All National High School Honor Choir. A native of Whitney Point, NY, LaDue has been seen on many area stages. Most recently, she was a member of the Downtown Singers, TriCities Opera chorus, the Narrator in Joseph and the Amazing Technicolor Dreamcoat, the Soprano in the Cider Mill production of Berlin to Broadway, Peep-ho in Summer Savoyard's Mikado, Cousin Hebe in the Summer Savoyard's production of HMS Pinafore, and in the Theatre Department's mainstage production of The Rocky Horror Show. LaDue would like to thank her friends and family for their love and support. Chai-Kyou Mallinson, a faculty member in the Department of Music at Binghamton University, received a Bachelor of Music degree from Juilliard, Licence d 'Enseignment from Ecole Normale de Paris, and a Master of Arts degree from Binghamton University, where she studied with Jean Casadesus. A prize winner in the Korean National Music Competition, she was awarded the French Government Scholarship and the Fountainebleau American Conservatory Full Scholarship. She gave a debut recital at Carnegie Recital Hall, and has been active as a recitalist, vocal accompanist and coach, and chamber music performer, -as well as an adjunct adjudicator of piano auditions and competitions. She has performed with the Seoul Philharmonic Orchestra. ��Coming Events (Subject to Change) Thursday, March 27 - Mid-Day Concert with faculty and student performers - I :20 P.M. - Casadesus Recital Hall - free Thursday, April 3 - Mid-Day Concert with faculty and student performers I :20 P.M. - Casadesus Recital Hall - free Thursday, April 3 - Brass Studio and Ensemble Concert by students of Ben Aldridge and Brian Sternberg- 8:00 p.m. - Casadesus Recital Hall - free Friday, April 4-An Evening of Piano Music with Ewa Mackiewicz-Wolfe 8:00 p.m. - Anderson Center Chamber Hall - $14 general public; $12 faculty/staff/seniors; $6 students Thursday, April 10- Mid-Day Concert with faculty .and student performers 1:20 P.M. - Casadesus Recital Hall - free Saturday, April 12 - Student Saxophone Quartet Recital - 3 p.m. Casadesus Recital Hall - free Saturday, April 12 - University Chorus and Orchestra, Timothy Perry conducting, Timothy LeFebvre and Mary Burgess, soloists - 8:00 p.m. Anderson Center Concert Theater - $8 general public; $6 faculty/staff/seniors; free for students Thursday, April 24 - Mid-Day Concert with faculty and student performers 1:20 P.M. - Casadesus Recital Hall - free Sunday, April 27 - Guest Organist: Todd Wilson - 4:00 p.m. - First Presbyterian Church, Chenango Street, Binghamton - $14 general public; $12 faculty/staff/seniors; $6 students Tuesday, April 29 - Piano Recital by students of Michael Salmirs - 8:00 p.m. - Casadesus Recital Hall - free Thursday, May 1 - Jazz Mid-Day Concert with guitarist Dave Stryker - l :20 p.m. - Watters Theater - free Thursday, May 1 - Harpur Jazz Ensemble with guitarist Dave Stryker - 8:00 p.m. - Watters Theater - $8 general public; $6 faculty/staff/seniors; free for students Friday, May 2 - Flute Studio Recital by students of Georgetta Maiolo l 0:00 a.m. - Casadesus Recital Hall - free { I � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:15:32 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253418&change_lng=en&select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253418&change_lng=en&select_viewer=metsViewer</a> PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Junior Recital, March 22, 2003 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2003-3-22b Description An account of the resource Works by Beethoven, Liszt, Rachmaninoff, Debussy, Fauré, Barber, Bellini. Accompanying program contains translations. Creator An entity primarily responsible for making the resource Schum, Jody LaDue, Samantha Mallinson, Chai-Kyou Date A point or period of time associated with an event in the lifecycle of the resource 3/22/2003 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/a6e9eb10b83ff67aa6a06cc9a18d10b2.pdf 4b4e766732c8775945c51ff7f5298907 PDF Text Text ARE Z a l... l Recs 1 G Binghamton University Department of Music face O N C E R T I D D A Y C T H U R S D A Y M i e April 29, 2004 – 1:20 P.M. – Casadesus Recital Hall SPC COL Lungi dal caro E n e g n a Gia il sole dal G . ass. . ccaarni e oon Freschi luoghi, prati aulenti Maricela Mayo, soprano ChaiKyou Mallinson, piano .........Robert Schumann (18101856) Liederkreis, Op. 24 Morgens steh’ ich auf und frage Es treibt mich hin Ich wandelte unter den Baumen Lieb’ Liebchen, Leg’s Handchen Schone Wiege meiner Leiden Warte, warte, wilder Schiﬀmann Berg’ und Burgen schaun herunter Anfangs wollt’ ich fast verzagen Mit Myrten und Rosen Ian Bentley, tenor Margaret Reitz, piano T e h a m a (“Music o f M o u r n ” g m Melissa Mattern, viola Margaret Reitz, piano La Regata Veneziana .. Anzoleta Avanti la Regata Anzoleta co Passa la Regata Anzoleta Dopo la Regata Alessandro Scarlatti (16591725) ...Giuseppe Sarti (17291802) ..........Stefano Donaudy (18791925) ) Paul Hindemith (18951963) Gioacchino Rossini (17921868) Lara Longsworth, mezzosoprano Margaret Reitz, piano 7 Minuetto from Trio, Opus 3 Eugene Walckiers Ed. By H. Voxman and R.P. Block .......Caesar Giovannini (b. 1925) Cancion Espaﬁol .. ...... Traditional Drunken Sailor... Kira Slocum, Flute Kelsey Bauer, Flute Caitlynn McMullen, Flute � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 0:57:20 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253415&change_lng=en&select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253415&change_lng=en&select_viewer=metsViewer</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Thursday mid-day concert, April 29, 2004 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2004-04-29 Description An account of the resource Held at 1:20 p.m., April 29, 2004, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Mayo, Maricela Mallinson, Chai-Kyou Bentley, Ian Reitz, Margaret Mattern, Melissa Longsworth, Lara Slocum, Kira Bauer, Kelsey McMullen, Caitlynn Date A point or period of time associated with an event in the lifecycle of the resource 4/29/2004 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/9b7cdbd3db0cbeda3d0a2cd6c3b1c03c.pdf c54a83ac125237cc7e75a14fce44b79b PDF Text Text t\) I V UN A RC Recit al\ t ape 2003 11- 8 b SPEC COL State University of New York Department of Music CONTRASTS: An Evening of Chamber Music Treasures with guest artists: Katie Sebestyen, violin Ervin Schiffer, viola Freddy Arteel, clarinet Dana Protopopescu , piano Saturday, November 8, 2003 8:00 p.m. Anderson Center Chamber Hall �Program Trio in E-flat, K. 498 (Kcgclstatt) ................. ........ Wolfgang Mozart Andante ( 1756-1791) Menuetto • Allegretto Trio, Op. 30 ................................................................ Joseph Jongen Prelude ( 1875-1950) Variations .Final --Inter,nission.-- Lia's Koan ................. .. ........... ......... ............. .. ............ Elias Gistelinck (b. l 935) Piano Quartet, Op. 16 ................................... Ludwig van Beethoven Grave Allegro con brio Andante cantabile Rondo Allegro ma non troppo ( 1770-1827) �About the Ensemble The ensemble CONTRASTS consists of four members of the faculties of the Royal Conservatories of Belgium who have played together on concert stages and at universities in nearly every country in Europe. Both separately and in concert, they have produced a number of recordings as well as live performances. Not only has the unusual combination of their four instruments allowed them to adapt known masterworks, but it has also encouraged contemporary composers to write for them. Their initial American connection was with the University of North Carolina's summer program in Morges, Switzerland, and they have comprised the core of the chamber music workshop programs both there and in Chapel Hill for more than ten years. This, their fourth U.S. concert tour, includes Boston and Washington. KATIE SEBESTYEN, violin, studied at the Franz Liszt Academy in Budapest and completed degrees at the Royal Conservatory of Music in Brussels and Chapelle de la Reine Elisabeth, where she was recently awarded its highest honor, Professeur Extraordinaire. A founding member of CONTRASTS and the Haydn Quartet, she is also concertmistress of the Sebestyen Strings and European Philharmonic Orchestra. She teaches at the conservatories of Brussels and Brabant (Holland), and is especially proud of her Laureate from the Friedrich Kuhlau Competition in Germany. Her travels with these groups have taken her across Europe as well as three tours of the United States. ERVIN SCHIFFER, viola, studied under Zoltan Kodaly and Gyorgy Ligeti at the Franz Liszt Academy before winning prizes in Geneva and Bucharest and moving to the Low Countries, where he has recently retired from a lifetime of teaching at the conservatories of Brussels, Amsterdam, and Utrecht. In addition to serving on juries, he performs regularly around the world, on his elegant Giovanni Paolo Maggini instrument, both as soloist and chamber musician. His travels have taken him to Japan, Israel, South Africa, and the United States. He has recorded extensively with Deutsch Gramofon, Vox, and Turnabout. FREDDY ARTEEL'S clarinet has been heard for nearly thirty years since he completed his studies with Pierre de Leye in Brussels and Guy Peplus in Paris. Most of them have been spent as principal clarinet of the Philharmonic Orchestra of Antwerp while teaching at the Royal Conservatory of his native Ghent. But this has left him some time to perform with CONTRASTS and the Antwerp Wind Quartet. Among his appearances have been the Saskatchewan summer school and the MusicFest m Aberystwyth, Wales; his proudest moment was hosting �700 clarinets from around the world in Ghent in 1993 for an international festival. DANA PROTOPOPESCU'S musical career began in her native Bucharest, Romania, where she made her debut as a soloist with orchestra at the age of fourteen. Completing her studies in Hanover, Germany, under Eduardo de! Pleyel and Karl Engel, she migrated to Brussels and joined the Royal Conservatory. Her career has included soloing with many major European orchestras as well as an extensive array of solo recordings of the works of Mendelssohn and Tschaikowsky; receiving numerous awards and honors. Her teaching and chamber music are closest to her heart. She joined CONTRASTS shortly after the group's founding. Program Notes Trio in £-flat, K. 498 Though the clarinet had been known for nearly a century before Mozart, he was the first to make significant use of it. Said to have had its origin in th the 18 century equivalent of a bowling alley, this delightful trio was written, together with the quintet with strings (K. 581) to showcase the extraordinary talent of his good drinking friend (and frequent mooch) Anton Stadler, who was the outstanding virtuoso around Vienna at the time. Trio, Op. 30 The music of this Belgian composer is barely known in this country. His massive trio, which owes much to his near contemporary César Franck, was composed in 1909. The ghostly march-like theme of the second movement and the frantic Walloon kermes of the third are almost Rubenesque in their florid Late Romantic style. Lia's Koan Gistelinck studied at the conservatories of Brussels and Paris, winning the International Italia Prize for a work for symphony and jazz orchestra. An early fascination with the colors and rhythms of Far Eastern music led him to compose "Koan," a Japanese word for the path to equilibrium, the Japanese foundation of perfection (Lia was evidently the composer's muse). Piano Quartet, Op. 16 In 1807, Beethoven wrote a quintet for winds and piano in homage to Mozart' s earlier master-work for the same instrumentation; at his publisher's urgent behest, he later rearranged it into a quartet for piano and strings. CONTRASTS' version of this familiar piece is an inspired combination of both. