72 10 1775 https://omeka.binghamton.edu/omeka/files/original/f4b03fd0cb14dc1067fb5058a8e82a9d.pdf 3ead3e8e44aa112f2eed672bc98ca92d PDF Text Text BINGHAMTON UNIVERSI TY MASTER'S RECITAL JULIAN WHITLEY , BA RITONE with Fr(a{;:yl, M ay 7, 2 o1 o 8:00 p.m. Casadesu s Recital Hall �PROGRAM Alexander's Feast. .............................. Georg Friedrich Händel Revenge, Timotheus cries!... behold a ghastly band ........ (1685-1759) from Liederkreis, Op. 39 .................. ...... Robert Schumann In der Fremde (1810-1856) Intermezzo Waldesgesprach Don Quichotte à Dulcinee .................................. Maurice Ravel . ·chanson romanesque (1875-1937) Chanson épique Chanson à boire - INTERMISSION - Three Songs ..... ..................................... Francesco Paolo Tosti Aprile (1858-1922) ldeale La Serenata A Shropshire Lad .................. ............ George Butterworth Loveliest of trees (1885-1916) When I was one and twenty Look not in my eyes Think no more, lad The lads in their hundreds Is my team ploughing? �PROGRAM Handel's choral piece was adapted by John Dryden's poem Alexander's Feast, or The Power of Music, written in 1697, which was in honor of St. Celilia, the patron saint of music, and allegedly the inventor of the pipe organ. Alexander's Feast received its premiere at the Covent Garden Theatre, London in February of 1736, just a month after it was composed . The work depicts a banquet given by Alexander the Great as a celebration for the capturing of the Persian city of Persepolis. The musician Timotheus, singing and playing his lyre for the banquet, is incited to burn the city to the ground in revenge for the slaying of his Greek soldiers. "Revenge, Timotheus cries!... Behold a ghastly band" Revenge, Timotheus Cries! See the furies arise! See the snakes that they rear, How they hiss in their hair! And the sparkles that flash in their eyes, Behold a ghastly band, Each a torch in his hand! These are Grecian ghosts, that in battle were slain, And unburied remain, inglorious on the plain! Schumann wrote his second Liederkreis cycle, Op. 39, a collection of 12 songs, based on a collection of poems by Romantic German poet and novelist, Joseph Freiherr von Eichendorff called "Intermezzo." Written in 1840, which is well documented as the "year of song" because of the outpouring of literature Schumann wrote in that year, Liederkreis does not follow a continuous story line in the vain of Schubert's "Die Schone M0llerin" or Schumann's own "Dichterliebe." Instead, they were tied together through their atmospheric descriptions of nature - a theme extremely close to German Romantic composers. "In der Fremde" (In the foreign land) From my homeland, behind the red lightning, the clouds come drifting in But father and mother are long since dead, Now one remembers me there. How soon, ah, how soon until the quiet time when I will also rest? And above me will rustle the lovely, lonely wood, And no one will remember me here. "Intermezzo" Your wonderfully blessed image, I have it in the depths of my heart, Gazing so joyously at me always. My heart silently sings within itself A beautiful, old song that soars into the air And quickly flies to you. �"Wa/desgespriich (Conversation in the woods) "It is already late, it is already cold, Why do you ride alone in the woods? The woods are large and you are alone, You beautiful bride! I will lead you here! 'The deceit and cunning of men is great, My heart is broken from pain There strays the forest horn here and there, Oh flee! Oh flee! You don't know who I am.' So richly adorned is horse and lady, So wondrously beautiful is the young body; Now I know you, God stand with me! You are witch, Loreley! You have recognized me from the high cliffs, My castle gazes silently deep into the Rhine. It is already late, it has become cold, You will never again come out of this forest! Don Quichotte à Dulcinee, written in 1932-33, was Maurice Ravel's last work before his death. It was originally written _with orchestra for a film based on the life of Miguel de Cervantes, the author of "Don Quixote", but was scrapped at the last minute for a setting of songs by Jacques lbert. The songs depict the Don's continued obsession and longing for his true love, Dulcinea, the woman he claims to be the purest and most beautiful in the world - and who also happens to be a figment of his imagination. In each song, the listener can see a vastly different image of the Don …but which is consistently tied to his obsession to his "lover." "Chanson romanesque" (Romanesque Song) If you were to tell me that the earth by its turning offended you, Speedily I would dispatch Panza: and you would see it motionless and silent. If you were to tell me that you are weary of the stars adorned in the sky, destroying the divine order, With one blow I would sweep them from the night. If you were to tell me that space, thus made empty, does not please you, God-like knight, lance in hand, I would stud the passing wind with stars. But, if you told me that my blood belongs more to me than to you, my Lady, I would pale beneath the reproach arid I would die, blessing you, 0 Dulcinea. "Chanson épique" (Epic Song) Good Saint Michael.who gives me liberty to see my lady and hear her, Good Saint Michael, who deigns to elect me to please her and protect her, Good Saint Michael, I pray you descend with Saint George upon the alter Of the Madonna of the blue mantel. With a beam from Heaven,· bless my sword and its equal in purity, and his equal in purity and his equal in piety as in modesty and chastity: my Lady. 0 great Saint George and Saint Michael, the angel that guides my watch.MY Sweet Lady, so much resembling you, Madonna of the blue mantel, Amen . �"Chanson à boire {Drinking song) A fig for the bastard, illustrious Lady! Who, to shame me in your sweet eyes Tells me that love and old wine Will bring misery to my heart, my soul! I drink to joy! Pleasure is the only aim, To which I go straight... When I am drunk! A fig for the jealous fool, dark-haired mistress Who moans, who cries and vows Ever to be this pallid lover, Who waters the wine of his intoxication! I drink to joy! F. Paolo Tosti, who studied music at the Conservatory of Naples in 1858, soon became one of the most prolific voice teachers in Italy and throughout Europe, teaching at the Conservatory until 1869. After moving to Rome, he was appointed the personal singing instructor for Queen Margherita of Italy and finally settled in London where he became the personal singing instructor for the royal family. He was knighted for these services in 1908. He composed many songs to English , Italian and French texts, and they became known as "parlor songs" for their charming nature and sweet texts. His songs became immensely popular with the greatest singers of his day and later generations. "ldeale" {Ideal) I followed you like a rainbow of peace Along the paths of the sky; I followed you like a friendly torch In the veil of the night. And I sensed you in the light, in the air In the perfume of the flowers And my lonely room was full of you and your beauty. Entranced by you and by the sound of your voice, I dreamed for a long time, And all earthly worry and torment I forgot in that dream, I forgot that day. Return, my ideal, come back for a moment And smile upon me again, And in your face, will shine for me, a new dawn. �"Aprile" (April) Do you not smell in the air the perfume of spring? Do you not hear in your soul the sound of a new flattering voice? It is April! It is the season of love! Ah, come, my dearest to the flowering meadow! Your feet will tread among violets, On your breast will rest roses and bluebells, And the snow-white butterflies with flutter about your black hair. It is April! It is the season of love! Ah, come, my dearest to the flowering meadow. It is April! "La Serenata" (Serenade) Fly, oh serenade! My beloved is alone, And with her lovely head lying back, is resting between her sheets, Oh, serenade, fly to her! The moon shines clearly, silence spreads its wings, And behind the veils of the dark alcove, the lamp is lit. Fly, oh serenade! Fly! Ah! Fly, oh serenade, my beloved is alone, But smiling and still half-asleep She returns between her sheets: Oh, serenade, fly to her! The wave dreams on the shore , and the wind in the branches, And my fair blonde lady still denies my kisses. The wave dreams on the shore, Fly, oh serenade, fly to her! Ah! George Butterworth's settings of these six songs, composed in 1911, were inspired by a cycle of 53 poems, also titled "A Shropshire Lad," by English poet A.E. Housman, whose poetry gained popularity a mong English · composers during the Second Boer War (1899-1902), between the British Empire and the two independent Boer republics (Dutch for farmer) of the South African Republic and the Orange Free State. The themes of transient youth, beauty, mortality and the parallels to nature made them strong candidates for song settings. Butterworth was a close friend of Ralph Vaughan Williams, who once claimed him to be the greatest English composer. He was killed at a young age during World War I and his "Shropshire Lad" has since been viewed as a strong reaction to young English men losing their lives to the horrors of warfare . "Loveliest of trees" Loveliest of trees, the cherry now, Is hung with bloom along the bow, And stands about the woodland ride, Wearing white for Eastertide. Now of my threescore years and ten, Twenty will not come again, And take from seventy springs a score, It only leaves me fifty more. And since to look at things in bloom, Fifty springs are little room , About the woodlands I will go To see the cherry hung with snow. �"When I was one-and-twenty" When I was one-and-twenty, I heard a wise man say, "Give crowns and pounds and guineas But not your heart away; Give pearls away and rubies, But keep your fancy free" But I was one-and-twenty, No use to talk to me. When I was one-and-twenty, I heard him say again, "The heart out of the bosom Was never given in vain; 'Tis paid with sighs a plenty And sold for endless rue ." And I am two-and-twenty, And oh, 'tis true, 'tis true. "Look not in my eyes" Look not in my eyes for fear, They mirror true the sight I see, And there you find your face too clear, And love it and be lost like me. One the long nights through must lie, Spent in star-defeated sighs, But why should you as well as I Perish? Gaze not in my eyes. A Grecian lad, as I hear tell, One that many loved in vain, Looked into a forest well, And never looked away again: There, when the turf in spring-time flowers, With downward eye and gazes sad , Stands amid the glancing showers, A jonquil, not a Grecian lad. "Think no more, lad" Think no more, lad; laugh, be jolly: Why should men make haste to die? Empty heads and tongues a-talking Make the rough road easy walking, And the feather pate of folly Bears the falling sky. Oh, 'tis jesting, dancing, drinking Spins the heavy world around. If young hearts were not so clever, Oh, they would be young for ever: Think no more; 'tis only thinking Lays lads underground. �"The lads in their hundreds" The lads in their hundreds to Ludlow come in for the fair, There's men from the barn and the forge and the mill and the fold, The lads for the girls and the lads for the liquor are there, And there with the rest are the lads that will never be old. There's chaps from town and the field and the till and the cart, And many to count are the stalwart, and many the brave, And many the handsome of face and the handsome of heart, , And few thatwill carry their looks or their truth to the grave. I wish one could know them I wish there were tokens to tell The fortunate fellows that now you can never discern; And then one could talk with them friendly and wish them farewell And watch them depart on the way that they will not return. But now you may stare as you like and there's nothing to scan And brushing your elbow unguessed-at and not to be told They carry back bright to the coiner the mintage of man, The lads that will die in their glory and never be old. �"Is my team ploughing?" "Is my team ploughing, That I was used to drive And hear the harness jingle, When I was man alive?" Ay, the horses trample, The harness jingles now; No change though you lie under The land you used to plough . "Is football playing Along the river shore, With lads to chase the leather, Now I stand up no more?" Ay, the ball is flying, The lads play heart and soul ; The goal stands up; the keeper Stands up to keep the goal. "Is my girl happy That I thought hard to leave, And has she tired of weeping As she lies down at eve?" Ay, she lies down lightly, She lies down not to weep: Your girl is well contented , Be still , my lad, and sleep. "Is my friend hearty, Now I am thin and pine And has he found to sleep in A better bed than mine?" Yes, lad, I lie easy, I lie as lads would choose; I cheer a dead man's sweetheart, Never ask me whose. �ABOUT THE PERFORMERS Julian Whitley, baritone, a native of Briarcliff Manor, NY, is pursuing his Master's degree in Opera from Binghamton University. He was most recently seen as Belcore in Tri-Cities Opera's production of L'Elisir d'amore and Marco in Gianni Schicchi. Mr. Whitley received his bachelors degree cum laude from the Purchase Conservatory of Music where he sang Stephano (Lee Hoiby's The Tempest), Seneca (L'incoranzione di Poppea), Bartolo (Le nozze di Figaro) and Balthazaar (Amahl and the Night Visitors) . Other recent credits from Tri-Cities Opera this past season include Sciarrone (Tosca), the Father (Hansel and Gretel) and Antonio (Le nozze di Figaro). Last season, Mr. Whitley sang Bob in The Old Maid and the Thief, Wagner (Faust), Melchior (Amahl and the Night Visitors) and Marullo (Rigoletto), all with TCO. Previous summer credits also include Morales (Carmen) and Marchese d'Obigny (La Traviata) with Opera