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:19:05 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253412&change_lng=en&select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253412&change_lng=en&select_viewer=metsViewer</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Contrasts: an evening of chamber music treasures, November 8, 2003 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2003-11-8b Description An account of the resource Held at 8:00 p.m., November 8, 2003, Anderson Chamber Hall. Creator An entity primarily responsible for making the resource Sebsestyen, Katie Schiffer, Erwin Arteel, Freddy Protopopescu, Dana Date A point or period of time associated with an event in the lifecycle of the resource 11/8/2003 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/121f28bdef5bcda36ac9c0b5bb74583b.pdf 7c3993465621801919838d0f99c92658 PDF Text Text I y) N31 N Q ¢ BING HAM TON \ 3 ) ¢ 2 U N I V E R S I T Y ' % ¥ r ’ State University of New York De partme nt of M usic nglish Legacy : AnE Work s for Viola with Robe rta C rawfo rd, viola assisted by Ma ry Burgess, soprano Micha el Salm irs, piano F riday, October 31, 2003 8 :00 p.m. Casadesus Recital Hall �P rogram Studies in English Folksong .....................Ralph Vaughan Williams Adagio (18721958) Andante sostenuto Larghetto Lento Roberta C rawford, viola Michael Salm irs, piano Piling, .... Frank Bridge (18791941) Roberta C rawford, viola Michael Salm irs, piano Two Songs ... lf My Complaints Could Passions Move Flow, My Tears Lacrimae . John Dowland (15631626) Mary Burgess, soprano Michael Salm irs, piano Lachrymae, O p. 48........... .....Benjamin Britten (19131976) Roberta Craw ford, viola ' Michael Salm irs, piano Sonata for Viola and Piano Impetuoso Vivace Adagio Roberta Craw ford, viola Michael Salm irs, piano .. Rebecca Clarke (18861979) �About the Perform ers ROBERTA CRAWFORD enjoys an active career as a recitalist and chamber musician. As Associate Director and founding member of the Finger Lakes Chamber Ensemble, Crawford has participated in more than one hundred solo, chamber, and lecturerecitals presented by the ensemble since its formation in 1990. She has performed with the Catskill Chamber Players, appeared frequently on the Cayuga Chamber Orchestra’s Sunday Chamber Music Series and has been a guest performer with the Ariadne String Quartet. Crawford has played with the Portland and Syracuse symphonies and has served as principal violist for the Cayuga Chamber Orchestra. An advocate of new music, 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, Crawford has served as clinician, coach and adjudicator for a numerous music organizations and is codirector of the NYASTA ViolaFest, hosted by Binghamton University. She has been a guest faculty member at Phillips Academy, the Quartet Program, Ithaca College and the Eastman School of Music and is Coordinator o f Strings at Binghamton Un iversity. Pianist MICHAEL SALM IRS, a founding member and artistic director of the Finger Lakes Chamber Ensemble , is well known as a recitalist and chamber musician performing extensively throughout the region. He has appeared as soloist with the Corning Philharmonic, Binghamton University Orchestra, Cayuga Chamber Orchestra, and has been a featured pianist on their Sunday chamber series. As a performer of contemporary music, he has participated in Binghamton University’s Musica Nova, Cornell University’s Ensemble X, and has toured and recorded for the Syracuse Society for New Music. 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 o f Music and Hobart and William Smith Colleges He is a faculty member at Binghamton University and Aﬀiliate Artist at Cornell University. He maintains a private piano studio in Ithaca and enjoys teaching students of all ages and levels. In May, Salmirs will perform Poulenc’s Aubade with the Cayuga Chamber Orchestra. �MARY BURGESS, associate professor of voice at Binghamton University, recently celebrated the thirtyﬁfth anniversary of her New York City Opera debut, which occurred while she was an undergraduate at the Curtis Institute of Music in Philadelphia. Her European operatic debut at the Holland Festival, in the title role of Cavalli’s L’Erismena, brought engagements at the Spoleto Festival in Italy, at the Theatre Royale de la Monnaie in Brussels, and several consecutive seasons in leading roles at Dublin Grand Opera in Ireland. Her repertoire of thirtyeight roles in ﬁve languages includes six, which she has performed in Binghamton at TriCities Opera: Madama Butterﬂy, La Traviata, Tosca, Marguerite in Faust, The Merry Widow, and most recently, Norma. A frequent soloist with orchestras, Burgess has appeared with more than two dozen U.S. orchestras, including the Boston Symphony (with Seiji Ozawa), Cleveland Orchestra (Lorin Maazel, Eduardo Mata), Chicago Symphony (with Sir Simon Rattle), and Cincinnati Symphony (Klaus Tennstedt, James Conlon). She has been a frequent guest at such festivals as Ravinia, Aspen, Blossom, Casals, Chautauqua, and the Cincinnati May Festival. In August 1996, at Monadnock Music Festival in New Hampshire, Burgess made a critically acclaimed debut in the role of Susan B. Anthony in Virgil Thomson’s The Mother of Us All, honoring the centenary of his birth. She returned to Monadnock Festival in August 1997 as Violetta in a gala concert performance of Verdi ’s La T raviata. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * Coming Events Thursday, November 6 – MidDay Concert with faculty and student performers – 1 :20 p.m. – Casadesus Recital Hall – free Saturday, November 8 – Contrasts : An Evening of Chamber Music Treasures with guest artists from Belgium – 8:00 p.m. – Anderson Center Chamber Hall – $14 general public; $12 faculty/staﬀ/seniors; $6 students Thursday, November 13 MidDay Concert with faculty and student performers – 1 :20 p.m. – Casadesus Recital Hall – free Thursday, November 13 – Pharaoh ’s Daughter – A sixpiece electric groove ensemble that blends Jewish music with world beat – 8 p.m. – Anderson Center Chamber Hall – $14 general public; $12 faculty/staﬀ/seniors; $6 students (Cosponsored by Hillel at Binghamton) Saturday, November 1 5 – University Chorus with the Binghamton Philharmonic – Rachmaninoﬀ’s The Bells – 8 p.m. – Anderson Center Concert Theater – Contact the Binghamton Philharmonic for tickets � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 0:54:28 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253409&change_lng=en&select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253409&change_lng=en&select_viewer=metsViewer</a> PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource An English Legacy: works for viola, October 31, 2003 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2003-10-31 Description An account of the resource Works by Vaughan Williams, Bridge, Dowland, Britten, Clarke. Held at 8:00 p.m., October 31, 2003, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Crawford, Roberta Burgess, Mary Salmirs, Michael Date A point or period of time associated with an event in the lifecycle of the resource 10/31/2003 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/0d25affcbfa07d00864ba4c125185a2d.pdf 4d9e8a58c7ee572a5ab4c0f99f1ebb60 PDF Text Text 2 C x‘ x J a N t'. Ti »; M L n . v 4 w . ( \ * . 3T y 2\ \ a i U N I V E R S I T Y * \ 1a 1 ,& ~ r ‘ s i ) i BINGHAMTON * VEC COL State University of New York Department of Music Mas ter ’s Re cital [ Maricela Mayo, so pran o with ChaiKyou Mallinson, piano Saturda y, Octobe r 11, 2003 8 :00 p.m . Casadesus Recital Hal l �About the Performers MARICELA MAYO received her Bachelor of Arts in Music from Texas Wesleyan University in Fort Worth, Texas, in 2002. At Wesleyan she studied voice with Dr. Noelle Woods and coached with Binghamton MM/Opera graduate Dale Morehouse. She performed many roles including Phyllis in Jolanthe, Mary in The Bald Soprano, Magnolia in Show Boat, as well as various roles in Wesleyan’s Opera Scenes program. Other shows included Evita, Pandora’s Box, and Radio Show for a Christmas Carol. She is pursuing a Master ’s degree in Vocal Performance at Binghamton University as a s t u d e n t P rofessor Mary Burgess. She is also a member of the TriCities Opera Chorus. In May, Mayo received a Student Achievement Award from the Department of Music for her outstanding progress in vocal performance. Mayo holds a Clark Fellowship and plans to extend her career in performance when her degree is completed. CHAIKYOU MALLINSON, currently on the faculty of the department of music at Binghamton University, received a Bachelor of Music degree from Juilliard, Licence d’Enseignement from Ecole Normale Musique de Paris, France and a Master of Arts degree from Binghamton University, where she studied with Jean Casadesus. A prize winner in the Korean National Music Competition, she was awarded the French Government Scholarship, Tanglewood Summer Music School Full Scholarship and the Fontainebleau American Conservatory Full Scholarship. She gave a debut recital in Carnegie Recital Hall and has been active as a recitalist, vocal accompanist and coach, and chamber music performer, as well as an active adjudicator of piano auditions and competitions. She performed with the Seoul Philharmonic Orchestra by invitation and other symphony orchestras. A CD of ChaiKyou Mallinson’s “Live Piano Recitals” will be issued by the Disk Makers in November 2003. �Program Spirate pur, spirate Amorosi miei giorni Vaghissima sembianza Frage und A n Selige Nacht Nachtgebet Standchen t Stefano Dohaudy (18791925) w o r t J o s e p h Marx (18821964) Chi sa, chi sa, cual sia, K.582 ...............Wolfgang Amadeus Mozart (17561791) Intermission Si mes vers avaient des ailes..................................... Reynaldo Hahn A Chloris (18741947) L’Enamourée Paysage Shelling Peas Fragment I carry your heart I can’t be talkin’ of love JOR JUKE (18991984) �Translations Spirate pur, spirate (W a ft, waft) Waft, waft around my beloved one, little breezes, and ascertain if she holds me in her heart. Waft, waft, little breezes! If in her heart she holds me, ascertain it, blessed breezes, breezes gentle and blessed! Vaghissima se mbianz a (Most c harmin g sembla nce) Most charming semblance of my formerly loved woman, who, then, has portrayed you with such a likeness that I gaze, and speak, and believe to have you before me as in the Beautiﬁl days of love? Amorosi miei giorni (My loving days) My loving days, who could ever forget you now that, beautiﬂed by all the blessings, you giv e peace to my heart and perfume to my thoughts? To be able thus, as long as life moves on, not to fear any longer the anxieties of a life of deceits, only with this hope: that a glance of his be all my splendor and a smile of his be all my treasure! Who more blessed than I, if next to him he has not thus a sweet and dear beloved object, a n t L so that h e still ca n not sa y he knows what love is? Ah, may I thus, as long as life moves on, no more fear the anxieties of a life of deceits, only with this hope: that a glance of his be all my splendor and a smile of his be all my treasure! The cherished memory wiiich in my h e a rtnas bee n awakened so ardently has already revived hope there, so that a kiss, a vow, a cry of love I no longer ask except of her who is forever silent. Frage u nd Antwort (Question and Answer) As long as I will ask you, “Do you love me, oh my love?” you should say to me, “I love you, oh my love!” If I ask with glances, “Do you love me, oh my love?” you should answer with kisses, “I love you, oh my love!” And if a sigh asks you, “Do yo u love me, oh my love?” your smile should reply, “I love you, oh my love!” A. Riickert i 1 i �i l y! \ J[ J Selige N acht (Blissful Night) In the arms of love we fell blissfully asleep. The summer wind eavesdropped at the open window and carried the peace of our breathing into the brightly moonlit night. And from the garden a scent of roses cautiously found its way to our bed of love and gave us wonderful dreams, dreams of ecstasy, so full of desire. Otto Erich Hartleben Nachtgebet (Night P rayer) Oh, if you saw me praying now to your deep, holy eyes that plead to me as if asking for love, i you would close your deep eyes so I would not lose myself in them as in love. Oh, if you saw me praying to your soul, cheerful like a child, that childlike soul would be silent so that it would not drown in my love. Stindch en (Serenade) Good night, beloved life. I call into your little window and then I will go on my way. Ah! Think of me in your dreams! Because you surely know that, devoted to you, my heart must quiver in torment. Good night, beloved life. Ah! Think of me in your dreams! Paul Heyse Chi sa, chi sa, qual sia, K.582 (Who knows, who knows what it may be) Who knows, who knows what it may be that torments my beloved? Is it anger, jealousy, fear, suspicion or love? O gods, ye who know the purity of my aﬀection, dispel this bitter doubt from m y heart. Si mes vers avai ent des ailes (If my verses ha d wings) My verses would ﬂee, sweet and frail, To your garden so beautiful, If my verses had wings Like the bird! They would ﬂy, glittering, To your cheery ﬁreside, If my verses had wings Like the wind! To you, pure and faithful, They would hasten, night and day, If my verses had wings, Like love! Victor Hugo �A Ch loris (To Chloris) If it be true, Chloris, that you do love me, And I have heard, you love me well, Then kings themselves I do believe Could hardly match my wealth. Death would be most inopportune To come and alter my good fortune Just to please the heaven! Say what you will about ambrosia— It can hardly compare to the magic Of your eyes bestowing their gaze on me. Théophile de Viau L ’Enamourée (The Beloved) They say, my dove That you dream, though still dead, Beneath the stone of the tomb : Yet for this soul who adores you, You awaken, enlivened, Oh, my pensive beloved! Through nights whitened by stars, In the murmuring breeze, I caress your long veils, Your long ﬂowing tresses, And your halfclosed wings That ﬂutter ab ove t he roses. Oh, sweet delight, I breathe in Your divine blond locks : Your pure voice that lyre Follows the wave upon the currents, And softly glides over them, Glides over them softly Like a swan that weeps! Théophile de Banville Paysage (A D istant Sho re) On a shore resounding with the roar of the sea, There is a little hidden corner of Brittany, Where I would love so much to take you one day, When the autumn leaves are falling, my darling! You would see oaktrees encircling a fountain, A fe w scattercd beeches, and an old, deserted mill, And even a well in whose clear water is reﬂected The green of your siren’s eyes... In the morning, out from under a yellowed leaf, The titmouse would come and sing for us alone... 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Gs 51>". i . a sA ‘‘ ‘a R E ﬁ x . , ' »'7 . , T h , ” 5 ? t f. r, . ‘ i h ‘ a n ' i j b ‘ 3 a r w 1 . 1 7 5 7 4 1,11“? i iba .. % 1 c E A L R 5 A g R i ha : _L.,_; i ___,‘4’ H E h �Coming Events Thursd ay, Octobe r 16 – MidDay Concert with faculty and student performers – 1:20 p.m. – Casadesus Recital Hall free Saturd ay, October 18 – Family Wee kend Concert : Harpur Chorale, Women’s Chorus, University Wind Ensemble – 3 p.m. – Anderson Center Concert Theaterfree Saturd ay, October 18 – Musica Exotica : A Solo Piano Recital by Michael Salmirs – 8p.m. – Casadesus Recital Hall – $8 general public; $6 faculty/staﬀ/seniors; free for students Thursd ay, October 23 MidDay Concert with faculty and student performers – 1:22 p.m. – Casadesus Recital Hall – ﬁce Sunday, Octobe r 26 – U niversity Sym phony O rchestr a : Schumann, Si belius – a nd Sunwoo – Timothy Perry, conductor with guest soloist Patricia Sunwoo, violin – 3:00 p.m. – Anderson Center Concert Theater – $8 faculty/staﬀ/seniors; free for students Thursd ay, October 30 MidDay Concert with faculty and student performers1:20 p.m. – Casadesus Recital Hall – free Friday, Octob er 31 – An English L egacy : Work s for Viola with Rob erta Crawfo rd – 8 :00 p.m. – Casadesus Recital Hall $8 general public; $6 faculty/staﬀ/seniors Saturd ay, November 2 – Viola Fest 2003 – 2:30 p.m. – Artist Concert; 4:45 Grand Concert – Anderson Center Chamber Hall – free faculty and student Thursd ay, November 6 – MidD ay Concert with £ n b I N a n r l Hall – free .m. – Casadesus Recita 1:20 p performers Saturd ay, November 8 – Contrasts: An Evening of Chamber Music Treasures with guest artists from Belgium – 8:00 p.m. ~ Anderson Center Chamber Hall – $14 general public; $12 faculty/staﬀ/seniors; $6 students ' Thursd ay, November 13 – MidDay Concert with faculty and student performers – 1:20 p.m. – Casadesus Recital Hall – free Thursd ay, November 13 – Pharaoh ’s Daughter – A sixpiece electric groove ensemble that blends Jewish music with world beat – 8 p.m. – Anderson Center Chamber Hall – $14 general public; $12 faculty/staﬀ/seniors; $6 students (Cosponsored by Hillel at Binghamton) � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 0:41:35 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253406&change_lng=en&select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253406&change_lng=en&select_viewer=metsViewer</a> PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Master's recital, October 11, 2003 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2003-10-11 Description An account of the resource Held at 8:00 p.m., October 11, 2003, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Mayo, Maricela Mallinson, Chai-Kyou Date A point or period of time associated with an event in the lifecycle of the resource 10/11/2003 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/f460576fb75ab804e466532ec29d07be.pdf a2b867aa65da2d9c7a3440446c5e6b38 PDF Text Text UNIV ARC INGHAMTON B n se E V E N a 2 0 € Q . \ # L n 5 State University of New York .... Depart ment of Music UNIVE RSITY SYMP HONY ORC HESTR A: Schumann, Sibelius and Sunwoo with T imothy Perry, conduc tor Patricia Sun woo, violin i Sunday, Oc tober 26, 2003 7 3:00 p.m. Anderson C enter Conc ert Theater �“ AN 0 = wed He o i V i t Ribs na ¥ b o b G0 LE Y.’ 1 i i : a Zia 344? ~1 75 # 1 oF 2 3 5 ’ m . Nsi 3 4 Fw f FD U S K J k a AA J [ 5 i o a 7 E 1 5 1 w § ~ g i ‘ id 1k nA 4 # P y i 5 5 $1?! F A 4 ‘ ~ i r s R E E V A 5 £. 5 i . m a e ? 2? u 1 ,.v' A4” . . i ” . “5 at TATE: TATE: f! TsL . ' ” 4 4 1 A i y a 1 S A F B B E 1 E 7. i d e a i n t ' % 5 5 1 i " “1&4, _ “ $ 3 1 4 4 « ’ i & _ n ! — i B 2 4 x # , _ _ . i 5 \ j . . v r He an Q ‘ 1 i a A . “ i g £14 : 4 . x SHRECEL ' I RBJ Fil L e r y Si geEishn l " ? ‘ " p08 E S h s 0 Sly W N Pp P L , a y T L 2riss ‘ ‘ A 71 A a 1 Z ELC , a . ' ’ 3 m . _ . ."“'EL..‘ e r ea t ﬁ l i s E f NEA 1 : if» ﬀ y ,. .. ; Se B 1 1 S s e e4:4_11 . Z tS T fey ¥ �esen ts the The Binghamton Uni versity D epartment o f Mus ic pr Orchestra Sy mphon y ond Uni versity err uctor y, D irec tor an d C Timoth y P W i th Patricia Sun woo, V iolin Soloist h Concert Theater Anderson Center for the Arts Sunday, 3:0 0 P. M. October 26, 20 03 Program IEDIDERITUS Finlandia, Op. 26, n o. 7 . . . . . . . . . . . . . . . . JEB(1 86519 57) Concerto in d Mi no r Sibelius for Violin and Orchestra . . . . . . . . . J e an (1 86519 57) i. A lleg ro m oderato ll. Adag io d i m olto lll. Allegro, m a n on tan to Patricia Sun woo, V ioli n +++ +++ ++j nte rmi ssio n++ +++ +++ hu mann Symphony in D Mi no r, Op . 12 0. . . . . Robert Sc10 (18 1856) (O rig inal Version, 1 840) Andante con moto Alleg ro di molto Romanz a (A ndante) ScherzoTrio (Prest o) Lar go Finale (Alleg ro vivac e) E ET W e i nvi te y ou to a tten d these up coming US O e ven rE e ts : ompetit ion Sunday, No vember 23'", Concerto an d Aria Solo C ee) 6:30 P. M. Casadesus Recital Hall (Fr ic G ala “ Win ter W ond erland” Satu rday, December 6 ” Mus 3 :00 P. M. A nderson Cen ter C onc ert The ater I �About the Music Finlandia is so well known and beloved that we run the considerable risk of losing in familiarity the hard edge of revolutionary fervor that informs the work. Created as one of a set of pieces Sibelius composed for the Press Pension Celebrations in 1899, the work came at a time when increasing demands for Finnish independence were met by the hardening attitudes of the Czarist regime that controlled Finland. In Finlandia, Sibelius created a musical metaphor for the struggle of the Finnish people. Both the thematic elements of the melody and the orchestration are carefully controlled to bring maximum eﬀect. The melody moves from halting fragments phrases to fulllength hymn, its harmonies dominated ﬁrst by diminished chords, then by minor key center, and eventually by major tonality. The similarity of the opening chorale to Russian Orthodox hymnody only serves to highlight the brutality with which it appears. The minor section, punctuated with its trumpet calls (to resistance? to battle?), and its uprising (literally) of the French + horns (Beethoven’s instrument of revolution) and the strings brings a catharsis to the major key and the transformation minor to major, Russian to Finnish. The action is completed with a ﬁvebeat pealing of church bells in the lowest sections of the orchestra, and a plagal ('Amen') cadence just before the ﬁnal chords. The meaning was clear enough to both Finns and Russians to have the piece banned by the Czarists for a period of time. May its message and its power be ever undiminished! Sibelius was himself a virtuoso violinist, and some see in his only concerto the projection of that dream, but transferring the stage of his triumph from performer to composer. Completed (19031905) after his second symphony, the work is one of the last to lie immersed in the tonal language of lateromanticism. That said, there is no Sibelius that does not abound in original touches of form and orchestration. The opening movement, though symphonic in scope, emerges from an icy Dminor silence energized by violins alone. Sibelius, conﬁning his themes inside the interval of a ﬁfth, creates a soundscape which has been compared both to the spare landscape of his native Finland and to the epics of Homer, Virgil and the Nordic bards whose sagas he could quote by heart. An intimate theme in triple time contends with a hardedged march in duple meter, a struggle that seems to end without a resolution. The second movement, dropping as if in repose into Bﬂat Major, resolves this conﬂict. The solo violin (ensconced in the warm embrace of a sextet of bassoons and horns) survives an assault in the middle of the movement to ﬁnd, by movement’s end, one of the most utterly beautiful moments of tranquillity and release ever put to paper. The ﬁnale’s rhythmic opening, now in DMajor, is as worldly as the ﬁrst movement was ethereal. Manic, almost hypnotic in its forward drive, the movement ﬂips between major and minor modes with the soloist condemned to execute a seemingly unending stream of virtuosic passages. Sibelius revisits the duple versus triple issue, but now with the ﬁgures blended seamlessly into a dance rhythm. There is an unsettled quality to all of this energy. Does the ﬁddler call the tune, or is (s)he called by it? Either way, the power and verve of the ﬁnale brings this weighty essay on the human condition to a worthy conclusion. 