of the Hamptons as well as his debut at the renowned Berkshire Theatre Festival, where he sang over fifty performances of the title role in Bernstein's Candide last summer. He has also appeared with the Eastman Opera Theatre as Elder Ott (Floyd's Susannah). Mr.Whitley sang on the premiere recording of Lee Hoiby's The Tempest, released last winter on Albany Records, and was praised for his "colorful characterization and clarion singing" (Opera News). He will be making his debuts with the Hubbard Hall Opera Theatre and the Dell'arte Opera Ensemble this summer, singing the Father in Hansel and Gretel and covering the Count in Le Nozze di Figaro, respectively. Mr. Whitley is a student of Timothy LeFebvre. William James Lawson coaches and accompanies singers at Binghamton University. As a coach, he specializes in English diction for the American and English art song, sacred music, and classical theater' repertoires. He studied at Binghamton University (B.A. 1980), where his teachers included Seymour Fink and Patricia Hanson in piano, M. Searle Wright in church music, and Stevenson Barrett in vocal coaching. He holds an M.A. from New York University (1984) and was one of the first graduates of New York University's innovative Department of Performance Studies, an interdisciplinary program in the performing arts. �UNIVERSITY KG Public Broadcasting �Binghamton University Music Department's UPCOMI NG EVENTS The Binghamton University Department of Music is proud to ·present its 2010-2011 season concerts. The Department of Music presents over 100 concerts (most of which are free) from solo recitals to orchestra concerts to jazz presentations which include a variety of performances by guest, faculty and student artists. For a complete list of our concerts and more, visit us at music.binghamton.edu. AUGUST2010 Summer Youth Musical Theater Workshop presents Titanic SEPTEMBER 2010 Jonathan Biggers, organ OCTOBER 2010 Reunion Recital with Marietta Simpson, mezzo-soprano University Symphony Orchestra's Children's Concert: All Creatures Viola Plus with Roberta Crawford Guest Organists: Michael Bauer & Marie Rubis f NOVEMBER 2010 University Chorus Jonathan Biggers, organ Czech Vocal Music: Mary Burgess, soprano, Timothy LeFebvre, baritone, and guest artist Timothy Cheek, piano DECEMBER 2010 University Symphony Orchestra: All-American Program Harpur Jazz Ensemble with guest artist FEBRUARY 2011 Faculty Recital: Timothy LeFebvre, baritone and Michael Salmirs, piano University Symphony Orchestra Jonathan Biggers, organ APRIL 2011 Harpur Jazz Ensemble with guest artist Jonathan Biggers, organ Pianist Michael Salmirs presents a Chopin & ,Schumann 200th Birthday Celebration MAY2011 University Chorus with the University Symphony Orchestra present Choral Masterworks: Roman Maciejewski: Requiem, Book 1; Poulenc: Gloria � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 47:48:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145181">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145181</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Master's recital, Julian Whitley, baritone, May 7, 2010 Recital Tape 2010-5-7 Description An account of the resource Works by Händel, Schumann, Ravel, Tosti, Paolo, Butterworth. Held at 8:00 p.m., May 7, 2010, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Whitley, Julian Lawson, William James Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2010-05-07 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/2bd7c1e1ae48d6a50d78534cbf81c50f.pdf 5227e5d933350ff97431d81b5ceb5dc0 PDF Text Text BINGHAMTON U  N  I  V  E  R  S  l  T  Y S T A T E   U N I V E R S I T Y  O F   NE W  Y O R K E S   ”4/50 D E P A R T M E N T B r i a n a  Salcamolo, s o p ra n o S e n i o r  HOHOI‘S Decital with William James Lawson, planlsl Salunlag, March 20, 2010 at 8 pm Casadesus H a l l �P rog r a m rm  Earyl ltalian Slug. and  Airs, VJ!  o Selections f L  l  Rontani)  1. Se bel rio (Raffaeo 2. Selve, wi che le speranze (attributed to Salvator Rosa) m Honda. a revrrsens h (1860­1932) 4. Apra il ma  verde lean (Paolo Quagliati) i ns lrom Myrthen [Myetles), Op. 25  l cto IL. See reesrrmmsrssmonsoness Robert Schumann 1. Widmung, nix­l  (1810­1856) 2 .  Jemand, no. 4   ie  Lotosblume, na. 7 3.D 4 .  N iemand, no. 2 2 l en Rosen . no .25 n oscith e 5 . Aus d 6. Zum Schluss, an. 26 .  eis . old td me III. Selce al (Trois Pocmes de Louise de Vilmorin, no . }2 1 . Au­de 9. Cimetiere ( (Ging Poemes de Max Jacob, no. 2) elnc .. Francis Pou (1899­1963) 3. Hotel ( Banalités, no. 2) e  l’amour i s d 4. Les chemn trmsisoin Ine m...    alaried longs .  .  iv. S 1. Slugging a Vampire  2. Canon l Clinics Ives (1874­1954) 3 .  Serenilg   wo Little Flowers (and dedicated lb them) 4.T 5. A4  Parting rl) v  Free Wod te Peopels’ Ne tig lo: h r (Fgihn r  Thee 6 .lug Ae V. Salaried songs    m — _ – ~ — _ m _ — _ — _ S h p l l m FMl’zr 1.  A L! May the red rose live alway!  2 .Gonna  urn  al ngiht (or Ill: Campolwn Races) (1826– 1864) �About the Music Around the turn o f  the 20th century, Pietro Floridia realized the figured  bass accompaniments a t several 17% century Early Italian Art Songs and Airs.  Flocidia felt that these songs exemplified “the fluidity and harmonious character of the Italian language,” but suffered from “melodic decadence” and outmoded accompaniments.  He took grmt creative license with several arrangements, shedding a romantic light upon the original melodies.  Flosidia revered the original composers, though he felt they fell victim to the conventions of their times.  He hoped for his versions of their songs to be seen as collaborations, not appropriations.  Some latcr musicologists and critics called Floridia’s work extreme and florid, even “licentious.”  Presently, most o f  Floridia’s music has fallen by the wayside, due in large part  to the disdain o f  current editors and scholars.  But Floridia said that he strove to please his own sensibilities, unconcemed with “musical erudition.”  Though his songs are perhaps musicologically  “incorrect,”  we  find  them  very  winning.  Tonight’s  selections  progress  from Floridia’s simpler style to his more infamous expansiveness.  Se bel rio, with its broad melodic line, playful  meter  changes  and  quirky  rhythmic  energy,  shows  the  “modem  sense”  o f   melodic expressivity,  “bold...rlaring spirit” with  “a  touch of humor”  that  Floridia  admired  in  Rontani’s compositions.  This song dedares that the world “smiles” by making beautiful things in  nature, and yet the beauty o f  all the smiling world cannot compare with the most gracious smile o f  the speaker’s beloved.  In Selve, voi c h e  le speranze, the poet seeks solace in the woods, as though they are “rooms” full o f  h ope.  The melancholy yet hopeful melody is supported by a simple accompaniment that evokes both the quiet comfort o t  “blessed hours” in the woods, and the speaker’s pensiveness. The speaker ol’A morire is Mary Stuart, Queen of Scots. Brought up in France. where her artistic and academic talents flourished, Mary developed little political savvy.  Her first husband died, and her  second  and  third  betrayed  her.  Many  Catholics  believed  Mary  was  the  true  sovereign  of Elizabeth I’s throne.  Mary became part of three plots to assassinate Elizabeth 1, her cousin, who in turn, put Mary in captivity for nearly twenty years until  finally having her beheaded  for treason. Reportedly, Mary made the most a t  her unpnsosuncnt, and faced her excruciating death with great dignity.  Here she laments that her crown can no longer protrct her, but she takes consolation in the fact that she lived for her ideals, despite her mistakes.  Carissimi’s original cantata has a much longer text, and  showcases  florid vocalism over sparse  sccosuparnmcut.  Floridia expands upon a small excerpt of the original cantata. With a considerably slower tempo, and a weightier, more complex accompaniment, he delves deeper into this particular dramatic moment.  Aprn il nun verde s e n o celebrates  dawn, spring,  and  the  hyacinth  flower  (a  symbol  of both  playfulness  and  sorrowful nostalgia).  Floridia’s accompaniment creates musical tableaus to conjure the images of each verse: The first tall chiming chords evoke the freshness o f  spring fields and n ew  flowers, like the emerging rose.  The second verse’s undulating arpeggios emulate the fl ow  o f  water and breezes.  The trllls and rolled chords of the third verse mimic birds singing and fluttering.  In the spirit o f  the arranger, l have taken liberty in my interpretation o f  these songs, imagining Mary Smart as the speaker of each piece – first, as a young girl studying arts and letters, falling in love, then in captivity, wishing for freedom and hope, then facing death, and finally, unnsfigured after life into a spirit of the spring. Many of Robert Schumann’s songs were inspired by the love of his life, Clara Wieck Schumatul, a musiml genius in her own light.  Her father, Friedrich Wieck, was Robert’s teacher, and though fond of his pupil, obiected strongly to Clara and Robert’s relationship.  Wieck made their courtship as difficult as possible and, in a lengthy legal battle, tried to prevent their marriage.  Robert’s Opus 25, Mjyrthen,  was  a  wedding gift  for Clara,  much  o f  it  written  while  the  couple awaited  the  court’s permission tor the marriage.  The eponymous myrtles are bunches of star shaped flowers that srgntu love and peace.  Indeed, the songs are like a bouquet tor the bride, some dark, some light, some grand, some simple, all given with devotion.  Some seem to be directly written from Robert to Clara, while others depict scenes ot‘ imagined characters singing of their beloveds.  Probably Schumann’s facility for creating characters, as in his famous “Davidsbund” (a group o f  imaginary music critics, all representative  of different  sides  of Schumann’s  own  opinions),  his  ability  to  envision  himself partitioned into  many different people contributed  to his  creativity and  to his  madness.  Yet  in Myrthen  it  only helps  to show the many colors of his great  love  for his wife.  Our group is  a microcosm of the cycle, following the order a t  the opus.  The first and last pieces of the opus, the “Lieder der Braut” (“bride’s songs"), are the first and last o f  rhis group, beginning with Widmung, a “Dedication” t o  the speakers love, his everything, “soul... heart... ecstasy... pant,” etc. A n  example o f Schumann’s masterful ability to marry musical and textual poetry: when the speaker calls his love “a grave” for his “sorrows,” the music alliannonically transforms into a lower key, ready for the text that describes  the beloved as “rest” and “peace.” At the very moment  the speaker says  that his beloved raises him above himself, the music rises back to the original key.  Jemand is based on a Scots dialect Robert Burns poem.! It is the sort of song an ebullient young girl would sing about her secret “crush.”  (Perhaps the character for this song was modeled after young Clara, who was sixteen when her romance with  Robert began.)  Her heart is, as Burns wrote, “sair,” o r  sore as though wounded by cupid’s arrow:  Gerhardt’s choice o f  the German word “betriibt,” for “sair,” cmmotes cloudiness, storminess in  the heart.  The speaker declares her love for “someone” she cannot name, and revels in her secret.  The erratic nature of the love­struck heart manifests in quick changes in key, meter and tempo.  Suddenly serious, the speaker sends good wishes to her love from afar, then, inst as suddenly, returns t o  gleeful celebration o f  h er secret.  T h e  sensual D i e  L otosblume descnhes the lotus tlower and the moon as lovers who meet when night falls.  The tender unfolding of the text mirrors the unfolding of the lotus in her lover’s light.  The speaker o f  Nier’nartdz (the companion to “Jemand”) is a gruff and “jolly card” who defies the world, not to be bothered, es  ‘  y in his marriage.  One imagines that Schumann felt especially close to the speaker of Aus den ballichcn Rosen, who sends good wishes to his love from afar, greetings like the “fragrance of roses” and “spring’s caress.”  This poem, like “Jemand,” speaks of the heart’s storms, but those of a “joyless man” who hopes the darkness in his heart will not “touch” his beloved “ungainly.”  Z u m  schluss dislills the same basic chord structure and melodic ideas of “Widmuug.”  If the opening of the opus is an ecstatic declaration of love, the conclusion is a solemn vow of love, the quiet devotion that lay a t  the root o f  all  o f  love’s other expressions.  The speaker says that in this flawed world he has “woven an imperfect wreath” for his bride, the best he can do, and promises that when he and she are  received  in  heaven, love  itself  will  weave  them a  “perfect  wreath,” a sentiment made  more poignant in retrospect, as Robert died forty years before Clara.  Schumann wrote to his bride, “While 1 was composing [these songs] I was quite lost in thoughts o f  you. If  I were not engaged t o  such a girl I could not write such music.” At an eady age, Francis Pmllenc was struck by the beauty o f  German lieder, a genre that would have a profound influence upon his hundreds of mélodies.  H e  knew from his early teens that he was a composer,  but  his  father discouraged  him  from  pursuing a  music  career, insisting he  focus o n academics.  l’oulenc developed his musical talents o n  his ow n  until later i n  his life, when he received formal  training in  conlposifioth  The “rough edges” (such as  “wrong­note” dissonances)  of his ‘ “My heart is sa i”   2“Naebody™ My  heart is sair, 1 daurna tell, 1 hae a wife o’ m y  a m. For the sake o’ somebody. I’l gie Cuckold to naebody. ­ My heart ts saic for somebody, I could wake a wmtsr’r night, O h ,  h on!  for somebody! 