1 �Robert Schumann’s D minor symphony has lived a double life. It was completed in 1841 and received but a single performance, a premiere in which it was overshadowed by the presence of both Clara Schumann and Franz Liszt on the program. Ten years passed before Schumann returned to the work, substantially thickening the orchestral sonority, composing new transitional passages and adding weight to many of the original developmental designs. The Revised Version we know today as Symphony No.4, but in its original inception it is actually the second of Schumann’s symphonies. The rediscovery of the original version some ten years ago brought to light a composition far lighter, uniﬁed in its conception and reﬂecting the spontaneity with which Schumann executed the original. The work carries forward the concept of creating a complete symphony, a complete worldview, from a few basic motives. Speciﬁcally, the opening hammerstroke A and the six notes which immediately follow provided all the material Schumann needed. While the outlines of a standard four movement symphony are retained (the movements, though, are continuous), the recurring reference to, and transformation o f previously stated mate rials gives the symphony a fantasialike feel. The result is a work more uniﬁed, more consistent, and with less power, but more subtlety, than its revised oﬀspring. One might compare the two by saying that the 1841 symphony leans backward towards the chamber music of Schubert, and the latter version forward towards the symphonies of Brahms. It was Brahms who preserved the score of the original for posterity, noting that “the score has not gained much by being revised, and has undoubtedly lost much of its charm, lightness of touch and clarity of expression.” Not that we ask you to chose between two beautiful children, but merely to give the younger one its due. T. Perry, September 2003 2 �About th e Performers TIMOTHY PERRY is a Professor of Music at Binghamton University, where since 1986 he has served as Director of the University Orchestra, Conductor of the University Wind Ensemble, and Professor of Studio Clarinet and Conducting. He is also in his tenth season as Music Director of the Binghamton Community Orchestra. Perry holds degrees from the ' Manhattan and Yale Schools of Music, where he earned numerous honors as a doublemajor student of OttoWerner Mueller, John Mauceri, Arthur Weisbergand, Szymon Goldberg (in conducting) and Leon Russianoﬀ and Keith Wilson (in clarinet). Perry is widely known as a virtuoso solo and chamber music clarinetist with pianist Margaret Reitz., twice appearing as a featured artist at the Inte rnational Clarinet Conferences in Belgium and France, and touring Latin America and the Caribbean for the Department of State as a United States Musical Ambassador. He appeared as solo clarinetist at festivals in Thy, Denmark (1998) and Vinalhaven, Maine (1999) and with the Binghamton Philharmonic in 2001. He has recorded the complete 18 Etudes de Perfectionnement of Paul J eanjean and is reconstructing the orchestral parts for The Hour of Hosts by the Romantic Munich virtuoso Karl Baermann. Canadianborn violinist PATR ICIA SUN WOO made her New York orchestral debut in 1995, performing Alban Berg’s Violin Concerto at Alice Tully Hall, and has since been active as a recitalist and chamber musician throughout the United States. She has won prizes from the Canadian Music Competitions, Montreal Symphony Orchestra Competition, and CIBC Festival of Music. As a member of the Whitman String Quartet, winner of the 1998 Walter W. Naumburg Award, she performed to critical acclaim across the United States, France and South America, recorded works of Artu r Schnabel and Michael Whalen for labels CP 2 and Arabesque Recordings, and was aired by NPR and Japan’s NHK. Recent engagements include appearances at the Carnegie Hall’s Weill Recital Hall, Corcoran Gallery in Washington, D.C., Bard College, Meadowmount School and L’Espace Pierre Cardin in Paris. She has worked with composers John Corigliano, Joan Tower and George Crumb, and given premieres with the Whitman Quartet, Metamorphosen Chamber Orchestra and new music ensembles. Sunwoo is also an active advocate of music education, and has been a teaching artist for the Midori Foundation, Da Camera Society of Los Angeles and Carnegie Hall. In 2001, she joined the faculty at Binghamton University. Her major teachers include John Loban in Vancouver, the Juilliard String Quartet, and Sally Thomas at the Juilliard School, where she received her doctorate. © l l » �me Binghamton University Orchestra Prof. Timothy Perry, Conductor Flute Percussion Qboe j .. l’ I Clarinet Caroline Bravo Jordan Pasternak Bassoon Robin Kindig Kimberly Meeker Erench Horn Emie Epelman Alfred Jacobsen Patrick Lokken Suzanne Tocco Trumpet Erinn Hibbard Glen Widjeskog Trombone li : Kelsey Bauer: Caitlynn McMullen Kira Slocum Lana Banner Rebecca Rodbart ? I Jamie Cepler David Hennan Stephen Sorscher Tuba Brad Davis Matthew Chedister Peter Tringali Alicia Fusani Morgan Kim Julia Kim Viola Melissa Mattern Kerry Conway Melissa Lee Christopher Fiore Kenneth Perschke Janet levins Christopher Trow Violoncelo James Leddy Sarah Steiding Marie Mizuno Shauna Buckman Micah BannerBaine JungSun Oh Jennifer Paull Meghan O’Loughlin Sheri Zola Claudia Fathi Sarah Park Ben James Matthew Woolever Alex Wiesendanger Angela Wynne Katy Walker Emily Creo JeongSun Oh Michael Day Shelley Levin Nicholas HuntWalker I f’ I’ I Contrabass Christine Wan YohSeung Chiu Lauren Moscowitch Jahyu (Lulu) Chen Tamara Potapova Youlee Choi Stephanie Mawhirt Karen Krouse Meggie Knapp Sarah Baird Karen Tang Amanda Dumont Beth Bartlett Andrew Eiche Noah Mason �Coming Events Thursda y, October 30 – MidDay Concert with faculty and student performers1 :20 p.m. – Casadesus Recital Hall – free Friday, October 31 – A n English Legacy : Works for Viola with Roberta Crawford – 8:00 p.m. – Casadesus Recital Hall – $8 general public; $6 faculty/staﬀ/seniors; free for students (In conjunction with the 2003 Viola Fest) Saturda y, November 2 – Viola Fest 2003 – 2:30 p.m. – Artist Concert; 4:45 Grand Concert – Anderson Center Chamber Hall – free Thursda y, November 6 – MidDay Concert with faculty and student performers – 1 :20 p.m. – Casadesus Recital Hall – free Saturda y, November 8 – Contrasts : An Evening of Chambe r Music T reasures with guest artists from Belgium – 8:00 p.m. – Anderson Center Chamber Hall – $ 14 general public ; $12 faculty/staﬀ/seniors; $6 students Thursda y, November 13 – MidDay Concert with faculty and student performers – 1 :20 p.m. – Casadesus Recital Hall – free Thursda y, November 13 – Pharao h ’s Daughter – A sixpiece electric groove ensemble that blends Jewish music with world beat – 8 p.m. – Anderson Center Chamber Hall – $14 general public; $12 faculty/staﬀ/seniors; $6 students (Cosponsored by Hillel at Binghamton) Saturda y, November 1 5 – University Chorus with the Binghamton Philharmonic – Rachmaninoﬀ’s The Bells – 8:00 p.m. – Anderson Center Concert Theater – Contact the Binghamton P hilharmonic for tickets Thursday, November 20 – Jazz MidDay Concert with guest artists – 1:20 p.m. – Anderson Center Chamber Hall – free Thursda y, Nove mber 20 – Harp u r Jazz E nsemble with guest artist – Michael Carbone, conductor – 8 p.m. – Anderson Center Chamber Hall $8 general public; $6 faculty/staﬀ/seniors; free for stud ents Sunday, November 23 – University Orch estra Co ncerto a nd Aria Compet ition Auditions (open to the public) 6:30 p.m. – Casadesus Recital Hall – free � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. 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Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:10:46 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253403&change_lng=en&select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253403&change_lng=en&select_viewer=metsViewer</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. 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Recital Tape 2003-10-26 Description An account of the resource Works of Jean Sibelius and Robert Schumann. Held at 3:00 p.m., October 26, 2003, Anderson Center Concert Theater. Creator An entity primarily responsible for making the resource Perry, Timothy Sunwoo, Patricia Date A point or period of time associated with an event in the lifecycle of the resource 10/26/2003 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/6dc55cd1b2fcd21c9f029d2cc6a86c8d.pdf d9add1ccb952fa796de83e9a2288fb9d PDF Text Text UNIV A L C Re c Qis e i a 0 2 _ " " “ t . ) 2 ! ) . JECCh BINGHAMSTON I T Y U N I V E R State University of New York “Go G h e F o r e l 1HhewUGEmdleuullhuuﬁk3 O f Percy A .Grainger, And h i s C o n b e mp o r a r i es. nsemble U n i v e r s i t y U i n d E Gerald Cavemau gh. Cond uctor I Sunday, May 4, 2003 3:00p.m. Anderson Center Chamber Hall �Mock Morris (RMTB 1) (1910) Program Percy A. Grainger (18821961) Handel in the Strand (Clog Dance) (RTMB 2) (191112) Margaret Reitz, Piano Percy A. Grainger a r r. R. F. Goldman The Merry King (BFMS 39) (190539) Percy A. Grainger ed. M. Rogers Greg Cecere, French Horn Margaret Reitz, Piano Bellpiece (Now, O Now I Needs Must Part) A Free Ramble on Lute Ayre b y John Dowland (FMFS 6) ar r. 1953 wind band) Edward Savo, tenor a r r. Percy A. Grainger ed. Duﬀy/ Ould Margaret Rietz, Piano Jody Schum, organ keyboard Bronzissimo Bell Choir, Donna Halbert, director Children’s March, Over the Hills and Far Away (RMTB 4) (191618) Margaret Reitz, Piano Percy A. Grainger rev. Frank Erickson INTERMISSION Retreat and Pumping Song (1995) Pumping Song Sarah Streb, oﬀstage trumpet David Stanhope (1961 ) Illyrian Dances (1996) II – Aubade Ill Gigue Guy Woolfenden (1937 ) David Gillingham Concertina for Four Percussion and Wind Ensemble (1947 ) (1996) Katie Haskins, xylophone Matthew Lichstein, marimba Matthew Green, timpani/ bass d r ums Richard Milburn III, bells, bass drums Margaret Reitz, Piano Rolling Thunder (1916) Henry Fillmore (1881 1956) Gerald Cavanaugh’s performance a t today’s concert is oﬀered in partial complet ion of the requirements for the Master of Mus ic degree in Instrumental ( Conducting. �Performance Notes I. Mock Morris As you may notice in your program the pieces listed under Grainger’s name have a parenthetical catalogue number included under its title (FMFS 6, for instance). These listings stand for the collections of Folk Song settings from which Grainger derived many of his transcriptions. There are dozens of volumes of these FolkSong collections within the Grainger catalogue. Our ﬁrst piece, Mock Morris, is one such selection from the “RoomMusicTitBits No.1.” collection of English folk dance music. During the years between 1907 and 1911, we see ﬁve works conceived in a particular order; Molly on the Shore, Country Gardens, Shepherd’s Hey. Mock Morris, and Handel i n t he Strand. The extreme latter two have been chosen to program as an example of the wealth of cultural information Grainger discovered during his years as a folksong collector in England, and Ireland. Part of this rich cultural information stemmed from various types of dance music that Grainger uncovered during his travels. Mock Morris, though diﬀerent from the above listed works, maintains a rhythmic cast like a Morris dance (hence the title “Mock"). but according to the composer’s performance notes in the score, he states that while this work has a semblance to many Morris dances he encountered in the northern regions of England, that no actual folk material was used in the overall construction. The inscription on the original manuscript reads as, “Birthday Gift, Mother 3.7.10,” and was, like much of Grainger‘s original arrangements, a piano work. Many other renditions exist on this piece, including one for recorder and piano. m l l . H r m ¢ l e I i n the Strand (Room MusicTitBits No.2) this work was originally for piano. and was ﬁnished in 1911. Grainger had a slightly diﬀerent idea when it came to assigning a title to this work. Originally, he wanted to call it simply “Clog Dance.” A Clog dance is fairly self explanatory, in that the style of the dance involves heavy stamping on the primary beats of the measure, due to the dancers wearing very heavy wooden shoes. A friend of Grainger‘s, the banker William Gain Rathbone, who had befriended Grainger while he lived in London, suggested re naming the work “Handel in the Strand.” He felt the music ‘seemed to reﬂect the styles of both Handel, and English Musical Comedy,‘ the home of the latter being “the Strand” in London’s west end, is the British equivalent to our Broadway. From what Grainger includes in his score, as well as Rathbone’s suggestion, we can ﬁnd fragments of musical matter from variations he wrote on Handel’s “Harmonious Blacksmith tune.” These partial and minute transcriptions are seen between measures 116 and 4760. I �4 lll. The Merry King (BFMS No.39) This work originated as part of the collection for British FolkMusic Settings, noted down in August 1905 by Grainger as he was traveling the English countryside’s. And in the program notes left by Grainger we have these statements, “Mr. Alfred Hunt, who sang me “The Merry King” 9at Wimbledon, London, England) was a working man who hailed from Kirdford, West Sussex. England. The words of Mr. Hunt ’s ﬁrst verse ran as follows: __It’s a merry king of Old England I’II swim the wide ocean That stole my love away; All on my bare breast And it’s I in Old England For to ﬁnd out my true love 1 } No longer can’t stay. Whom I do love best The text of Mr. Hunts 6 verses, and notes on the song, may be consulted in the Journal of the Folk Song Society, No.12 (London, 1908).” This beautiful rendition of an old Sussex tune is in its root form from which the concert, and easy, piano solo renditions (1936, 1939 respectively) were “dishedup.” Sketched for chorus in 1905 or 1906, and later, for piano and room music for small orchestra, was sketched July 1936; worked out late A 19389. “ 1– ‘lV. Bellpiece (Now, O Now I Needs Must Part) Q uite possibly one of the most intriguing, and hard to obtain, works by Percy Grainger, this “free ramble” based on an ayre (“Now, O Now I Needs Must Part") for lute and voice, by John Dowland, was believed to be the most treasured work Grainger ever composed. It is reported for the last 12 years of his life; Grainger listened to a recording of the original ayre every night before retiring to bed. Based partly on Grainger‘s piano solo transcription that appears as No. 6 in his series of Free settings of Favorite Melodies. In turn, Grainger’s transcription was based on another transcription by Sidney Beck, a well known historian in ancient musics, as it appeared in a copy of The First Book of Songs or A yres of foure parts with Tablature for the Lute, in the possession of the Henry E. Huntington Library and Art Gallery, San Marino, California. The word “ramble” describes much of what happens harmonically in this piece, in that, the two original verses are extracted exactly from manuscript, providing our melodic material, while later that same line “rambled” upon by the ensemble. This is a truly lovely and lavish setting. F Y r di 1 " . V. Children’s March (Over the Hills and Far Away) This fun and exciting march has become a true Grainger staple among wind band compositions. The title is misleading, however, for it is actually a dedication to Grainger’s “dear friend from behind the hills.” Its vibrant lilt and innocent melodies will keep you humming for hours. This work also stems from Grainger’s extensive experience playing and writing for military bands. hl �l l Piccolo Amy Forgacs University Win d Ensemble Pe rsonnel $= local visiting artists *= section leader A= English Horn Baritone Saxop hone Philip Belle Flute Jennifer Thomas* Amber Beckley Sarah King Stephanie Juliano Nicole Kalisz Chung~Eun Kim Oboe Nancy Bayewitch* Lesley McClelland” $ Bassoon Sara Kurtzberg Clarinet Heather Boland Caroline Bravo* Jessica Diminich Vanessa Finley Lloyd Gewuerz Michelle Grexer Andrew Hsu Hilary Salamack Perter Snyder Sherri Vishner Yael Weitz Dominique Zino Bass Clarinet Michael Cohn* Robin Desantis $ Alto Saxophon e Philip Wirsing* Jay Gwak Tenor Saxopho ne Yuehtang (Felix) Chang Trumpet Phil Deitz Derek Ersback Michael Osa* Sarah Streb French Horn Greg Cecere* Jeremy Garlick Maxwell Guido William Stallsmith Trombone Ari Atkinson David Henann* Tenseng Guh Robin Linaberry $ Euphonium Eric Forti Dennis Pettas* Robert Szkotak Tuba Brian Belluci* Dan Gallagher Percussion Matt Cosnett Matt Green Matt Lichstein $ Kati Haskins Richaard Milburn* Keyboard \ Prof. Margaret Reitz Jody Schum Bronzissimo Bell Choir $ Donna Halbert, director $ �Grainger Biography Born on July 8, 1862. Grainger began his musical study at the early age of six. After the estrangement of his father, John Grainger in 1890. Percy and his mother Rose, made a determination to survive on their own. By doing so, Rose took on a daunting task as a single mother to raise, teach, musically guide, and companion young Percy. Beginning piano lessons at age seven, Grainger’s talents were soon quite evident to his mother, and soon caught the attention of many other individuals around Melbourne. By age 10, Grainger took piano lessons from Louis Pabst, and began concertizing throughout eastern Australia. Upon moving to FrankfurtamMann in 1895, he studied piano and composition at the Hoch Conservatory. While in Frankfurt, we see a lifelong friendship built between Grainger and some of this fellow students: a lasting friendship that later became known as “the Frankfurt Group.” Grainger’s lasting friendships with Cyril Scott, Balfour Gardiner. Roger Quilter. and Herman Sandby, was a collaborate eﬀort of principle, musical creativity, and boundless adventures into revolutionary methods of composition and artistic expression. _ From Frankfurt, Grainger and his mother moved to London in 1901. to pursue a life of performance. The London audiences, a very hard people to please, celebrated Grainger’s pianistic endeavors with instant adoration. Among the many aspects of Grainger’s life that we could discuss at great lengths is the enormous component of his biography dealing with life as a concert pianist. While taking composition lessons from Busoni in London, Grainger also began teaching piano lessons by 1910. Grainger established himself as one of the ﬁnest piano virtuosos (persons with masterly skill or technique in the arts) of the 20* century. While in London, Grainger’s pianistic performance achieved him two great professional relationships, one with the great Norwegian nationalist composer, Edvard Grieg, and the other’with impressionist composer, Frederick Delius. It was the connection he made with Grieg. however, that proves to be one of the most successful. Grieg was quoted in a Norwegian newspaper once saying; “Il have not heard one of my own countrymen perform any of my music, or the music of my people, until this young redhaired, blueeyed Australian came along. He understands exactly how this music should sound. the Norwegian people should happily embrace Percy Grainger.” Grieg indeed served as a surrogate father ﬁgure for Grainger, and his famous A minor Piano Concerto was written speciﬁcally for Grainger to perform. Since this historic event, there has not been another example in the 20* century, of a major piano concerto, and its leading authority, keeping the living presence of the composer‘s intent, for as long as Grainger. Grainger’s legacy as a pianist is one that has lived on for generations. Another important milestone in the Grainger’s life also occurred while he lived in the UK. It was during this time that Grainger began to exercise his skills at collecting, transcribing, and recording folksong materials from dozens of locations throughout England, Scotland, Wales, and Ireland. Soon after this period (around 1912 to 1917) Grainger also extended his ethnomusicological boundaries to : l J T �[ }I I h include areas of his homeland Australia, China, the Paciﬁc Rim, and areas of Scandinavia. His endeavors as an ethnomusicologist predate those of Bela Bartok and Zoltan Kodaly in Hungary and Eastern Europe, by some ten years. We can say that Grainger joins the ranks of pioneer ethnomusicologists, such as Cecil Sharpe, in collecting folk music. and transcribing them for idioms that the public could appreciate and familiarize. Strapping an Edison phonograph to his back, Grainger would often trail the English and Irish countryside’s on foot, stopping from house to house, or sitting outside of pubs and other community gathering establishments and ask native inhabitants to sing their songs into his phonograph. This pioneering accomplishment also aided in the success of his compositions that were direct transcriptions of the folk songs he collected. One of the most famous of these collections of folk materials actually adorns a title which adequately describes the composition as a “bouquet of wildﬂowers in music:" Lincolnshire Posy. In 1917. Grainger moved, with his mother Rose, to America where they settled in New York State. Some ﬁve years later, Grainger and his mother bought a house at 17 Cromwell Place, in White Plains. To this day the house still stands and has been preserved as a museum of some of