1 could range the world around For the sake o’ somebody. Ye powers that smile o n  victuous love,  Oh! sweetly smile on somebody; Ftsr ilka danger keep him free, And send me safe my somebody. Oh, hon!  for somebody! l wad dae what wad l no? For the sake o’ s omebody. I’ll partake wi’ mebody; ru tak Cuckold fae nane, I hae a penay to spend, There, thanks to nacbody; 1 hac nacthing to lend, I’ll borrow frae naebody. ­ l am nacbody’s lord, I ’ ll  be slsrr to nacbody; 1 hae a gude braid sword, I’ll  take dunts frac nacbody. ­ I’l be merry and free, I’ll b e  sad for nacbody; Naebody cates for me, l cate for usebody. ­ �music, perhaps attributable in part to his self­taught style, brought criticism and admiration.  Eady on, some critics suggested that Poulenc’s accessible, even catchy, music did not befit  a “serious composer,” as though accessibility and sophistication are mutually exclusive qualities!  It seems, on the  contrary,  that  some  o f  Poulenc’s  greatest  genius  lay  in  his  ability  to  mix  complexity  and intelligence with a vernacular, popular flair.  The content of Poulenc’s music was informed by a lite full o f  contradictions.  Poulenc was openly homosexual from his early twenties, yet he remained a pious Catholic, had romantic relationships with several women, and had a daughter.  He spent much of his life touring, living in hotels.  He greatly enioyed his work, especially his collaborations with singers, yet he was so lonely in this vagabond existence.  All his life he suffered manic­depressive cycles.  Appropnately, Poulenc’s music takes o n  dramatically different characters and atmospheres, portraying  extreme  moods,  ranging  between  grave  seriousness  and  terrific  flights  of whimsy. Tonight’ s group samples some of the many sides of this composer.  Most of Poulenc’s songs, and all those on tonight’s program, were dedicated to singers and friends with whom he worked, written with particular voices and personalities in mind.  The enigmatic text o f  Au­dela concerns the act of “choosing in the hour of pleasure,” and says that, “to choose is not to betray,” in a romantic game so fragile it could be destroyed by “a breath.”  These things considered, it is easy to think of Poulenc’s own sexual  ambiguity,  yet  the  piece  approaches  the  topic  in  a saucy,  lighthearted  manner.  A constant, speedy pulsation underlies a melody that runs into and out of the home key, evoking the lusty fluctuations of the game described.  The text suggests the vitalness of play, which we might surmise was especially immediate tor Poulenc, considering the intensity of his inner lite.  The song was written to Marie­Blanche de Polignac, who premiered many of Poulenc’s songs in her home, and in whom Poulenc confided his difficulty coping with soliulde and anxiety. Cimetiére (dedicated to Madeleine  Vhita)  is  full  of wistful  romance.  It  speaks  o f  innocence,  yet  laments  the  loss  of innocence.  It is hopeful yet foreboding, slipping between major and minor keys.  The first motive the piano plays on its own is a hopeful, major, ascending phrase.  This is restated at the end of the piece, in a strange minor, as if questioning its earlier optimism, with the added troubling presence of two dry staccato tones near the lowest end of the keyboard.  Hétel (dedicated to Marthe Bosredon) contains similar contradictions.  The first line compares the hotel room to “a cage,” reiniu  '  one of  Poulenc’s  depression.  Yet,  the  song  is  to  be  sung “lazily,”  and  passes  as  fleetingly  and nonclnalanlly as a puff of smoke from the speaker’s cigarette.  The opening chords, radiant, vastly­ spaced  blocks  of tone, evoke the sun’s “arms” stretching through  the window panes.  The last chords, suddenly settled, suggest the pleasure of taking a much­desired mouthful o f  s moke to escape dreary mundanity and work.  Perhaps the song allows us to glimpse a t private moment in the life of the composer.  Les Chemins tie I’ A mour was written for Yvonne Printemps, a glamorous stadet o f operetta  and  film, named  for her  perennially bright disposition.  Printetups  performed  into  her sixties, and lived a lavish, sexually adventurous life.  The song is fittingly optimistic despite some of its text, full of longing for the past, as in “Cimitiére.”  It finds icy in nostalgia, even in sorrow, and celebrates the experience of love, even love that has “flown.”  Poulenc took special care to consider the intrinsic music of texts.  H e  would pore over a poem before setting it, and o n  November 7, 1939, wrote “ I f I  were a singing teacher I would insist on my pupils reading the poems attentively before working at songs.”  Yet, “Above all,” he said, “d o  not analyze my music­ Love it!” Charles E. Ives grew up in a middle­class Connecticut town.  His father, George Ives, was Chades’ first music teacher and mentor in composition, encouraging and inspiring Ives’ remarkably modem ear and sonic experimentalism, though he discouraged his son fi'orn attempting to support himself solely with a  career  in  music.  In addition  t o  composing  prolifically,  Ives  became a  successful insurance salesman.  Though he produced revolutionary and now highly revered music, Ives gained no fame as a composer until after his death.  He grew up loving the music o f  ordinary  people in church or in town hands, “They didn’t always play right and together and it was as good either way.” His music is sometimes deliberately unpolished. For a short time, Ives took singing lessons with a teacher who had him practice speaking the lyrics of songs, and then sing them according to spoken inflection.  This greatly  informed  Ives’ voml writing, illuminating  the  ties  between  speech  and melody.  Ives’ songs incorporate modernism (on par with that of Stravinsky’s ilk) with the influence o f  traditional American music (like that o f  Stephen Foster).  Ives merges the fiercely intellectual with the spontaneous and visceral, the sublime with the everyday.  Slugging a Vampire is an abstruse iab at yellow iout’nalism, a great example o f  Ives’ intensity and sense of humor.  Its odd intervals and rhythms capture the raucous fisttight it describes.  Ives wrote that it should be performed “as fast and hard as possible.”  Canon I is, indeed, a canon between voice and  piano, with  the melody starting in the voice. and echoed in the piano.  The sprightly triple time, animated melody, and sharp contrasts of legato and staccato articulation show the speaker’s effusive, effulgent admiration for his beloved.  The “unison  chant,”  Serenity, harkens  back  to some of Ives’ earliest  compositional experiments,  church  music  with  untraditional  accompaniments  and  voice  leadings.  Switching between meters and divisions o f  the beat into twos and threes, the voice seems to float freely over the steady piano part.  The accompaniment rocks back and forth between two mysteriously serene tall tertiau chords, and on the final phrases ofllie chant’s two sections becomes suddenly traditional, quoting a Samuel Sebastian Wesley hymn setting, until the last word of each section, where it returns to the two­chord alternation.  The vocal part of Tw o  Little Flowers floats in a similarway.  The text is  set in  four, while  the phrases o f  the piano drift in and out of the meter, achieving a dreamy interplay between singer and accompanist.  The “two little flowers” that surpass all the others are Ives’ daughter, Edith, and her friend Susanna.  The poem is by Ives himself and his wife, Hammny, who wrote many song texts for her husband.  The folksy verse of At Parting frames a more urgent, operatic middle section.  In valedirtion, the speaker confides that the rose shegives to her beloved represents all herlove, that the toseis not iust a msqbutherveryhurl.  ThcyAreTheteisaprime example of Ives’ rough, text­driven style.  It is a wild patchwork quilt o f  quotations from patriotic songs such as “Tenting Tonight” and “The Bartle Cry of Freedom,” that parodies patriotism while espousing a radically patriotic ideal oft’reedom.  Ives said, it “is not a song for pretty voices—ifthe words are  yelled out, regardless—so much the better.”  He recorded himself singing  the  song, accompanying himself o n  piano, indeed, yelling out the words, disregarding many notes and rhythms he so specifically notated, intrriecting extemporaneous exclamations. Forty­eight years betore Ives came into the world, Stephen Foster was born to another middle­class American  family, in  Lawrenceville, Pennsylvania  (now  part  of Pittsburgh).  Though  Foster was always  musically  inclined,  his  father  pressured  him  to go into  a  more  financially stable  career. Stephen attended, detested, and dropped out of several schools before entering the family business. He eventually received formal training in composition.  Ultimately deciding to devote his life entirely to music, he composed over 200 published songs over the course of about 20 years, many of which are now mistaken for folk songs.  Foster’s idiom, so quintessentially American, brilliantly simple and earnest, had a  profound influence o n  later  American  composers like  Ives, Copland  and Rorem. Foster also paved the way for the likes of the Guthsies, Dylan and Baez, with socially conscious, folk­style songs like, “Hard Times Come Again N o  More,”  Perhaps a subtler example o f  the same category, Ahl May the Red Rose Live Alwayl meditates upon beauty and innocence, lamenting their ephemerality and vulnerability, and wishing they could endure.  It seems an especially poignant piece considering the cotltposer’s short, tragic life:  Foster had a tumultuous, unhappy marriage and became an alcoholic (like his father), falling deep into debt, his success waning, though he continued composing all his life.  He died in a New York City boarding house, possessing less than forty cents, and a scrap o f  paper on which he had written, “Dear friends and gentle hearts” and nothing more. We’ll end in happier commemoration o f  Foster’s great spirit with The Camptown Races, one of many songs he wrote for minstrel singers.  Though one might never guess it, Fosters lofty aim in such  songs  was  to gain  sympathy  for  slaves,  endeavoring  to give  them  less  crass  lyrics  than traditionally written for them, and music that would move the audience to compassion, even through humor.  While “The Camptown Races” was originally written in a minstrel dialect (as printed in the Texts and Translations section), we’ll perform it i n  standard contemporary English. As I  studied the music  o f  tonight’s program, I  was struck  by the different  forms o f  subversion contained in each group:  Floridia’s assumption of the right to collaborate with dead composers, Schumann’s ode to his forbidden love, Poulenc’s defiance against categorization, Ives’ simultaneous homage to and upending o f  established musical forms and associations, Foster’s hope to transcend societal  “givens”  through  the  use  of popular  music.  I  also  became interested  in  the  rose  as  a  gni at  least  once  in  each  group,  signifying  similar  ideas  throughout  the recurrent  motif,  aj  program, especially cycles of love, hope, loss and rebirth.  As I selected this repertory it seemed to emerge as the emblem of the evening.  I also like the idea of giving songs, like roses, to an audience as a simple yet deeply felt gesture of love.  So.  l hope you like it!  Peace! �Texts and Translalions L 1 .  Se bel rio Text: Anonymous   be l rio, she/MM. Iml’rrhrta S e Salmfinmmnmnderw Sedifiorinpmtllelhtifi bello, i  n i r fi n h m n ’ r k h l m Srgibmmfmumfigflflfiug‘ gfi l’mel’aflu un  aureo velo, Emnkfiqyfimminsim, Noitfidaudenfltildrh If a fair brook I i a  fair brook, iia t’airbteeze. Should murmur this morning; It’a meadow adorns itself in flowers, Then we say: the earth is laughing. If ever upon scarlet flowers, if upon lilies The dawn places golden veils, And whirls on her wheel ot’sappltixey Then we say that the sky is laughing. Fa r t ­ 1 1 1 m m . l e, voi, che le speranze 2. Sev Forests, you who hold Selve, voi, live le speranzy Al gioir liete serbate Bil/timer siete le stanze, The hope of rejoicing gladly, You are rooms of pleasure Text: Anonymous Oleparmrdeg‘ia I’m! beate. Forests, you who hold Where I must g o  t o  pass blessed hours. 3. A morire Terr. Anonymous Todie A nor­ire. n morire! Per Mbarg’mfiqa ¢ fede, pis non valgon [e corone T o d  ie, to die! To preserve justice and faith, crowns have no more value, Yet, even though I remain powerless my constancy pours out elixir Over my heart! To  die, to die! Che sebbene in resto esangue tnza al moi cor l consa a mesce elisire! .4 morire, a morire! 