the Grainger’s personal artifacts, memoirs, documents, and manuscripts. Grainger became a United States citizen in 1918, after he enlisted in the Army’s 9* Regiment Artillery Corps Band. He served with that band from1917 to 1919. While serving as a saxophonist, Grainger learned a wealth of information about writing music for military and brass bands. It was during this experience Grainger also fell in love with the saxophone. He played tenor saxophone for most of his time in the 9* regiment, and learned a great deal about how to incorporate the sound of a saxophone choir into many of his wind band compositions. Being a pianist, Grainger also scored much of his wind band compositions with piano in mind, but inevitably rescored the parts to include doublings in the woodwinds and brass. Some of Grainger’s other timeless accomplishments have to do with his work as an educator and conductor. During the 1950’s while Grainger served as department chair for at NYU, he began a summer music camp. and later performing arts high school, at Interlochen, Michigan. This contributory institution to American music education, and the performance of band music. has continued to be a major arts center today. Also, Grainger often found himself guest conducting many orchestras and high school band festivals across the country while enjoying still, a semiactive concert recital schedule. Grainger continued playing piano recitals well into his seventies. After the tragic suicide of his mother, Rose, in 1922, Grainger focused enormous amounts o f his energies on composing and also ﬁnding true love: enter Ella Viola Strom. A Swedish pianist, Strom and Grainger met on a Nordic cruise in 1926 and the two were married, in the spring of 1928, at an extravagant concert at the Hollywood Bowl, California. From there, the two lived a full and happy life in White Plains, until Grainger underwent surgery for prostate cancer in 1953; from which he never fully recovered. Ultimately, Grainger passed away on February 20. 1961, from physical and mental complication of cancer. Upon his death, Ella wrote to their dear friend �a publicist, Hans Meyer Petersen, saying, “Today, our beloved Percy has died, and 1 am afraid we shall all be lost without him.” An amazing marvel, Grainger loved many things other than the music he wrote. He was a “tinker” and experimented with inventing musical machines capable of performing “Free Music” without the hindrance of human fallibility and imperfections. These machines went through many phases before Grainger and a physicistfriend Burnett Cross designed a ﬁnal patent. Grainger’s concept of “Free Music” involved passages in his music that went far beyond indeterminacy, but instead, was a construct for music that should resemble how elements of nature behave and move. “Music should be as free as a breeze in the wind, or the rustling of leaves, or a limb that clambers as it falls to the ground,” according to Grainger. To accomplish this technique, Grainger believed in using “gliding tones.” or long glissandi that moved not only by half steps, but incorporated aspects of microtones, or intervals smaller than a half step. Free rhythm was also a major factor in his “Free Music.” Works such as Hill Songs Nos.1 & 2, The Song of Salomon, and the famous, Lincolnshire Posy, all exhibit elements of “Free Music.” As far as building was concerned, in 1935, Grainger erected a museum designed to preserve his memorabilia, artifacts. music, and memoirs here, along with his body. after his death, as part of the University of Melbourne, Melbourne. Australia. The museum is a fully functioning research and preservation facility that is still manned and operated today. Grainger was an avid enthusiast of the Norwegian sagas, languages. and folklore. Over his lifetime he learned 11 diﬀerent languages, speaking many ﬂuently. These talents among many others help us paint a vivid and distinct portrait of a gifted and unique person that has made an indelible mark on the face of the wind band genre both in America, and across the globe. I wish to leave these remarks with two lasting quotes by Grainger that helps to summate some of the personality of this remarkable fellow: “ ...Every time I see a paper napkin l mourn for the woods that are being thoughtlessly wasted: every time I see a bit of wroughtore (metal) I tremble for the men in the mines who are losing their lives needlessly just because the world has gone mad about wroughtore. If all peoples felt as l do they would never use a piece of wroughtore without ﬁrst wondering whether its usefulness outweighs against the mightbeness (possibility) of a man‘s death. Fancy an age in which men take their children to watch men and women do liferisking acts on the trapeze or in the lion cages an age in which prize ﬁghting and wrestling are lawhallowed (sanctioned) while nakedness and Iewdness (such guiltless mirth) are not!” December, 23rd 1950 “ Destroy Nothing, Forget Nothing. Remember all, say all. Trust life. trust mankind. As long as the picture of truth is placed In the right form (art, science, history) It will oﬀend none!” November. 13th 1936 i 3 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 0:58:32 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253397&change_lng=en&select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253397&change_lng=en&select_viewer=metsViewer</a> PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "To the Fore!": the wind band music of Percy A. Grainger and his contemporaries, May 4, 2003 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2003-5-4 Description An account of the resource Works of Percy A. Grainger, David Stanhope, Guy Woolfenden, David Gillingham, Henry Fillmore. Held at 3:00 p.m., May 4, 2003, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Cavanaugh, Gerald Date A point or period of time associated with an event in the lifecycle of the resource 5/4/2003 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/3d57f7e748b23269db9a3893012e2842.pdf 98a37d8b5a29727ec3305e0a55f5e13a PDF Text Text U N I V A R C ReC Y & \ ta Pe A M ﬂ O BINGHAMTON ! Y E , U N I V E R S I T Y ~ = State University of New York Department of Music Piano Recital F rom the Studio of Mich ael Salmirs Tuesday, April 29, 2003 8 :00 p.m. Casadesus Recital Hall �PROGRAM X Abegg Variations, Op. 2 o o R ert Schumann (18101856) Judy Zhu Sonata No. 7 in C Major, K. 309 Allegro con spirito Yifan Gao Sonata No. 3 in C Major, Op. 2, No. 3 Scherzo: Allegro Lee Seversky Wolfgang A. Mozart (17561791) Ludwig van Beethoven (17701827) Grand etude de Paganini, No. 2 in EFlat Major Mike Day Franz Liszt (18111886) Concerto No. 22 in EFlat Major, K. 482 Wolfgang A. Mozart Allegro Candida Che Michael Salmirs, accompanist Intermission �Sonata No. 9 in A Minor, K. 310............ ...Wolfgang A. Mozart #~ Allegro maestoso Daniel Fried / : , osf Waltzes for Piano, Four Hands. . . . . . . . . . . . . . .........Johannes Brahms “ / , Selections L 4 g # o BaekHap Song Michael Salmirs d for the Left Hand, Op. 9, No. 1..... Li Nancy Schneider (18331897) Alexander Scriabin (18721915) “ P r e l u d e in EF lat Minor, Op. 11, No. 4. . . . .......Alexander Scriabin ~=Prelude in A Minor, Op. 51, No. 2 Poeme tragique, Op. 3 4 d n c h n shd i, . . . . . ...Alexander Scriabin Dmitriy Krasny 5 : Jody Schum Claude Debussy (18621918) �Coming Events Thu rsday, May 1 – J azz MidDa y Concert with guitarist Dave Stryker – 1 :20 p.m. Watters Theater – free Thu rsday, May 1 – Harpu r Jazz Ense mble with guitarist Dave Stryker – 8 :00 p.m. – Watters Theater $8 general public; $6 faculty/staﬀ/seniors; free for students Friday, 1 1a y 2 – Fiute Studio Reci tal – 10:00 a.m. – Casadesus Recital Hall – free Satu rday, May 3 – Harpu r Chorale a nd Women ’s Chorus – 3:00 p.m. – Trinity Memorial Church, Binghamton – free Sunday, Ma y 4 – Unive rsity Wind Ensemble – 3:00 p.m. – Anderson Center Chamber Hall – free Tuesday, M ay 6 – University Percussion Ensemble – 8:00 p.m. Watters Theater – free Thu rsday, May 8 – Studen t Recognitio n MidDay Concert – 1 :20 p.m. – Casadesus Recital Hall – free Thursday, May 8 – Student Conductors ’ Concert featuring choral and instrumental groups – 8:00 p.m. – Anderson Center Chamber Hall – free Friday, May 9 – String Chamber Concert 8:00 p.m. – Casadesus Recital Hall free � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 0:57:54 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253394&change_lng=en&select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253394&change_lng=en&select_viewer=metsViewer</a> PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Piano recital from the studio of Michael Salmirs, April 29, 2003 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2003-4-29 Description An account of the resource Works of Robert Schumann, Wolfgang Mozart, Ludwig van Beethoven, Franz Liszt, Johannes Brahms, Alexander Scriabin, Claude Debussy. Held at 8:00 pm, April 29, 2003, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Zhu, Judy Gao, Yifan Seversky, Lee Day, Mike Che, Candida Salmirs, Michael Fried, Daniel Song. Baek-Hap Schneider, Nancy Krasny, Dmitriy Schum , Jody Date A point or period of time associated with an event in the lifecycle of the resource 4/29/2003 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/5788a779bf0835c06ad3f6e2fbc8f168.pdf 054ef63a0193b78e424f153df0cc4c43 PDF Text Text U MIL V A R C R E A t a ) "* “ P. m 5 i SPee C o BINGHAMTON U N I V E : R S I T Y State University of New York Depa rtmen t of M usic Join t Ch opin Pia no Recita l Lisa Wan g & Jessica C heng l l ' Satu rday, A pril 26, 2003 3 :00 p.m . Casadesus Recital H all �About th e Perform ers Hsiuwen (Lisa) Wan g started playing piano at the age of 51/2 in Taiwan and was accepted into a music program at KuangJen School three months later. In 1991, she came to the United States and studied with Morris Borenstein, who encouraged her to audition for the PreCollege Division of Juilliard. Wang was accepted there at the age of 11 and studied with Richard Fabre and Antonio Fermin. In the same year, she won the New York State Music Teachers Association Competition. in 1997, she performed with the Highlands Symphony Orchestra at the Lycien Center in Sugarloaf, N.Y. Wang organizes and performs yearly at Glenn Arden in Goshen, N.Y. and gives master classes in Taipei City, Taiwan whenever she visits her native country. This winter, she performed at KuangJen School and plans to perform at GaoShoang Cultural center next summer. She also plays violin and ﬂute. Wang studies piano with Prof. Ewa MackiewiczWolfe and is a thirdyear student at Binghamton University, majoring in accounting and music. Jessica (Yushan) Ch eng, a native of Taiwan, started her music education at age 6 and was accepted into a music program for gifted students at KuangJen School. At 9, she began studying cello as her secondary instrument. In 1996, she came to the U.S. and was accepted into the Manhattan School of Music Preparatory Division, where she studied piano with Fiorella Canin and cello with Joseph Meyers. She also played in an orchestra conducted by James Sadewhite. As a cellist, she has performed in numerous concerts of Youth Orchestra, CYCNY, around the greater New York City area. She was accepted into the North American Elite Youth Orchestra for a performance at Carnegie Hall in 2001. As a piano soloist, she made her debut at Taiwan Center in Flushing, N.Y. on May 12, 2000 and last summer, was invited to give her Far East debut in Taipei City. She was a 2001 a winner of the Binghamton University Concerto Competition. Cheng is a secondyear accounting/music major. She studies piano with Eva MackiewiczWolfe. �Program Frederic Chopin (18101849) Scherzo in BFlat Minor, Op. 31 ................................ Jessica Cheng Valse Brillante in AFlat Major, Op. 34 Lisa Wang Etude in AMinor, Op. 25, No. 11 .......Lisa Wang Grande Valse in AFlat Major, Op. 42 ....................... Jessica Cheng Preludes, Op 2 No. 4 No. 20 8 J e s s Etude in CMinor, Op. 25; No. 12 a Cheng A Tessity Cheng Nocturne in C#Minor, Op. Posthumous, No.20 Concerto in EMinor, Op. 11 I. Allegro maestoso w Lisa Wang Lisa Wang Jessica Cheng piano orchestra reduction �o Com ing Events (Subject to Change) Sunda y, April 27 – Guest Organ ist : Todd Wilson – 4:00 p.m. – First Presbyterian Church, Chenango Street, Binghamton $1 4 general public; $1 2 faculty/staﬀ/seniors ; $6 students Tuesd ay, A pril 2 9 – P iano Recital by stu dents of M ichael Salm irs – 8 :00 p.m. – Casadesus Recital Hall – free Thu rsday, May 1 – Ja zz Mi dDay Conc ert wi th guitarist D ave St ryker – 1 :20 p.m. ~ Watte rs Theater ~ free Thu rsday, May 1 – Ha rpu r Jazz Ensem ble with guitarist Dave Stryker ~ 8:00 p.m. – Watters Theater $8 general public; $6 faculty/staﬀ/seniors; free for students Friday, May 2 – F lute Studio Recita l – 10 :00 a.m. – Casadesus Recital Hall – free Satu rday, May 3 – Ha r pu r Cho rale a nd W omen ’s Ch orus – 3:00 p.m. – Trinity Memorial Church, Binghamton – free Sunda y, Ma y 4 – Unive rsity W ind E nsemb le – 3 :00 p.m. – Anderson Cente r Cham ber Hall – free Tuesd ay, M ay 6 – Unive rsity P ercussion Ensem ble – 8:00 p.m. Watte rs Theater – free Thursday, May 8 – Stud ent Recognition MidDay Con cert – 1:20 p.m. – Casadesus Recital Hall – free Thu rsday, May 8 – Stude nt Condu ctors’ Conce rt featuring choral and instrumental groups – 8:00 p.m. – Anderson Center Chamber Hall – free Friday, May 9 – String Cham ber C oncert – 8:00 p.m. – Casadesus Recital Hall free � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 0:54:16 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253391&change_lng=en&select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253391&change_lng=en&select_viewer=metsViewer</a> PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joint Chopin piano recital, April 26, 2003 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2003-4-26 Description An account of the resource Works of Frédéric Chopin. Held at 3:00 p.m., April 26, 2003, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Wang, Lisa Cheng, Jessica Date A point or period of time associated with an event in the lifecycle of the resource 4/26/2003 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/36b7e1217f33ff4437d2377b3fac1c76.pdf 7f642d4f4b8a07954cea313eb49e4a95 PDF Text Text UN I V R ecit A RC \ CD 200 BIN( HAMTON 3 '-\ 2 lJ N I \. I R S I T Y SPEC COL State University of New York Department of Music Presents Peace, Praise, and Perdition Works by Beethoven, Bruckner, and Vaughan Williams Mary Burgess, soprano Timothy LeFebvre, baritone The University Chorus Bruce Borton, director University Symphony Orchestra Timothy Perry, conductor Saturday, April 12, 2003 Anderson Center Concert Theater 8:00 p.m. �PROGRAM Scene and Aria, Ah, Perfido .................... Ludwig van Beethoven ( 1770-1827) Mary Burgess, soprano University Symphony Orchestra Psalm 150 ................... ......................................... Anton Bruckner (1824-1896) Mary Burgess, soprano University Chorus and Symphony Orchestra INTERMISSION Dona nobis pacem ............................... Ralph Vaughan Williams (1872-1958) Soprano and Chorus I. Agnus Dei Chorus II. Beat! Beat! Drums! III. Reconciliation Baritone, Soprano and Chorus Chorus IV. Dirge for Two Veterans V. The Angel of Death VI. 0 Man, Greatly Beloved Baritone and Chorus Baritone, Soprano and Chorus Mary Burgess, soprano Timothy LeFebvre, baritone University Chorus and Symphony Orchestra �The University Symphony Orchestra Timothy Perry, conductor Flute Tuba Viola Crystal Allard Kelsey Bauer Caitlynn McMullen Kira Slocum Brad Davis Leah Robinowitz Melissa Mattern Suzanna Chhim Kenneth Perschke Janetlevins Brian Fang Victoria Leung Alice Scimia Percussion Matthew Chedister Oboe Violin I Elizabeth H. Mellin Anya Stockburger Stephanie Eisenberg Kimberly Meeker Christine Wan Alicia Fusani Morgan Kim Shauna Buckman Julia Kim Heather Sheiman Tamara Potapova Meghan O'Loughlin Samara Cohen Lucy Sun Trumpet Violin II Erinn Hibbard Michael McKeon Rosemary Gaeta Sarah Steiding Lauren Moscowitch Sheri Zola Jean Gaffney Julie Cserhalmi Cynthia Kim Sarah Park Miriam Reznik Gloria Chen Claude Pal Jennifer Paull Andrew Kim Clarinet Lauren Hughes Jordan Pasternak Bassoon Hom Sarah Berloe Alfred Jacobsen Patrick Lokken Thomas Mellin Trombone Sean Kassof Stephen Sorscher Cello Alex Wiesendanger Katy Walker Andrea Rico Tanya Brescia Matthew Woolever Alex Kim Alexis Witek Angela Wynne Emily Creo John Yu JeongSun Oh Andrew Lavery Bass Adam Schechter Noah Lauzon �The University Chorus Bruce Borton, conductor Soprano 1 Susan Bachman Cari Begeal Nanette Borton Elizabeth Ellis Glenda Ely Lorrina Fuentes Eva George MayBelle Golis Emily-Kate Goodrich Margaret Hays Barbara Herne Nicole Lee Michaela Lisi Donna Lundy Susan MacLennan Sydney R. Marsh Mary Barb Martin Joyce Merwin Jennifer Perkins Mary Joan Ragard Marilyn Ross Barbara Thamasett Megan Elizabeth Williams Soprano 2 Patricia Caldwell Joanne Corey Vadhya Elivert Christine Howe Amy Linda JoAnne Maniago Donna Miller Michele Peltz Sioux Petrow Kelly Pueschel Susan Sarzynski Hilary Shaw Jane Shear Millicent Owusu Tiwaah Yu Wen Wang Alto 1 Agatha Blackman Monique M. Charles Maria Luisa Cook Randi N. Cook Janet Frederick Danielle Furey Cheryl Gilroy Elaine Hilton Grace Houghton Claire Labbe Theresa Lee-Whiting Marilyn M. Myers Anna Nicholas Dorothy Powell Joyce Printz Colleen Reardon Richel Ruivivar Patricia Souder Susan Szczotka Katie Wolff Linda M. Wolff Jacqueline Zaslavsky Shirley Zhou Alto2 Barbara Barno Georgia Berny Kate Bouman Sarah Craig Jeanne Fenzel Mary Beth Gamba Sandra Haining Ida Amelia Jones Flo Koniski Cheryl Labban Nancy McGee Adrienne Miller Ethel F. Molessa Taryn Misu Moorer Karen Raphaeli Shirley Rodgers Lee Shepherd Hae Lee H. Shin Merideth Van Scoy Nadia Zarembo Betty J. Zechman �TRANSLATIONS AND TEXT Ah, Perfido I I Ahl faithless, deceitful, brutal traitor, you are leaving me? And this is your final farewell? Whoever heard of harsher cruelty? Go, scoundrel! Go, flee from me then, but you will not flee the fury of the Gods! If there is justice in Heaven, if there is pity, they will all vie in scheming to punish you! Like a pursuing shadow, present wherever you go, I shall see vengeance done; I enjoy it already, just imagining it; I see the thunderbolts already flashing around you! Ah, no! Ah, no! Stop, ye avenging Gods! Spare that heart, strike mine! If he is no longer as he was, I am still as I was. For him I lived-- I am willing to die for him! For pity's sake, do not bid me farewell, what shall I do without you? You know this, my idol, that I shall die of grief. Ah, cruel one, cruel one! You want me to die! Have you no pity for me? Why do you repay so brutally the one who adores you? Say, ye Gods, if in such bitter grief I do not deserve pity? Psalm 150 Alleluia! Praise the Lord in His sanctuary; praise Him in the firmament of His power! Praise Him for His mighty acts; praise Him according to His excellent greatness! Praise Him with the sound of the trumpet; praise Him with the psaltery and harp! Praise Him with the timbrel and dance; praise Him with stringed instruments and organs! Praise Him upon the loud cymbals; praise Him upon the high sounding cymbals! Let every thing that hath breath praise the Lord! Alleluia! Dona nobis pacem I. Lamb of God, who takest away the sins Agnus Dei qui tollis peccata mundi Of the world; Grant us peace. Dona nobis pacem. From the Mass liturgy II. Beat! beat! drums! - blow! bugles! blow! Through the windows - through the doors - burst like a ruthless force, Into the solemn church, and scatter the congregation, Into the school where the scholar is studying; Leave not the bridegroom quiet- no happiness must he have now with his bride, Nor the peaceful farmer any peace, ploughing his field, or gathering in his grain, So fierce you whirr and pound you drums - so shrill you bugles blow. �Beat! Beat! Drums! - blow! bugles! blow! Over the traffic of cities - over the rumble of wheels in the streets; Are beds prepared for the sleepers at night in the houses? No sleepers must sleep in those beds, No bargainers' bargains by day- would they continue? Would the talkers be talking? Would the singer attempt to sing? Then rattle quicker, heavier drums -you bugles wilder blow. Beat! Beat! Drums! - blow! bugles! blow! Make nor parley - stop for no expostulation, Mind not the timid - mind not the weeper or prayer, Mind not the old man beseeching the young man, Let not the child's voice be heard, not the mother's entreaties, Make even the trestles to shake the dead where they lie awaiting the hearses, So strong you thump O terrible drums - so loud you bugles blow. Walt Whitman (1861) III Word over all, beautiful as the sky, Beautiful that war and all its deeds of carnage must in time be utterly lost, That the hands of the sisters Death and Night incessantly, softly, wash again and ever again, this soiled world; For my enemy is dead, a man divine as myself is dead, I look where he lies white-faced and still in the coffin - I draw near, Bend down and touch lightly with my lips the white face in the coffin. Walt Whitman (1865-66) IV The last sunbeam Lightly falls from the finished Sabbath, On the pavement here, and there beyond it is looking Down a new-made double grave. Lo, the moon ascending, Up from the east the silvery round moon, Beautiful over the house-tops, ghastly, phantom moon, Immense and silent moon. I see a sad procession, And I hear the sound of coming full-keyed bugles, All the channels of the city streets they're flooding As with voices and with tears. I hear the great drums pounding, And the small drums steady whirring, And every blow of the great convulsive drums Strikes me through and through. �For the son is brought with the father, In the foremost ranks of the fierce assault they fell , Two veterans, son and father, dropped together, And the double grave awaits them. Now nearer blow the bugles, And the drums strike more convulsive, And the daylight o'er the pavement quite has faded, And the strong dead-march enwraps me. In the eastern sky up-buoying, The sorrowful vast phantom moves illumined, 'Tis some mother's large transparent face, In heaven brighter growing. 0 strong dead-march you please me! 0 moon immense with your silvery face you soothe me! 0 my soldiers twain! 