4. Apna il suo Verde seno Tex  Anonymous April il suo verde seno Ogni brlpmm ameno, Lieta ¢ vexzosa Esce la rosa, Spiri ogm'fiar! Aure d’amore, A salutare accinto Nova Ninfa di­lnor, Nam Giacinto. l in: raghi 1pm“ augelli, You, pretty little dappled birds, Nel verde prato I age ed adorno, In the green meadow With winged song You awaken the beautiful day And adonl it, Novella Aumm. The new nymph of love The new dawn. Ae urodoraet, Orv’amwdak It’s really true; when it is happy, the world laughs, Heaven laughs when it is joyous; It’s really true: but they don’t  know, as you do, How to smile so dearly. Benénnqmbigimudaridr i/mdo. Mildrlqwnda ? gioioso; Befllmr mawflwpoimmwi. NmXiqbdb­lmr Etadall’n­dt. From the highest mountains Flow clear and crystal fountains, Fragrant breezes, Now join With the munnuring Of the clear waters, Now that, mid flowers and willows A new nymph of love Rises from the waves. Cam­dvgfiuln’mfi Cbhinimlfitfonfi. Open your green heart Open your green heart Every pretty, serene meadow, Happy and charming The rose emerges, Every flower exhales Breezes of love, To send welcome around A new nymph ot’love, The new hyacinth flower. Col  mormorare Drll’atqurbiar, r che  trufim’tfimdr  O Amorosetti ¢ snells, C a l c anto alato Destate il goirno Ordrgid spam/mm NORA  Ninfa 414mm Amorously charming and agile, NOW  that already springs forth �ll. 1. Widmung Text: Friedrich Rficken Dedication DHmcineSetle,dlt~ailHfl§ D in ­ r i m  W m l a m n e i n j m Du meine Welt, inlet/kt“! N i k k i ­ [ M I A M M M OhmebJ­vdutb'nab m u m m y You my soul, you my heart, You my ecstasy, oh you my pain, You my wodd, in which I live, My heaven you, through which 1 soar, Oh you my grave, down into which I have forever buried my sorrows! Dnbifldl’eRflbldrbfitdtrFfidu. Dnl’irfml'finuluirbacbkdm. You are rest, you are peace, You have been granted to me from heaven; anB/ itkbatuidmruiru’flfif, Dfihbdm’dfiebfldflbrrnicb, illdnmrcebh m’nbwmkb! Your gaze has transfigured me  in my  own eyes, Dnudnfnlc. J a m i ­ [ m  (etc) You my soul, yoru my heart, (etc.) 2. Jemand Adapted text: Wilhelm Gerhard Someone Mein Herz, ist BETRIIBT, ich sq’m NCI HT,   Jemand; m Mein Her, ist behfilli u [lb keimnte wachen dei lingste Nacht,   U r i e l / m m ” wnjzmnd O Wonne wajmmi’ o Himmel  mnjmmnd’ Durchstreifen kinnt’ id) dei ganze Welt, Aus Lilie zu Jemand. Tbr Michte, die ilmier Lid» hold,  uf Jemand, 0 lichelt  rfeundcilh a That you love me, gives me self­worth, You have, by loving, raised me above myself, My good spidt, my better sell! My heart is distressed, I dare not say why. My heart is distressed over someone; 1 could stay awake the longest night, And ever dream o f  someone. Oh ecstasy o f  someone! Oh heaven of someone! I could roam the whole world, Out of love for someone, You powers, you who protect love, Oh smile friendily on someone, Protect him, where danger threatens him, Give safe passage to someone; Oh ecstasy for someone, oh heaven for someone, 4. Niemand Adapted text: Wilhelm Gerhardt Ich hab’ meni W’n’b allein, Und teil es, traun, mit niemand; f  sein, b NICHT Habnre wil o Zum  Habnrei mach’ id; niemand. Ein Sackehen Goldi'flnm’n. obody I have my wife, I alone, And swear it, share with nobody; No  cuckold will I be, And I will make a cuckold of nobody. thtwab’kbamh‘bu. A little sack OI’GDld is mine, But for it 1 thank nobody; I have both] lg to lend, l i t h ' nd c b l m de e m [ fl / " W M “ And subservient to nobody; w m m ’ n m m U nd b r ‘ g n n l I – i r l ‘ m a nd And  I borrow from nobody. I a m  n o t  anyone’s master, MM–kbnrm’e–ud But my blade stabs sharply, 1 fear nobody. Kauz, bin  id. IH  mti niemand: RC ANGES KEOiPnFHl ust’ger  Mopy  whti nobody; So scher’ ich mich um niemand. So, then, 1 care about nobody. 5 . Aus den 8stlichen Rosen From the easterly rose MuduKli­gemlbl‘ Schiert  niemand sich um  mich, Tex: Friedrich Riicken Ich sende einen Gnu: wei  Duft  der  Rosen, lab send’ ibn an  ein  Rosenangesicht. Ich sende einen Gruss wti  Friiblingskosen, Ich send’ [bu an ein Aug’ voll Friiblingslicht. A iolly card am I, If nobody cares about me, I send a greeting like the scent o f  t he rose, I send it to a msy face. I send a greeting like spring’s caress, I send it to an eye full of spu’ng’s light. Am  Schmerzenstirmen, dei meni  Hug durchtosen, Out of the painful longing storming through my heart, Sud‘kb den Hauch, dich unsanft mbr’ern‘ttd Wenn  daydukal an  den  Freudelosen, J a M h H M m N W I M I send this breath, may it not touch you ungently! W’henyoudtinltupondmisioylessmnn, It makes the heavens light u p  my night. Iwould,lmxld,wlutwouldlnotdo 6. Zum Schluss In conclusion 3. Die Lotosblume Text: Heinrich Heine The Lotus Blossom Hier i n d iesen erdbelelommmen Liz/Pu. Here in  this earth­oppressed air, Dkumbhumgm‘gr Sich m der I o u m t b r The lotus flower is anxious Before the sun’s splendor Hflb’irb dirdu u nvolllommnen Kmq‘gg/bd’m. Schwester Braut! For you I have woven an imperfect E m m l r i l fl fl u m d d ie N a t b l . She dreamingly awaits the night. Beschirmet Eb».  no Gefabren drub’n; G a m m a “Je mand.   O I r m a – f w d . oHi­pmldmjmnd Teh  wale), id: wolte, was  wal’ ich ncih? Fir meinen Jemand! uunitgmuka­Innpn Er  weckt  sie mit seinem Licht, For my someone! And with lowered head The moon, who is her lover, H e  wakes her with his light, Uud ibu entschlesert xitfizmdficb lmengesciht, r rofmmes  Bu b  T And to him she sweetly unveils Her devoted flower face, Sie HAW und glibt und leuchtet She blooms and glows and shines And gazes silently upward; Und starret stumm in  die HJII'; Sit duftet und weinet und  zittert 1 ‘w Deb: und  Liebesweb. She emits fragrance and weeps and trembles For love and love’s pain Text: Friedrich Ruckert   die Webmuth thud. o w fenommen, rben aug Wenn uns, do tegen schant, Gottes Sonn’  eng Win! die Liebe, den rolllommnen Kranz, uns  flechten, Schwester Braut! where melancholy drops like dew, garland, sister bride! When we are welcomed above, God‘s sun shining upon us, Love will weave a perfect garland for us, sister bride! �IIL 1. Au­dela To beyond I i i – d r u i d  Au­dela! Water of life! T o  beyond! Ala­"am Choisir [ubatircdmlfl jeaboirirmlm­b’ grandam/am rire, D’tm doigt  de­<i, de­la, Canmujiu’tpwritfim QMm/w’lpaun’rfin, IImpar­aLM­fi. quflj'ouldidiu: j’m’flbknujmfi jammy­«u a’u  derni su Juq Qfl'lr’mfi'fdhfifl'fl Jflqflhww At the hour of pleasure, To  choose is not to betray, I choose that one. 1 choose that one, Who knows how to make me laugh, W’tth a finger here and there, As one does to write. Asonedoestowrite, Hegoes daismy, that way, Widaommeduingto u y t o  him: Ireallylikelhisgame. I really like this game, That but a breath could end, Up until the last breath 1 choose this g a me . Eau de  vie!  Au­dela! (et.) Water of  lite!  To  beyond! (etc.) 2. Cimetiére Cemetery Simmdflwulwbamz wdmtiénmumm mnblandxanw rouge. If you chase away my sailor, in the cemetery you will put me, white rose and red rose. m u n / w i t h ,  m agenbhm‘x. ltdbluwblmirrg, like a garden, red and white, On Sundays you will go, 34a tombe, elle es t comme  un  jardin, V a n i s h ­ { m u m My grave, it is like a garden, Yo u  will g o a  nd take walks, 3. Hotel Hotel Aladmfihtflhfivmd’mnmy My room has the shape of a cage The sun reaches his arm through the window but I who want to smoke   L a w / m m bmparhjmim muqumfim M f u i nd u – i l q u j h l l n m n a fi nd u fi fl r m t g m m jimmvpnflmi/lfrjtmmfnm To make mirages, 1 light my cigarette on the sun’s fire I d o n’t  wa n t  t o  w o rk  – I wa n t  t o  s moke. 4. Les chemins de l’amour The paths of love L a rb f n i u q d w n rd h m The padts that go to the sea Have kept from our passage Defoliated flowers and the echo under their trees ot’our two clear laughs. Alas! O f  the days ol’happiness, Ont‘gmic’dtmpam‘p Dnflumqfilallfir diMm/wfia’l’m dcwdmrrimdairr Hi h d t k t j on nd f b w b e u jfm’unummm­r Immdan­tmrwlr. Chemins de mon amour Je  vous dmrbl toujours C b m u p n d u  vous 1 Warp/w sont sounds   E t vos echos  The radiant joy­s stolen, 1 go without finding any trace [ot’tl­iem] in m y h m Paths o f  my love I search for you always Lost paths, you are no more And your echoes are deaf Chemins du  désespoir Chemins du  souvenir nis du  premier/oar Chem Divins chemins d’amour. Paths of mentiory Paths of the first day Divine paths of love. Si]: dealt/bublkrmjbur   gr­gunned» Lam jimdammmr If I must forget it one day Life caning everything I want in my heart q n’ m v m l l i r n p u : Paths of despair fo r  o n e  memor y t o  remain white rose and white lily, Aunt Yvonne at All­Saints” Day a wreath of painted iron she brings from her garden ofpainttd iron with pends of satin. Ois tremblante ” M W Un fi n r j ‘d m l i m i n i lmilnmmiu . stronger than that other love The memory ot’the path Where trembling and totally lost, One d ay I felt upon me burning, your hands. Jimmmrmum’kr I f  G od wants to resurrect me Chemins de mon amour (etc) Paths of my love (etc.) Si mon marin revenait, rose rouge ef rose blanche, I f  m y sailor should come back, wblauhdblawm Tank Y m a ‘ h T ­ « u n b r t m m m u fi r p d n t zflqapomdrmjmlin mferpeinlamdupahdlmlifir   PARADIS  monterai, A U se  blanche, ninl’tdm’, rorwtbhfldvdblammgml.   tombe il vient anpris, a sur m rose blanche e t blanc muguet. ruse  balnche, Jaukumidtmeq‘m, qmduupkfiurnrbqni mnbbndndbhntm to paradise 1 u‘fll rise, white rose, with a golden halo, white rose and white lily. red rose and white rose, t o  my g rave he will come near white rose and white lily. Remember our childlwod, white rose, when we used to play on the docks, white rose and white lily. Ph i / N i gh t  l’autre amour bmnirdurhnin �IV. 6. They Are There (Fighting tor the People’s New Free World) Text: Charles E . I ves I. Slugging a Vampire Text: Chades Ives 1 closed and drew but not a gun, the refuge of the weak, I swung on the left and I swung on the fight then I landed on his beak; He started to pull the same old stuff, But I closed in hard and called his bluff, Yet his face is still a­sliclrin‘ in the yellow sheet And on the billboard adown the street. 4. Two  Little Flowers (and dedicated to them) Text: Chades Ives, Harmony Twitchell On sunny days in our backyard, Two little flowers are seen,   rightest pink One dressed, at times, in b and one in green. The marigold is radiant, the rose passing fair; Not only in my lady’s eyes The violet is ever dear, the orchid ever rare; Theres loveliness in wild flow’rs o f  field or wide savannah, But fairest, rarest of them all are Edith and Susanna. All the lore that poets prize Is garnered in her mind. 5. At Parting Text: Frederic Peterson She is the soul ornu I sing, For though to me belong The pipe, the shell, the string, Aud she h e r s el f  the song. The sweetest flow’r that blows, 1 give you as we pat’t‘ For you it is a rose, tor me it is my heart, 2. Canon Text: Unknown author D o  I her beauty tind, There is no wisdom in my word, N o  m usic in my lay, Save what I’ve sweetly heard My lady sing or say. 3. Serenity Text: john Greenleaf Whittier O ,  Sabbath rest of Galilee! O ,  calm of h ills above, Where jesus knelt to share with Thee, the silence of eternity Interpreted by  love. Drop thy still dews ot’quietness. Till all our strivings cease: Take from our souls the strain and stress, and let our ordered lives confess, The beauty of thy peace. To  you it is a rose, t o  m e  it is my  heart. The tragrance it exhales, Ah! If you but only knew, where but in dying fails it is my love for you. T h e  sweetest flow’s that blows, I give you as we part, You think it but a rose, Ah! me it is my heart, You think it but a rose, Ah! me n is my heart. When we’re through this cursed war, All started by a sneaking gouger, Making slaves of men, Then let all the people rise and stand together in brave, Kind Humanity There’s admeinnnnyalife, Most wars are made by small Wlit’sdothoughfacingdeadlandoutsoldier stupid selfish bossing groups boyswilldo tlteirparlthal peoplecanlive while the people have no say lnawoddwhereallllrillhaveasayl But there’ll come a day Hip hip Hooray They’re conscious always of their country’s aim when they’ll smash all dictators to the wall. wlnch is liberty for all. Hip hip hooray you’ll hear them say as they g o  t o  the fighting front. Then it’s build a people’s world nation, Hooray Ev’ry honest country free to live its own native lite T‘lleyll’illslandrbrdlerigllgbmifitcomestomigbt, Theyarethere, theymthue‘ dleyalelllere, Then diePCOPlfimtiuttpoliMns, Brave boysarenowinarlion leyaredxere,dteywillhelptofieethewodd Theyarefig’hting tor the right willnlletheirowulandsmdlives, Butwbeuitcomesmmigl‘ll. Then you’llhflnhewholeunivelse Theyaretllete,tlteyarethere,dleyarel:here, sboufingdlebsrtlecryofFreedom, As rlleAlliet bmtupnlltllevsrllogs. TmfingmancwumpgtomflTe­lfingtouight, Tbelloys’llbetllaefighlinglnrdandthen tmdngonanewcampgtound. the woddwillshoutdtebatdeu'yomealonL Fotit’l mllymundtlle flag Tenting on a new camp ground. oflhepeople’s new free world Shouting the battle cry of Freedom. v. 1. Ah!  May the red rose live alway! Ah! may the red rose live alway, T o s mile upon earth and sky! Why should the beautiful ever weep? Why should the beautiful die? Lending a charm t o  ev’ry ray That falls on her cheeks ol’light, Giving the zephyr kiss for kiss, And nursing the dew drop bright. Long may the daisies dance the field, Froliclting far and near! Why should the innocent hide their heads? Why should the innocent fear? Spreading their petals in mute delight When mom in its radiance breaks, Keeping a floral festival Til night­loving primrose wakes. Lulled be the dirge in the cypress bough, That tells of deparled flowers! Ah!  that the butterfly’s gilded wing 2. Camptown Races De Camptown ladies sing dis song Doo dah!  doo dah! De Camptown race track five miles long Oh! doo dah day! 1 come down dah wid my hat caved in Doo dah!  doo dah! lgobackhomewidapodnetfillloffin Oh! doo dah day! Gwine to run all night! Gwine to run all day! I’ll bet my money on de bobtail nag Somebody bet on de bay. De long tail filly and de big black hoss Dey fly de track and dey both cut across D e  blind hoss sticken in a big mud hole Can’t touch bottom wid a ten foot pole Oldmuleynowoomeontodetrark Debobtailllingheroberhisbzck Fluttered in evergreen bowels! Sad is my heart for the blighted plants Dentlyalonglikearailmadcar They bloom at the young year’s joyful call, And fade with the autumn leaf, Seedemllyinonalenmileheat Rmndder xemrhdenrepeat Ill­in my moneyondebub tail nag Ikeepmy money in an old tow bag Its pleasures are aye as brief Rllrlninalacewidashootin’star �Ahoul the P erformers Briana Sa k a m oto  has been a frequent recitalist i n Binghamton and Westcheste r over the past few years.  She is a member of the Tri­Cities Opera chorus, and recently covered the role o f  Barbarina in Le nozze di Figaro.  She has also sung with BU’s Harpur Chorale, the Binghamton University Chorus and the Taconic Opera Company.  Performing in forums and fundraisers at BU, Briana has lent her voice to such causes as “Voices Against Violence,” and the fight against the genocide in Darfur.  She is  pursuing a Bachelor of Music  degree in  Vocal  Performance  at SUNY Binghamton  under  the direction o f  P rofessor Mary Burgess.  She also studies with T C O  artistic director Peyton Hibbitt, a nd in  Manhattan with soprano Carol Yahr.  A  proud member of AEA and SAG, Briana  has a long background in dramatic performance and musical theatre, and studies acting between semesters at the Larry Singer Studios in Manhattan. William J a m e s  Lawson coaches and accompanies singers at Binghamton University.  As a coach, he specializes in English diction for the American and English art song, sacred music, and classical theater repertoires.  He studied at Binghamton University (B.A. 1980), where his teachers included Seymour  Fink  and  Patricia  Hanson in piano, M. Searle  Wright  in church  music, and Stevenson Barrett in vocal coaching.  He holds an M.A. from New York University (1984) and was one of the first  graduates  o f   New  York  University’s  innovative  Department  of  Performance  Studies,  an intetrlisciplinary program in the  performing arts. Binghamlon University Music Department Upcoming Evenls Sundng.Mnmh?l.Scnlor Recital: Mm Silvagni, percussion 3mensodemsRedl¢lHnle££ Bach Birthday Bash Sunday , Macrh 21 .Organist Jonathan Bgigers ,A  4 pan. Firs! Presbyterian Church, Binghamton, s s Thursday. March 25, Mid­Day Concert 1:20 pm. Casadesus Radial Hall, FREE i ­Day Concert with guest artist ll :  rsdag, April8  , Jazz Md 1:20 pl... Osterhout Concert lltealer. FREE Thursday. April 8. Harpur Juz Ensemble Concert with guest artist 8 p.m. Otherhonl Concerl Thacher. SS l TT­ARTS  T For ticket information, please uflldc Anderson Center Box Office A Io see allevenb. please rid! music.binghamton.edu   a n  o n F a c e b o o k  Ag visiting B in g h a m t on  Un i v e u fl y  M u s i c  D e p a r t me n t B e c o m e 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/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 31:23:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145178">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145178</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Briana Sakamoto, senior honors recital, March 3, 2010 Recital Tape 2010-3-20 Description An account of the resource Works by Floridia, Schumann, Poulenc, Ives, Foster. Held at 8:00 p.m., March 20, 2010, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Sakamoto, Briana Lawson, William James Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2010-03-20 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/d08b9497f15d95ff617984b8898864dc.pdf e491464aef0d2da2ed7ba8a715c28264 PDF Text Text BINGHAMT ON ,. U N I V E R S I T Y State University of New York 0 m D E P A R T M E N T THURSDAY /I/l/D ­ DAVCONCEK’Z’ 17, 207 0 Uharsday, Mare k  1220/0 0. Cosedesus  Reoni! Hol �PROGRAM Toccata in E Minor, BWV 914  .J. S. Bach (1685­1750) Iieun Iang, Piano diab­Ob­dcbqfibfibdmdhb­qfio­qfio­ The rest of today’s concert is given over to some of Binghamton University’s student­run music groups.  These organizations are not formally part of the Music Department, but many of the students in them particpate in department ensembles and other activities.  These groups contribute greatly to the musical life of the university. . originally recorded by Soul to Squeeze.  The Red Hot Chili Peppers arranged by Megan Westfall originally recorded by Norah lones, arranged by lared Steinklein Don’t Know Why  The Binghamtonics Strike Up the Band  ..George Gershwin (1898­1937) .The Crosbys Pretty Girls  Something About You.  The Binghamton Crosbys ...The Crosbys �Binghamton University Music D epartment’s UPCOMING EVENTS «fiebflfiebflfiebflfitbfldefifldhbflfiéflfiebflfieb Thursday, March 25% Mid­Day Concert, 1 :20 PM ­ FREE Casadesus Recital Hall Th ursday, A p ril 8til Jazz Mid­Day Concert, 1 :20 PM ­ FREE Osterhout Concert Theater Th urs day, A p ril 8th Harpur Jazz Ensemble Concert [co­sponsored by the Harpur Jazz Ensemble and the Binghamton University Department of M   usic), 8:00 PM, Osterhout Concert Theater, SS (FREE for students) S atu r d ay, A p ril 1 0 %  Junior Recital: Jieun Jang, piano, 3 :00 PM, Casadesus Recital Hall, FREE S atur day, A p ril 1 0 %  Lecture/Demonstration on Jacques Ibert’s Concertino da Camera: Origins, Early Reception History, and Current Performance Considerations for Alto Saxophone and Orchestra by Professor Daniel Gordon, 11:00 AM, FA 1 11  , FREE (co­sponsored by the Binghamton University Music Department and the Harpur College Dean’s Visiting Speaker Series) S atur day, A p ril 1 0 %  Sweet Albion: The English Clarinet with clarinetist Timothy Perry and pianist Margaret Reitz, 8:00 PM, Anderson Center Chamber Hall, $$ Th ursday, A p ril 1 5% Mid­Day Concert, 1 :20 PM ­ FREE, FA 21 Friday, A p ril 16ch Master’s Recital: Stephen Brooks, double bass, 8:00 PM, Casadesus Recital Hall, FREE For ticket information, please call the Anderson Center Box Office at 7 7 7­ARTS To see all events, please visit musicbinghamtonedu Become a fan on Facebook by visiting Binghamton University Music D epartment � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:00:57 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145175">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145175</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mid-day concert, March 11, 2010 Recital Tape 2010-3-11 Description An account of the resource Works by Bach, Red Hot Chili Peppers, Westfall, Jones, Steinklein, Gershwin, The Crosbys. Held at 1:20 p.m., March 11, 2010, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Jang, Jieun Binghamtonics (Musical group) Binghamton Crosbys (Musical group) Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2010-03-11 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/4232f363b93a4ebc6079c399092cb850.pdf 401388ac933473371ed4166ef940eb30 PDF Text Text BINGHAMTON U  N  I  V  E  R  S  I  T  Y S T A T E  U N I V E R S I T Y  O F  N E W  Y O R K 2LdeC D E P A R T M E N T THURSDAY Mfg—04 Y 001175557  1 Thursday, Mama Id: 2 0 1 0 1 : 20 p m . Casadasus Ream! Hal! �PROGRAM Voi che sapete..  from Le  n ozze di Figaro  .Wolfgang Amadeus Mozart (1756­1791) .Samuel Barber (1910­1981) Must the Winter Come so Soon  from Vanessa  Jacques Offenbach La Griserie.  (1819­1880) from La  Périchole  Cabiria Jacobsen, mezzo­soprano Margaret Reitz, piano Alvin Etler (1913­1973) Sonata for Bassoon.  Movement IV  Daniel Bessel, bassoon Margaret Reitz, piano Thea Musgrave (b. 1928) Timothy Perry, clarinet Margaret Reitz, piano Concertino para Marimba y Orquesta Il – Movimento Canzone India I – Allegro .Jorge Sannientos Marc Silvagni, marimba Margaret Reitz, piano Liebst du um Schonheit  Fruhlingsmorgen  Erinnerung Scheiden und Meiden . Gustav Mahler (1860­1911) Jennifer Lee Groves, soprano Margaret Reitz, piano Sergey Prokefiev (1891­1953) Sonata No. 3, Op. 28..  Allegro tempestoso  Jieun Jang, piano �TRANSLATIONS Voi, che sagete LaG   riserie You, who know what love is Ladies, look and see if I have it in my heart. Ah! What a dinner I’ve just come from having. And what an extraordinary wine! The things I’m trying, I will tell you again It’s new for me! I don’t understand it. I drank so much of it, And so, so much, That I do believe that now... I feel a stirring, full of desire, One moment it‘s delightful, I am a little bit tipsy, But shhhh! I freeze and feel my soul on fire, If my words are a little bit vague, I f  I zigzag when I walk, And if my eye is a little bit crossed, You musn’t worry, because... The next, it’s torture. And in a moment, I turn to ice. I search for beauty outside of myself, I don’t know what it holds, I don‘t know what it is. I sigh and groan, without wanting to; I quiver and tremble without knowing it, I find no peace, night or day, And yet, how it pleases me to languish like this... You who know what love is, Ladies, look and see if I have it in my heart. Must the Winter Come s o  S oon You musn’t tell. I am a little bit tipsy, But shhhh! You musn’t tell. Llebst du um Schénheit If you love for beauty, Oh, do not love me! Love the sun, She has golden hair! If you love for youth, Oh, do not love me! Love the spring; It is young every year! If you love for treasure, Oh, do not love me! Must the winter come so soon? Night after night, I hear the hungry deer Love the mermaid; She has many clear pearls! If you love for love, Oh yes, do love me! Love me ever, I’ll love you evennore! And from his house of brittle bark hoots the frozen owl Frtlhllngsmorgen wander weeping in the woods. Must the winter come so soon? Here in this forest, neither dawn nor sunset  marks the passing of the days.  It is a long winter here.  Must the winter come so soon? The linden tree taps at the window Branches heavy with blooms; Get up! Get up! Why do you lie dreaming? The sun is overhead! Get up! Get up! The lark is up, the bushes blow! The bees buzz, and the beetles! Get up! Get up! And I’ve already seen your jolly lover Get up, sleepyhead! Sleepyhead, get up! Get up! Get up! �Sweet fllbion Erinnerung My love wakens the songs ever anew! My songs waken my love ever anew! My lips which dream of your fervent kisses, 6 \ " : § “A  _ ’ / ­ / o r i‘ n g z l i E  y  &  pianist Margarel R eitz In song and melody they have to chant of you! And if m y thoughts would like to dismiss love, Then my songs come to me with love’s lament! Thus I am held a captive by these two forever! The song will waken love! icmcd bg soprano [udu Berry Y d pril 1 0 at  p m And love wakens the songs! Scheiden und Meiden Three horsemen ride out through the gate! Farewell! Farewell! A beloved looks out of the window! Farewell! Farewell! And if we must be parted, Then give me your little golden ring! Farewell! Farewell! Yes, parting and separation bring woe, bring woe! Yes, parting and separation bring woe, bring woe! Farewell! Farewell! with clerinatisi Timothg Pong tindzracrn Center Chamber Ilull Call (800) “fir­1112151, for tekgts. BI NGHAMTON n u n ­ u r n , UDCOMING C ONCERTS?! 7”  s o n s U J   The child is left in the cradle! Farewell! Farewell! When will my beloved be mine? Farewell! Farewell! And if it were not tomorrow, that it would be today! It would bring us both such greatjoy! Farewell! Farewell! Yes, parting and separation bring woe, bring woe! Yes, parting and separation bring woe, bring woe! Farewell! Farewell! ENSEMPI] ! . < , < I 1 1 ’ 1 1 4 WHth  11111131 1111151. =   H7 :  MIKE DAVIS ­  Till..E,FJIJ’11EE‘(1!JIT!“11![I’ll 11V!!!) \ \ ,   APRIL smug­m FE ’i w  ­”_"  M a j   C  ­  Fortrckets caiiraonrrmtms n s o r a d  by  th e  Depar tment o f  M u s i c  and th e  H a r u r  J  Proje �Binghamton University M usic D epartment’s MPOOMl/VC,‘ E V E N T S aGSeDeasd Thursday, March 1 8 ”  Harpur Chorale and Women’s Chorus, 8:00 PM, Anderson Center Chamber Hall, FREE Satu rd ay,  M a r c h  20"' Senior Honors Recital: Briana Sakamoto, soprano, 8:00 PM, Casadesus Recital Hall, FREE S u n day,  M a r c h  2 1 ”  Senior Honors Redtal: Marc Silvagnr, percussio 3:00 PM, Casadesus Recital Hall, FREE Thursday, March 25°” Mid­Day Concert, 1:20 PM ­ FREE, Casadesus Rectal Hall Thursday, A p r i l  8 ” '  Jazz Mid­Day Concert, 1:20 PM – FREE Osterhout Concert Theater Jazz Ensemble Concert (co­sponsored by the   Thursday, A p r i l  8 ” Harpur  Harpur Jazz Project and the Binghamton University Department of Mus’c), 8:00 PM, Osterhout Concert Theater; $$ (FREE for students) Satu rd ay,  A p r i l 1  0th Junior Recital: Jieun Jang, piano, 3:00 PM, Casadesus Rectal Hall, FREE Satu rd ay,  A p r i l 1  0 m  Sweet Albion: The English Clarinet with clarinetist Timothy Perry and pianist Margaret Reitz, 8:00 PM, Anderson Center Chamber Hall, $$ Thursday, A p r i l 1  5th Mid­Day Concert, 1:20 PM – FREE, FA 21   aster’s Redtal: Stephen Brooks, double bass, Friday, A p r i l 1  6 ” M 8:00 PM, Casadesus Recital Hall, FREE For ticket information, please call the Anderson Center Box O ffice a t 7 77­AR TS To see all events, please visit music.binghamton.edu Become a fan on Facebook by visiting Binghamton University Music D epartment � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 50:34:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145172">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145172</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mid-day concert, March 18, 2010 Recital Tape 2010-3-18 Description An account of the resource Works by Ford, Engelman, Cahn, Firth, Sarmientos, Abe, Mohlenoff, Houliff, Rundgren. Held at 1:20 p.m., March 18, 2010, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Jacobsen, Cabiria Bessel, Daniel Perry, Timothy B Silvagni, Marc Groves, Jennifer Lee Reitz, Margaret A Jang, Jieun Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2010-03-18 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/222d394ad597db5eb7960bc60d09d428.pdf dca797d5d08be3da30abc1694841f339 PDF Text Text BINGHAMTON U  N  I  V  E  R  S  I  T  Y S TAT E  U N I V E R S I T Y  O F  N E W  Y O R K zedec D E P A R T M E N T 71304504 Y MID ­DAY CONCERT  1 Thursday, March 25: 2010 £ 2 0 p  . m . Casadesus Recital Hall �PROGRAM performed by members of Mu Phi Epsilon .Klaus Badelt Theme from “Pirates of the Caribbean“  (b. 1967) .Percy Fletcher Folk Tube & Fiddle Dance  (1879­1932) Binghamton University String Orchestra Heather Worden, Conductor Robert Schumann Lorenzo’s Monologue.  (1820­1869) from Shakespeare‘s The Merchant of Venice“  Kinderszenen, Op. 15:  Von fremden Landern und Menschen Prelude and Carol of the Bells... arr. George Winston and Caleb DeGroote Caleb DeGroote, Vibraphone Kirstie Cummings and Alexa Weinberg, Horn Mark Rossnagel, Piano Federico Mompou Caleb DeGroote, Marimba and Vibraphone Fanfare, Aria and Echo 1 ”  m ovement  I c h  grolle nicht  (1893­1987) .Daniel Pinkham   ovement 2 ”m Kirstie Cummings and Alexa Weinberg, Horn Caleb DeGroote, Timpani (1923­2006) Robert Schumann Dichtefliebe, Op. 48  Adam Hess, Baritone Molly Adams­Toomey, Piano arr. for clarinet by Timothy Perry Horn Concerto No. 1 in E flat major, Op. 11  Allegro  . Johannes Brahms (1833­1897) Robert Muller, Horn Margaret Reitz, Piano “Pa, pa, pa, Papageno!”  Duet from “The Magic Flute”  Richard Strauss (1864­1949) W. A. Mozart (1756­1791) Eliza Espinosa­Thomas, Soprano Mark Rossnagel, Baritone William James Lawson, Piano Kristina Dowling Mark Rossnagel, Piano Cancién No. 6  Timothy Perry, Clarinet Mark Rossnagel, Piano Edward Elgar (1857­1934) Variations on an Original Theme, Op. 36  Variation IX (Adagio) “Nimrod”  I. Folk Tune  Violin Sonata No. 3 in D minor, Op. 108  Adagio  (1820­1869) Calling You.  from “Baghdad Café”  Jaclyn Wallach, Soprano Mark Rossnagel, Piano .Bob Telson (b. 1949) The Creed of Mu Phi Epsilon Words by Ruth Jane Kirby, Omega Chapter arr. Dewey Fleszar, Lambda Chapter Performed by members of the Zeta Eta Chapter, Binghamton University �BINGHAMTON UNIVERSITY STRING ORCHESTRA Heather Worden, Conductor Violins  Chantal Berendsen  Alex Spadaro  Elan Ashendorf Elizabeth Magowan  Lifan Hsu  Fanny Chu  Elana Streim  Edwin­Nikko Kabagting Jin Park  Allison Jaekle  Gozda Yildiz  Violas Victoria Brown Erica Koslowsky Cellos Ben Peak Taylor Reitmeier Meaghan Petix Basses Rachel Casey Sam Smith Binghamton University M usic D epartment’s U P C O M I N G  E V E NT  S W W W ­ a Thursday, A p ri l  8°" Jazz Mid­Day Concert, 1:20 PM – FREE Osterhout Concert Theater w Th u r s d ay,  A p r i l  8 % Harpur Jazz Ensemble Concert (co­sponsored by the Harpur Jazz Project and the Binghamton University Department of Music), 8:00 PM, Osterhout Concert 7heater, $$ (FREE for students) Satu rday,  A p r i l 1  0 ”  Junior Recital: Jieun Jang, piano, 3:00 PM, FREE Casadesus Redta/ Hall Sa t u r d ay,  A p r i l 1  0 ”  Sweet Albion: The English Clarinet with darfneast Timothy Perry and pianist Margaret Reitz, 8:00 PM, $$ Anderson Center Chamber Hall Thursday, A p ri l 1  5 ‘ ”  Mid­Day Concert, 1:20 PM – FREE, FA 21 Friday, A p ri l  1 6 ” M   aster’s Rental: Stephen Brooks, double bass, 8:00 PM, Casadesus Rea‘ta/ Hall, FREE For ticket information, please call the Anderson C enter Box O ffice a t  7 77­AR T 5 To see all events, please visit music. b inghamton. e du Become a fan on Facebook by visiting Binghamton University Music D epartment � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 53:00:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145169">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145169</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mid-day concert, March 25, 2010 Recital Tape 2010-3-25 Description An account of the resource Works by Badelt, Elgar, Fletcher, Winston, De Groote, Mompou, Pinkham, Schumann, Brahms, Strauss, Mozart, Telson. Held at 1:20 p.m., March 25, 2010, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Dowling, Kristina Rossnagel, Mark Adams-Toomey, Molly Lawson, William James DeGroote, Caleb Cumming, Kirstie Weinberg, Alexa Muller, Robert Hess, Adam Perry, Timothy B. Espinosa-Thomas, Eliza Worden, Heather Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2010-03-25 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/13366a9d0b25f58dcc5d83e049751eed.pdf adb854cb58c4d1e5a55cd77fc8ce7e46 PDF Text Text INGHAMTON B U N I V E R S I T Y STATE  U N I V E R S I T Y   O F  N E W   Y O R K o de [4 D E P A R T M E N T Crea tures , Grea t and  Small $2 024.  “2 yiorny ph nd i S W Robert G. Smith, Con ductor Sunday, March 7, 2010 3 :00 p.m. Anderson Center Chamber Ha ll �THE PERFORMERS PROGRAM Piccolo Rachel Serwetz Alfred Reed The Hounds of Spring (1980)  (1921­2005) Commissioned by the John L. Forster Secondary School Symphonic Band Windsor, Ontario, Canada Gerald A. N Brown, Director Roger Cichy Bugs (2000) 1. Prelude 2. Dragonfly 3. Praying Mantis 4. Black Widow Spider 5. Tiger Swallow Tail 6. Army Ants (b. 1956) Rachelle Haddad (Principal) Judy Kahn Kathleen Spelman Lindsay Ralbovsky ute IT FlKimberly Hom Rebecca Falik Raquel Goldsmith Christina Peregine David Morrissey Melissa Klepper Mark Norman Vanessa Kay Bas Clarniet Stephen Collins Brianna Palisi Conratbas Calnriet Zach Stanco   ASLTOAXOPHONEL Alex Horspool Commissioned by The University of St. Thomas Wind Ensemble Dr. Matthew George. Director of Bands . Karel Husa Cheetah (2007)  (b. 1921) Commissioned try The Division of Music Composition and Theory at the University of Louisville for the University of Louisville Wind Ensemble. Frederick Speck, Director. The Soaring Hawk (1990)  ECb l a rine t to  Saxophone Al   larinet C b B Tenor  Saxophone Kyle Doyle Kerry Goodacre Mark DelloStritto Trumpet Kristen Weiss Sarah Fenster (Principal)   larinet C b B Kristin Hohn Anthony Kwon Abby Cohen aJINTERMISSIONa! Timothy Mahr (b. 1956) Commissioned by the University of Iowa Symphony Band Dr. Myron Welch, Conductor Winner of the 1991 American Bandmaster‘s Association Ostwald Award Equus (2000) Elute b  l a rine t BC ....Eric Whitacre (b. 1970) Commissioned by the University of Miami Wind Ensemble Gary Green, Conductor Seonghek Kang Dean Papadopoulus Nick Polaoco (principal) Kevin Hannon Trumpet Nick Quackenbush Brian Lee Immmm Kimberly Metaxas (Graduate Student) EHornI Zack Bimbaum Hor n E  Natalie Rivera Trombone Jay Barfishevich Trombone Mogana Jayakumar Ian­luminous Anthony Frachionl honium Eup Damon Dye (Principal ma Graduate Student) Andrew Kaufman Tuba Matt Gukowsky Daniel Nevins Eemusslsm Tom Elefa rite Boya Gao Adam Goldenberg Ben Ramos Andrew Williamson Michael McManaman ROBERT G. SMITH  is  Music  Director and  Conductor of the  University  Wind  Symphony. Profi Smith also teaches advanced instrumental conducting and graduate wind conducting at BU. Smith has guest conducted all­county bands throughout New York State and has conducted the Goshen College (IND) Wind Ensemble and Orchestra, The United States Army Ground Forces Band  (GA), the  Southern  Tier Concert  Band  (NY), the  Vestal  Community  Band  (NY), The Maine Community Band and the Binghamton Area TubaChristmas.  An active performcr‘ he currently  plays principal  euphonium  with  the Southern  Tier Concert  Band and tuba  with  the Brass Nickel quintet and the Crown City Brass sextet.  Smith is the immediate past president of the  Broome  County  Music  Educators  Association  and  recipient  of  the  2005  BCMEA Distinguished Service Award. �Binghamton University Music Department ’s UPCOMING E V E N T S Thursday, March 11M Mid­Day Concert, 1:20 PM ­ FREE Casadesus Recital Hall Thursday, March 1 8 ”  Mid­Day Concert, 1:20 PM —  FREE Casadesus Recital Hall Thursday, March 1 8 ”  Harpur Chorale and Women? Chorus, 8:00 PM, Anderson Center Chamber Halll FREE Saturday, March 20‘7h Senior Honors Recital: Briana Sakamoto, soprano, 8:00 PM, Casadesus Redta/ Hall, FREE Sunday, March 21 ”  Senior Honors Redtal: Marc Si/vagnr, percussion, 3:00 PM, Casadesus Recital Hall, FREE Thursday, March 25dl Mid­Day Concert; 1:20 PM ­ FREE, FA  21 Thur sday, April 8°” Jazz Mid­Day Concert, 1 :20 PM – FREE Osterhout Concert Theater Thur sday, April 8m Harpur Jazz Ensemble Concert (co­sponsored by the Harpur Jazz Ensemble and the Binghamton University Department ofMus’c), 8:00 PM, Osterhout Concert Theater, $24“  (FREE for students) Saturday, April 1 00: Junior Recital: Jieun Jang, piano, 3:00 PM, Casadesus Recital Hall, FREE Saturday, April 1 0 ”  Sweet Albion: The English Clarinet with darinetist Timothy Perry and pianist Margaret Reitz, 8:00 PM, Anderson Center Chamber Hall, $$ For ticket information, please call the Anderson Center Box Office at 777­ARTS To see all events, please visit music.binghamton.edu Become a fan on Facebook by visiting ' Binghamton University Music Department � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 sound discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 43:04 27:14 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE154596">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE154596</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Creatures Great and Small, March 7, 2010 Recital Tape 2010-3-7 Description An account of the resource Works by Reed, Cichy, Husa, Mahr, Whitacre. Held at 3:00 p.m., March 7, 2010, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource University Wind Symphony Smith, Robert G Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2010-03-07 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/93a351175bf204737b3a8dcf34b8a5f2.pdf edb5b76af2aef4689fb0c14c35b8859f PDF Text Text B INGHAMTON U  N  I  V E R S I  T  Y STATE U N IVE RS IT Y   OF NEW  YORK W ' 0 D E P A R T M E N T SENIOR HONORS R ECITAL MARC SILVAGNI, PERCUSSION nadir/ Waly D r e m w T  heater Journey To d d k r m d g r m Sunday, March/21, 2010 C W 3:00pm4 R W H M �PROGRAM PROGRAM NOTES Stubemic..  .  .  .  .  .  .  .  Mark Ford Caleb DeGroote, Adam Goldenberg ­ Marimba clean it up ­ ­ ­ please .. .Robin Engelman William L. Cahn Afrodditty. Solo Impressions for Four Timpani.  Vic Firth Pej Reitz ­ Piano ' Concertino para Marimba y Orquesta. Jorge Sarmientos l ­ Moderato Allegro Moderato II ­­ Andante Cantabile (Movimento Canzone India) III – Rondo Allegro Pej Reitz ­ Piano Erotomania.  .Joumey AFRODDITTY is a snare drum piece written by William Cahn.  Bill Cahn is also a member of the percussion quintet “Nexus”. Both this and “clean it up ­ ­ ­ please“ are parts of a set of snare drum pieces called the “Nexus Portfolio”.  Each member of Nexus wrote a snare drum piece to StoneinLove. . Keiko Abe” .  .  .  .  .  .  .  BilIMohIenoff I–Wsual Image II–Waltz King Marcus Lalli – Keyboard Sam Smith – Electric Bass Lee Vilinsky– Drum Set Richard Silvagni – Electric Guitar/Backing Vocals Marcus Lalli – Keyboard/Lead Vocals Sam Smith – Electric Bass Lee Vilinsky – Drum Set Rock Duo  Dan Fabricius ­'Drum’sér Bang on the Drum All Day. Dan Fabricius – Drum Set Marcus Lalli – Keyboard  Lee Vilinsky – Timpani  Caleb DeGroote – Vibraphone  Dan Fagen – Alto Sax  .  trio on one low A marimba in the style of the Latin American marimba bands.  Although he does  not  cite any  music  from Latin America  in Stubernic, he hoped to capture the spirit and energy of their music. The title Stubernic comes from the Stuber’s last name with the ‘Nic” coming from Nicaragua (which is where they spent most of their time that year). The piece is very fun and has a few fancy tricks thrown in.  Ford later wrote  a  sequel  piece  called  “Afta­Stuba”  (meaning  after  Stubernic), which shares a similar form. . Dream Theater Frogs – Etude for Four Mallets III – Mayflower IV – Wave Motion they  heard,  especially  in  Guatemala.  Ford  was  writing  a vibraphone/marimba duet at the time. However, he decided to make it a CLEAN IT UP ­ ­ ­ PLEASE is a rudimental snare drum piece written by Robin Engelman.  Robin’s inspiration for the piece came from Patrick Cooperman at his home in New York City in 1976.  Patrick was selling fifes and drums in his basement.  He had parts of drums lying around and assembled Robin his drum.  He then took him upstairs and played on a drum pad for an hour, showing Robin his style of drumming.  It was here where Robin developed his passion for drumming and fife music. The title of this piece is a reference to the cleaner playing of traditional drumming  over other  styles.  Robin  is also  a  member  of the great Toronto­based percussion quintet “Nexus”. wINTERMISSIONrs Music of the Day Suite. STUBERNIC is a marimba piece written for three marimba players on one marimba.  The piece is dedicated to Stefan and Mary K. Stuber. Mark Ford went to college with both of these individuals and they have been friends ever since. In 1988, the Stubers went to Guatemala and Nicaragua for a year for humanitarian aid purposes. When they returned, they told him stories of their adventures and the many marimba bands Murray Houllif Todd Rundgren Richard Silvagni – Electric Guitar Sam Smith – Electric Bass Adam Goldenberg – Marimba Pej Reitz – Piano Reese Taylor– Trombone Vocals ­ ???7 contribute to it.  “Afrodditty” is quite an interesting name.  The name is broken down in this way.  “Afro” – of African derivation.  “Aphrodite” – Greek goddess of love.  “Ditty” – a little song.  “Oddity” – something peculiar, eccentric, or strange.  Therefore, “Afrodditty’ – an eccentric, little,  song­like piece for snare drum by  William L. Cahn which uses rhythms of African derivation and which has a title that almost sounds like the name of the Greek goddess of love. SOLO IMPRESSIONS FOR FOUR TIMPANI is a timpani piece written by the great Vic Firth.  Firth wrote a solo impression for two, three, and four timpani.  Vic Firth  is  one  of  the  most  famous names  in all of percussion.  Most people know his name because of his company that makes drumsticks and mallets.  Most of my equipment is from Vic Firth. Firth was  the  youngest  member of the Boston Symphony  Orchestra �when  he joined  as principal timpanist in 1952.  In 1995, Firth was admitted into the Percussive Arts Society Hall of Fame.  He has written music for both  solo snare  drum and solo timpani.  His piece here incorporates many different styles into one piece.  The beginning starts out like a dirge before moving to a fast Latin­style groove.  The piece goes through many time changes over the same beat before retuming to the dirge at the end. This is a very unique piece for timpani. and uses the sustain of the vibraphone to create its atmosphere.  The fourth piece “Wave Motion” represents waves.  The piece is an odd time signature to represent the unevenness of waves. The piece incorporates two linear lines in each hand that create dissonance and consonance. The second piece “Waltz King” is my favorite of these four.  