0 my veterans passing to burial! What I have I also give you. The moon gives you light, And the bugles and the drums give you music, And my heart, 0 my soldiers, my veterans, My heart gives you love. Walt Whitman V The Angel of Death has been abroad throughout the land; you may almost hear the beating of his wings. There is no one as of old ...... to sprinkle with blood the lintel and the two side-posts of our doors, that he may spare and pass on. John Bright Dona nobis pacem. Grant us peace. From the Mass Liturgy We looked for peace, but no good came; and for a time of health, and behold trouble! The snorting of his horses was heard from Dan; the whole land trembled at the sound of the neighing of his strong ones; for they are come, and have devoured the land ... and those that dwell therein ...The harvest is past, the summer is ended, and we are not saved ... Is there no balm in Gilead? Is there no physician there? Why then is not the health of the daughter of my people recovered? Jeremiah VIII: 15-22 �VI Oman greatly beloved, fear not, peace be unto thee, be strong, yea, he strong. Daniel X: 19 The glory of this latter house shall be greater than of the former ... and in this place will I give peace. Haggai II: 9 Nation shall not lift up a sword against nation, neither shall they learn war any more. And none shall make them afraid, neither shall the sword go through their land. Mercy and truth are met together; righteousness and peace have kissed each other. Truth shall spring out of the earth, and righteousness shall look down from heaven. Open to me the gates of righteousness, I will go into them. Let all the nations be gathered together, and let the people be assembled; and let them hear, and say, it is the truth. And it shall come, that I will gather all nations and tongues. And they shall come and see my glory. And I will set a sign among them and they shall declare my glory among the nations. For as the new heavens and the new earth, which I will make, shall remain before me, so shall your seed and your name remain for ever. Glory to God in the highest, and on earth peace, good-will toward men. Adapted from Micah, Leviticus, Psalms, Isaiah, and Luke Dona nobis pacem Grant us peace. �PROGRAM NOTES Despite being listed as Opus 65, Beethoven's concert aria Ah, Perfido is a product of a young artist still feeling his way in the world of composition . In 1796, the twenty-five-year old Beethoven, having left Bonn for Vienna ju t two years before, had established himself first as a brilliant solo pianist, and only secondarily as a composer. Beethoven had studied with both Haydn and Salieri, and was assiduously studying and copying the works of Mozart and other contemporaries in order to gain insight into fonn and the technique of writing for instruments and voices. It was during his first concert trip to Prague early in the year that he set the Metastasio text of Ah, Perfido for the soprano Josepha Dussek, using as his models Mozart's Bella mia fiamma (also composed for Dussek) and Haydn's Scena di Berenice (written the previous year). The work, originally entitled "An Italian Scene", is set as a recitative and aria. To reflect the high emotional tenor of the text, Beethoven employs no fewer than seven different tempi in the recitative. The tranquil aria in E-flat Major forms the middle section, after which the vocal fulminations extend through another seven increasingly demanding and virtuosic sections, culminating in a brilliant operatic conclusion. Anton Bruckner may be best remembered for his symphonic works, but his sacred choral works were a significant part of his overall output. His a cappella motets, in particular are treasured by choral music lovers for their rich text ures and renaissance spirit colored by the highly chromatic and complex harmonic developments of his Germanic contemporaries. His setting of Psalm 150, however, was never intended for religious use, and indeed its intimidating vocal demands and large orchestra carry it far beyond the nonnal worship setting. The work was commissioned originally as a celebratory occasional piece for the opening of a theatrical exhibition. The first performance in November of 1892 was apparently under-rehearsed, poorly executed, and badly received by the public and the critics who quickly labeled the work "impossible" and "unperformable" due to its extreme range and dynamic demands. The choral sopranos are required to sing no less than eleven high B-flats and at one point a sustained high C. Similar incredible demands are made on the tenor section. The chorus is freque ntly divided into eight or nine separate vocal parts. A highly chromatic fugal section near the end poses particular challenges and the string and wind parts are equally difficult. It remains one of the compos,er' s most brilliant and difficult choral/orchestral compositions. By the decade of the 1930' s, Ralph Vaughan Williams had achieved the stature of a leading elder statesman in English music. Even so, major changes in his compositional style were taking place which led to new and remarkable developments in his later compositions over the next decades until his death in 1958. The cantata Dona nobis pacem, completed in 1936, was created in an environment of the gathering political storm on the European continent. It is . less known than some of his other choral and vocal works, and certainly is less �familiar to modem audiences than its close cousin, the War Requiem of Vaughan Williams' younger compatriot, Benjamin Britten. Yet the work is a masterpiece in the relatively small repertoire of works written against war. Its liturgical title notwithstanding, Dona nobis pacem is not a religious work in the traditional sense. Vaughan Williams used the two lines of liturgical Latin text from the Mass as his beginning point (and eventually his point of return), but for the bulk of the work, the composer chose the words of one of his poetic idols, Walt Whitman, whose civil war era poetry collection "Drum Taps" contained insightful and lyrical observations of war and the horrors of war. The work opens with the liturgical cry for piece by the soprano soloist and chorus. Under the final measures of the opening movement, however, the distant rumbling of drums is heard, and an urgent bugle call introduces Whitman's "Beat! Beat! Drums" describing in graphic and apocalyptic terms a relentless and merciless march of death and destruction. No one is to be spared - not the worshiper or the scholar, not the young or the old. Brass and percussion increase in intensity to a terrible climax at the words "so strong you thump O terrible drums, so loud you bugles blow," and then fade into the distance as the strings carry the listener forward into the third movement. "Reconciliation" begins with a lyrical baritone solo "Word over all, beautiful as the sky, Beautiful that war and all its deeds of carnage must in time be utterly lost." The reconciliation is between two enemies, one now the "white face in the coffin", the other realizing this was "a man divine as myself." A brief recapitulation of the opening "Dona nobis pacem" carries the music into "The Dirge for Two Veterans." The blaring bugle calls and rattling drums of the second movement are transformed into a distant slow march. The "silvery round moon" looks down on the funeral procession for two veterans - son and father --who fell together in battle are to be buried in a double grave. Movement five begins with the baritone intoning a brief passage from a speech by John Bright, a nineteenth century English statesman and member of Parliament. Known as a brilliant and powerful orator, his reference to the Old Testament Passover story sets the stage for the biblical passages that follow. The Jeremiah passage that follows represents the pivotal moment in the cantata. "We looked for peace, but no good came .. .Is there no balm in Gilead? Is there no physician there?" The hopeless searching is answered finally by the baritone soloist at the beginning of the final movement proposing that peace; indeed, is the promise and hope, and the cantata ends with a choral fugue comprised of short passages from various Old Testament books, and ending with the only New Testament passage, the famous Luke 2 passage from the Christmas story, "Glory to God in the Highest, and on Earth, peace, good will toward men." Chorus and soprano soloist recap one final time the opening cry for peace, (Bruce Borton and Timothy Perry) "Dona nobis pacem." �University Chorus (continued) Tenor Bass 1 David Andrus Roy Bergstraser David Clark Dale Furman Araoye lbitoye H.B. King Dennis Leipold David W. Martin John Novak* Ed Schappert Mathew Varghese Judson Wallis Floyd R. West Paul White Sherry Williamson Frank Ammirata* * Ryan Bagg Eric Bare Anthony Biconish Daniel Gilbert James Hilton Michael Jabo, J.D. Daniel Keller Tom Lamphere Vitaliy Maystruk Edward J. Orosz Don Powell Alex Pullman Zach Rothman-Hicks Richard F. Schwartz *Chorus President **Chorus Treasurer Scott Singer Blake Sloane Timothy Wetherbee Bass2 Mark Epstein Harry Frederick Andy Grammer David Hanson J. Scott Husted Ario H. Meeker Craig Russell David L. Schriber Bob Sullivan Shaun Wilcox �Coming Events (Subject to Change) Thursday, April 24 - Mid-Day Concert with faculty and student performers l :20 P.M. - Casadesus Recital Hall - free Sunday, April 27 - Guest Organist: Todd Wilson - 4:00 p.m. - First Presbyterian Church, Chenango Street, Binghamton - $14 general public; $12 faculty/staff/seniors; $6 students Tuesday, April 29 - Piano Recital by students of Michael Salmirs - 8:00 p.m. - Casad.esus Recital Hall - free Thursday, May 1 - Jazz Mid-Day Concert with guitarist Dave Stryker - I :20 p.m. - Watters Theater - free Thursday, May 1 - Harpur Jazz Ensemble with guitarist Dave Stryker - 8:00 p.m. - Watters Theater - $8 general public; $6 faculty/staff/seniors; free for students Friday, May 2 - Flute Studio Recital - l 0:00 a.m. - Casadesus Recital Hall free Saturday, May 3 - Harpur Chorale and Women's Chorus - 3:00 p.m. Trinity Memorial Church, Binghamton - free Sunday, May 4 - University Wind Ensemble - 3:00 p.m. - Anderson Center Chamber Hall - free Tuesday, May 6 - University Percussion Ensemble - 8:00 p.m. - Watters Theater - free Thursday, May 8 - Student Recognition Mid-Day Concert - l :20 p.m. Casadesus Recital Hall - free Thursday, May 9 - Student Conductors' Concert featuring choral and instrumental groups - 8:00 p.m. - Anderson Center Chamber Hall - free Friday, May 9 - String Chamber Concert - 8:00 p.m. - Casadesus Recital Hall- free � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 0:57:59 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253388&change_lng=en&select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253388&change_lng=en&select_viewer=metsViewer</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Peace, praise, and perdition: works by Beethoven, Bruckner, and Vaughan Williams, April 12, 2003 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2003 4-12 Description An account of the resource Works of Beethoven, Bruckner, and William. Translations of works available in accompanying program. Held at 8:00 p.m., April 12, 2003, Anderson Concert Theater. Creator An entity primarily responsible for making the resource Burgess, Mary LeFebvre. Timothy Borton, Bruce Perry, Timothy Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 4/12/2003 Rights Information about rights held in and over the resource In copyright