The piece is slow and beautiful and takes you away.  The fifth and sixth pieces “Music of the Day“ and “Precision“ have been cut due to time. CONCERTINO PARA MARIMBA Y ORQUESTA is the first marimba concerto ever written.  The original handwritten score by Jorge Alvaro Sarmientos  can  be  found  in  the Percussive Arts  Society  Museum. Marimbist Vida  Chenoweth  met  Guatemalan composer  Jorge Alvaro Sarrnientos  while  she  was  a  Fulbright  scholar  studying  indigenous marimbas there in 1957. He wrote his “Concertino” for Chenoweth during November and December of that year, and then entered it in a concerto composition contest that Chenoweth sponsored and financed in early 1958. This prize­winning concerto was first performed in Guatemala at an informal concert in early 1960,  with August Ardenois conducting, Sarmientos  playing  timpani,  and  Chenoweth  as  soloist.  The formal premiere occurred on September 16, 1960 as part of the celebrations of National Day (September 15), with Chenoweth as soloist and Jose Maria Gill conducting the Sinfonice Nacional. The United States premiere was presented with the Tulsa (Oklahoma) Philharmonic Orchestra in 1964. This piece is seldom performed because of its rarity and difficulty.  While looking for a concerto to perform, Marc stumbled upon it on YouTube with Keiko Abe playing the solo and Jorge Sarmientos conducting, and fell in love. He hopes you all do too. EROTOMANIA  is the fourth song on the album “Awake”  by Dream Theater.  The song is an instrumental and was written collectively as a band.  The song is the first in a set of three called “A Mind Beside Itself". Erotomania is a type of delusion in which the affected person believes that another person, usually a stranger, is in love with him or her. The illness  often  occurs  during  psychosis,  especially  in  patients  with schizophrenia or bipolar mania.  During an erotomanic psychosis, the patient believes that a “secret admirer” is declaring his or her affection to the patient, often by special glances, signals,  telepathy, or messages through  the  media.  Usually  the  patient  then  returns  the  perceived affection by means of letters, phone calls, gifts, and visits to the unwitting recipient.  In the guitar world, “Erotomania” is very well­known because of the  shred  solo near  the end.  Guitarist  John Petrucci shreds  in quintuplets over four. FROGS – ETUDE FOR FOUR MALLETS is a fun marimba etude.  The title frogs is apropos because it literally sounds like frogs hopping along. The middle section slows down and makes the listener a little nervous about the state of the frog.  When the original material returns, the listener can rest easy that the frog is safe.  Keiko Abe is one of the most important  names  in the mallet world  today.  She  was a  xylophone prodigy as a child, winning many competitions in Tokyo.  She helped develop the modern five­octave marimba, which most universities own at least one.  She has written many works for marimba that have become standard literature in the percussion world. MUSIC OF  THE DAY SUITE is a set of six vibraphone songs by Bill Mohlenoff.  The six songs are all stand­alone pieces and do not need to be  played  consecutively.  The third  piece  “Mayflower”  is  about  the Mayflower that the pilgrims rode to America.  The song starts with the ship leaving port in a slow feel.  The tempo then picks up and becomes more rhythmic.  This represents the ship traveling across the ocean. When the ship comes near America, the music returns to the slow tempo as the ship settles to port.  The first piece “Visual Image” represents any image one might have.  This piece implements more jazz like harmonies STONE IN LOVE is the second song on the album “Escape“ by Journey. The song was a rock staple in the eariy 1980s.  The song was composed by keyboardist Jonathan Cain, lead singer Steve Perry, and guitarist Neal Schon.  The “Escape” album went 9x platinum.  Other notable songs on the album are “Don‘t Stop Believin™, “Who‘s Crying Now?”, and “Open Arms".  The album  reached number 1  in 1981 when  it was released.  Journey is one of the most popular bands ever and is one of my all time favorites.  The guitar part will be shared by Richard and Marc Silvagni on guitar and vibraphone respectively.  This is their first public jam with Marc on vibes. ROCK  DUO is a  drum set duet.  This particular  version has  been arranged by Dan Fabricius and Marc Silvagni for added enjoyment and soloing.  Drum kits were first  developed due to financial and  space considerations in theaters  where the drummers  were encouraged to cover as many percussion parts as possible. Up until then, drums and cymbals were played separately in military and orchestral music settings. Initially, drummers played the bass and snare drums by hand, and then in the 1890s, they started experimenting with foot pedals to play the bass drum. William Ludwig made the bass drum pedal system workable in 1909, paving the way for the modern drum kit. BANG ON THE DRUM ALL DAY  is the seventh song on the album “The Ever Popular  Tortured Artist Effect”  by  Todd Rundgren.  The  lyrics describe in first person, the protagonist’s drive to  “bang the drum all day” �to the exclusion of everything else. All the instmments on this track are performed by Todd Rundgren.  The song became very popular for its simplicity and greatness.  All performers on the recital are playing and soloing on this song.  This song is Marc’s tribute to them and to all those who just feel like banging on drums once in a while. ABOUT THE PERFORMERS MARC SILVAGNI is a senior at Binghamton University.  He is currently double majoring in Music Performance – Percussion and Psychology. He plans on graduate school after Binghamton for a MSEd degree in Social  Studies at Hofstra.  He was born on December 25, 1988 in Flushing Hospital in Flushing, Queens, where he currently resides.  Marc started his music career relatively late in 7 ”  grade at I.S. 25 under band director and amazing jazz/blues drummer Marc Copell.  There he was assigned to play bellsth but later started in other percussion.  During the summers  following  7  and  8"’  grade,  Marc attended  the  Manhattan School of Music Summer Camp’and studied under percussionist Jeff Kraus who taught him about the entire world of percussion.  He then attended  St.  Francis  Preparatory  High  School  in  Fresh  Meadows, Queens,  and  studied  under  percussionist  Mark  Teofilo.  He  also performed with every music performance group the school had, including singing bass under voice teacher Fernando Sicilia. In the summer of his sophomore  year,  Marc  and  other  students,  under  teacher  David Kobayashi (Binghamton Alum), traveled to Australia and played with the Tallahassee Winds in the Sydney Opera House for the Eric Whitacre Festival.  He has never performed for NYSSMA.  Next, Marc began college at Binghamton University  under percussionist Dan Fabricius. Here he has had featured solos with the Percussion Ensemble and has played with the Harpur Jazz Ensemble, University Orchestra, Harpur Chorale, Women‘s Chorus, and the Commencement Wind Ensemble. He has  also played  at  the  Musica  Nova  concert  and  at  Stephanie Lehman’s Masters Recital.  Marc’s philosophy of music has always been that music should be more fun than serious. The playing of music should be respectable, but there should not be heavy pressure to perform.  Marc always performs with a smile, whether it is showing or not. DANIEL  FABRICIUS, Lecturer  of Music  in  Percussion,  has been  a member of the Binghamton University faculty since 1992.  He holds degrees from Mansfield University (BS) and Ithaca College (MM) where he studied percussion with Richard Talbot and Gordon Stout. In addition to his work at BU, he has served as Director of Bands at Owego Free Academy  since  1989.  He has been a  member  of the Binghamton Philharmonic  percussion  section  since  1982  but  is also  comfortable performing in popular, rock, jazz, and other styles.  He plays regularly on drums as a member of several musical organizations in the Southern Tier,  including  the  Mason Warrington  Orchestra  and  his  own band, Prism.  He  has  also  played  often  as  a  free­lance  percussionist, accompanying national touring artists such as Tommy Tune, Jerry Vail, Lorrie Morgan, Ringling Brothers Circus, the Smothers Brothers, and Ella Fitzgerald.  He is highly regarded in the region as a percussion soloist and  ensemble  player  and  has  played  and  collaborated  often  with organist  Jonathan Biggers  and  the Ithaca  Brass.  For many  years, Professor  Fabricius  has  served  the  New  York  State  School  Music Association as an All­State Percussion adjudicator.  In addition, he is the Instrumental Jazz Reviews editor of The School Music News and was the Jazz editor for the current NYSSMA Manual.  He serves on the faculty of the Binghamton High School Percussion Camp each summer and  over the years has  presented many  percussion  clinics at state conventions and conferences.  In addition, he often serves as a guest conductor for honor band festivals and has adjudicated Jazz Ensemble and Concert Band performances at music festivals throughout New York. “Dan deserves a raise.” ­ Marc MARCUS LALLI has been a Lecturer of Music at Binghamton University since 2004. He has a LA/AS from Broome Community College, a BA in Music  from Binghamton  University,  and  a  MM in Composition  from Binghamton University. Mr. Lalli has studied composition and arranging with David Brackett, Paul Goldstaub, and Michael Carbone, and private piano study with Douglas Beardsley. He has served as the president for the Harpur Jazz Project, and as principal pianist for the Harpur Jazz Ensemble.  appearing  with  many  nationally  recognized  jazz  artists including Rob McConnell, Rufus Reid, John McNeil, Houston Person, Jeff Jarvis, Bill Easley, and Dave Stryker. His compositions have been performed by the Binghamton University Harpur Jazz Ensemble and by graduate music students at Binghamton University. Mr. Lalli has worked as a professional vocalist and keyboardist both locally and regionally. He has been an owner and operator of a commercial recording facility for over a decade, and as an independent producer and songwriter, he has appeared  on  many  regionally  and  nationally  released  CD’s  on independent labels as a guest artist/musician, and producer. Mr. Lalli is also a faculty member at Broome Community College teaching Sound Engineering and Music Theory. “Marcus is the sickest keyboardist I have ever seen.” ­ Marc PEJ REITZ, pianist, is a native of the Binghamton Area.  She received her Bachelor and Master of Music degrees in piano performance with accompanying emphasis.  She attended Boston University, New England Conservatory and Binghamton University.  She has studied piano with Jean Casadesus, Victor Rosenbaum, Seymour Fink and Walter Ponce and accompanying with Allen Rogers. She has accompanied throughout the  United  States,  in  England,  South  America,  Spain  and  at  the American Institute of Musical Studies in Graz, Austria.  She was a winner of the Artistic Ambassadors Program by the United States Information Agency  in  partnership  with  the  John  F.   Kennedy  Center  for  the �performing arts.  She has been on the faculty at Binghamton University since 1991 and Ithaca College School of Music since 1999. Ms. Reitz is on the Executive Board of the New York District MTNA organization and is President of the local District VII Music Teachers Association.  She is also an active adjudicator for the National Piano Guild Organization.  “Pej is the best accompanist ever...everyone should play with her...her energy is unmatched and contagious” ­ Marc RICHARD SILVAGNI, guitarist, is a senior at the Aaron Copland School of Music at CUNY  Queens majoring in Music (General).  Also from Flushing, Queens, he started playing guitar seriously at age 14.  He also played clarinet from 7'" grade through most of his college.  He and Marc are the guitarist and  drummer for a  local Queens  rock  band called Warped Vinyl (www.myspace.comlwarpedvinylny).  He also traveled to Australia for the Eric Whitacre Festival.  While at Binghamton University, he  played  clarinet  for  the  Harpur  Jazz  Ensemble  and  the  Wind Symphony.  He also studied under Dr. Timothy Perry.  He currently teaches swimming for Gateway Sports on weekends. He is also studying to become a paralegal.  “Nobody rocks harder than the Van himself!” ­ Marc ADAM GOLDENBERG, percussionist, is a sophomore Biochemistry and Psychobiology major with a minor in Music.  Adam is from Vestal, NY. He would like to announce that he will be holding auditions for the role of girlfriend/significant  female  other  over  the  course of the  rest of the semester.  Although there are no formal requirements for the role, it is assumed that applicants will be able to hold a conversation and form opinions of their own.  A basic enjoyment of music, the ability to enjoy Mr. Goldenberg‘s twisted sense of humor, and a predisposition towards smiling are preferred, but ultimately not required.  Although there is no immediate financial compensation for this role, there are various long­ term benefits including gifts, attention, and other acts and deeds, which are undoubtedly unprintable in this program, but would ultimately prove beneficial  to  both  parties. Callback  decisions will  be  made  by Mr. Goldenberg.  No timeframe has been set, and auditions will be on a first come first served basis. Any other questions should be directed towards Mr.  Goldenberg  immediately following  the performance,  and can  be further discussed over dinner tonight.  “Adam sits at the popular table in the dining hall.” ­ Marc CALEB DEGROOTE, percussionist, is a senior Political Science and Music double major with an Arabic minor. He comes from the great town of Vine Valley, NY.  He attended Marcus Whitman High School, where we  won  three  New  York  State  Percussion  Circuit  (NYSPC) championships (2003, 2005, 2006) and set the record for all­time highest scoring ensemble, along with a New York State Field Band (NYSFBC) championship in 2003. He was then hired as percussion staff at Naples High School his senior year and has taught there for the last five years. He co­founded  the  Midlakes  Percussion  Ensemble,  which  is  highly competitive in the NYSPC. In the fall of 2007, he became the caption head  of the Vestal High School Field Band,  which competes in the NYSFBC. During the summer of 2008, he marched timpani and  1st marimba with the DCA Rochester Crusaders, which made finals, placing 10th. During the summer of 2009, he marched with the Citations, winning a bronze medal in DCI Open Class. Currently, he is marching and on staff at the DCA Empire Statesmen, playing 1st marimba.  His classical experience  includes  four  semesters  with  the  Binghamton  University Symphony Orchestra as, one with the Binghamton University Percussion Ensemble, five with the Binghamton University Wind Ensemble, one with the Binghamton Community Orchestra  on timpani,  and one with the Southern Tier Concert Band. He has twice been a guest performer with the Binghamton University Chorus and the Binghamton University horn studio. “Caleb is the smoothest cat walkin’ ‘round town.” ­ Marc LEE VILINSKY, percussionist, is a senior Psychology and Music double major hailing from Centereach, New York.  At Binghamton University, he distributes  his  time  between  doing  research  involving  elementary cognition under the supervision of Dr. Ralph Miller, acting as a recording engineer for the music department, recording lectures and participating in the Evolutionary Studies (EvoS) program, carrying out activities with MOE,  and  performing  in  various  musical  groups,  including  the  BU orchestra, BU percussion ensemble, and Lady Skaga.  Lee has been actively involved in percussion since fourth grade, but discovered his passion in pop and rock music when first teaming drum set in ninth grade.  Lee is also interested in composing and arranging music, music theory, farming, bicycling, and adventuring.  After graduation, he plans to attend graduate school for experimental psychology to continue doing research involved in music cognition.  He also plans to become a rock star. “Lee needs to grow his hair back out.” ­ Marc SAM SMITH, bassist, is a sophomore dual majoring in Music and Math. He is from Warwick New York, in Orange County. Sam has been playing the bass guitar for 6 years, and has played in the Harpur Jazz Ensemble for the  past 4  semesters.  He currently takes  lessons with Stephen Brooks.  Sam has also had the pleasure of jamming with the son of the great bassist Jaco Pastorius.  He also played bass for Marc’s Junior Recital last spring on Cliffs of Dover. “Sam slaps da bass mon.” ­ Marc DAN FAGEN,  alto  sax,  is a  senior  from  Staten  Island,  NY double majoring in music and psychology.  Thankfully, Dan does not represent what most people think of when they hear Staten Island.  He began playing the clarinet when he was 9 years old and took up the saxophone when he was 13. In high school, he focused on studying jazz under Ray Scro and Chris Garone.  At Binghamton University, his main focus has continued to be jazz. Dan has been the lead alto sax of the Harpur Jazz Ensemble for the last three years while studying under Mike Carbone. �His skill does exceed the world of jazz though. He studies classical style and repertoire with Professor April Lucas and performed a Senior Recital last semester. “Dan’s range on the sax is limitless.” ­ Marc MO “REESE” TAYLOR, trombone. is a versatile multi­instrumentalist that can play many different styles of music. He hails from Binghamton NY. Mo “Reese” is the director of the Binghamton University Pep Band and is an Assistant with the Harpur Jazz Ensemble. He plays in many groups around the area including the 11 piece Funk  Horn Band “The Terry Walker Project.” “Reese’s stories are the best par t of jazz band.” – Marc ???? is a mysterious man who many might know.  His charm is  so contagious, vaccines were created for it. Every time he  goes for a swim, dolphins appear.  His reputation is expanding, faster than the universe. His hands feel like rich, brown suede.  His legend precedes him, the way lightning precedes thunder.  “I would comment, but...” ­ Marc MARK ROSSNAGEL is a sophomore double majoring in Arabic and Organ Performance.  Mark is proud (I do not know why) to come from the best (or worst) part of New York City, Staten Island.  He has been playing organ and piano for many years and studies here in Binghamton under Dr. Jonathan Biggers.  Today, he is recording this concert and deserves a special mention for being asked to do more than any other recording engineer has done.  “Mark’s passion for music is unmatched by any monal.” – Marc VICTOR  CALIGIURI is a  senior  Industrial  and  Systems  Engineering major from Flushing, Queens.  He has been pushing the play button for countless  years.  His  famous  play  button  pushing  occurred  in  his sophomore year against his former roommate Jonah Sperber.  “Nothing is more important than the man behind the scenes.“ – Marc Letter from the Performer Dear Audience, Thank you for attending my Senior Honors Recital. I hope you all have fun and rock out.  This recital has no rules.  Feel free to applaud whenever the moment strikes (even between movements).  Do not  worry  about  conventional  recital  procedures. WARNING: unexpected occurrences may occur, do not leave your seat, everything will be taken care of.  I f  the music gets too loud, rock harder.  Feel free to get up and dance at any moment; I will be dancing on stage anyway. But seriously, thank you for attending because the purpose of performing is to share music to a wide audience.  I feed off people’s energies, so the more interested the audience is, the more fun the whole experience will be.  The program I have selected is very eclectic and shows off many different types of playing.  I  hope  you  enjoy  and  remember  this experience. Thank you, Marc �Bin gha mto n Un ive rsit y Mu sic  D epa rtm ent ’s U P C O M I N G  E V E NT  S M M Thu rsda y, Mar ch 25"'  Mid­Day Concert, 1:20 PM —FREE   , Casadesus Recital Hall Thu rsda y, A p r i l  8 ‘” Jazz Mid­Day Concert, 1:20  PM – FREE Osterhout Concert Theater Thu rsda y, A p r i l  8 ” Harp   ur Jazz Ensemble Concert (co­sp onsored by the Harpur Jazz Ensemble and the Binghamton University Department of  Music), 8:00 PM, Osterhout Concert Theater, $$ (FREE for  students) Satu rday ,  A p r i l1  0 ” J  unior Recital: Jieun Jang, piano, 3:00 PM, Casadesus Rea‘ta/ Hall, FREE Satu rday, A p ri l 1   0 ” L ecture/Demonsbafion on Jacques Ibert’s Concertino da Camera: Origins, Ear/y Reception History, and Current Performance Considerations fo r Alto Saxophone and Orchestra by Professor Daniel Gordon, 11:00 AM, FA 111, FREE (co­sponsored by the Binghamton University Music  Series) Department and the Harpur College Dean’s Visiting Speaker Satu rday ,  A p r i l 1  0"ll Sweet Albion: The English Clarinet with clarinetist Timothy Perry and pianist Margaret Reitz, 8:00 PM, Anderson Center Chamber Hall, $$ Thu rsda y, Apr il 1 5‘” Mid­Day Concert; 1:20 PM —  FREE, FA 21 Fri d ay,  A p r i l  1 6m Master’s Recital: Stephen Brooks, double bass, 8:00 PM, Casadesus Recital Hall, FREE Satu rday , A p r i l 1   7 ” Gan’   net Studio Recital, 3:00 PM – FREE Casadesus Recital Hall Sa t u r d ay,  A p r i l 1  7°" University Chorus: Honegger’s KING DA VID, 8:00 PM, Osterhout Concert Theater, $$ (FREE for  students) For ticket information, please call the And erso n Cen ter Box  O ffice  a t 777­ARTS To see all events, please visit music. binghamt vn. e du Become a fan on Facebook by visiting Bing ham ton Univ ersi ty Mus ic D epa rtme nt � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:05:19 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE154593">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE154593</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marc Silvagni, percussion, senior honors recital: One meets his makers!, March 21, 2010 Recital Tape 2010-3-21 Description An account of the resource Works by Ford, Engelman, Cahn, Firth, Sarmientos, Abe, Mohlenoff, Houllif, Rundgren. Held at 3:00 p.m., March 21, 2010, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Silvagni, Marc Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2010-03-21 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 52:17 1:04:20 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145165">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145165</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Friedheim, memorial lecture/recital, March 4, 2010 Recital Tape 2010-3-4 Description An account of the resource Held at 8:00 p.m., March 4, 2010, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Choi, Janey Crawford, Roberta Salmirs, Michael Stalker, Stephen Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2010-03-04 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/8c4fde6e8ebdf5b35a2054f3eafac04a.pdf e256969310a423c24455ee214fe170d2 PDF Text Text BINGHAMTON U N E  V E R S I T Y STATE  U N I V E E S I T Y   O F  NEW  Y O R K v de o [4 D E P A R T M E N T Master ’s Kecit d flmancfa Chmela, soprano with Dan Ibeling, tenor and Margaret Reitz, piano Saturday, February 20, 2010 8:00 p.m. Casadesus Recital Hall �George  Frideric  Handel’s opera, Alciria, premiered in  London  at  the  new theatre at Covent Garden in 1735.  It ran for two seasons, but was not performed again until 1957, when  Franco Zeffirelli revived the work for Joan Sutherland.  Many arias from early Program Tornami a vagheggiar from Alcina.  .George Friderick Handel (1685­1759) Villanelle, Op. 7, no.1 ..  Sérénade .. Hector Berlioz (1803­1869) Victor Hugo Le Charme, Op.2, no.2. Extase . Four Moravian Duets, Op.20. I.  Promeny II.  Rozlouéeni III. Chudoba IV. Vufe sohaj, vuie (1802­1885) Ernest Chausson (1855­1899) ........Henri Duparc (1848­1933) .Antonin Dvordk (1841­1904) Selige Nacht . Six Elizabethan Songs . I.  Spring II.  Sleep III. Winter IV. Dirge V. Diaphenia VI. Hymn Tornami a vagheggiar  Tornami a vagheggiar Tornami a vagheggiar Te solo vuol ulnar Quest’ anima delel Caro mio bene  Return to me to look upon (me) with love My faithful soul wishes to love only you G i l t i donai il  mio cor Fido sara ‘I  mio amor Mai ti sard crudel Cara mia speme (Return to me to look upon w ith love) My dear beloved Already to you I gave my heart Faithful will be my love 1 will never be cruel to you My dear hope These French songs descri be love in four ways. “Villanelle” is from the larger work titled Les Nuits d'été (Summer Nights) with poetry by Théophile Gautier (181 1­1872).  Berlioz wrote this cycle between 1840­1841 for voice and piano.  While he wrote orchestration for one of the pieces in  1843, he  didn‘t begin orchestrating the remaining three until 1856.  “Sérénade” was composed by Gounod in 1857 with text by Victor Hugo (1802­ 1885). “Le Charme” is from Chausson’s Sept Melodies, Op.2 (7 melod ies for voice and piano), composed from 1879­1882, with the text for “Le Charme” written by Armand Silvestre (1837­1901).  “Extase” was composed by Duparc in  1874 with text by Jean Lahor (1840­1909).  Dupatc was extremely sel f­critical and destroyed many of his works before they were released to public.  Only 16 of his songs remain in circulation today, all of them composed between 1868 and 1884. Villanelle Quand viendra Ia saison nouvelle, Quand auront disparu les froids, Tous les deux nous irons, ma belle, wINTERMISSIONoa Nocturne.  operas are not integrated into the plot and thus can be moved around, exchanged, and even removed from a production without affecting the plot.  A director would assign arias based on a singer’s strengths.  “Tornami a vagheggiar” has been sung by both the title role, Alcina, and also by the character Morgana.  While the stories were important, more attention was given to the instrumentation. . Joseph Marx (1882­1964) Joseph Marx (1882­1964) .Dominick Argento (b. I 927) Pour cueillir le mugue aux bois Sous nos pieds égrénant les perles Qie I’on voit au matin trembler, Nous irons écouter lea merles siffler. Le printemps est venu, ma belle, C’ast le mois des amants beni. Et I’oiseau satinmt son aile, Dit sea vers au rebord du nid. Oh! Viens donc sur ce banc de mousse Pour parler de nos beaux a mours, et dismoi de la voix si deuce, toujours! Loin, bien loin égarant nos courses, Faisons fuir Ie lapin cache, Et le daim, au miroir dea sources Admirant son grand bois penche; Puis chez nous, tout heureux, tout aises, En panniers, en lacant nos doigts Revenons. rapportant des fraises des boisl Villanelle When comes the season new, Whai vanished the cold, We shall go together, my beautiful, To ytha the  lilies inthe woods. Our feet scattering pearls of dew That are seen at morning trembling, We shall go to hear the blackbirds warblmg The spring has come, my beautiful, I t  is the month otloveis blessed, And the bird preening its wing, Sings a refrain on the edge of the nest. OhI Come then to this bank ofmoss To talk of the delights of our love, And say to me in your sweet voice, forever! Far, very far, straying from our paths, Let us put to flight the hidden rabbit, And the deer, in the mirror ofthe springs Adminng its great bending antlers, Then towards home, quite happy, quite contented, With interlaced fingers for baskets Let us return, bringing the strawberries from the woods! �Sérénade Quand tu chantes bercee Le soir entre mas bras Entends­tu ma paisee Qui te repaid tout bas Ton doux chant me rappelle Les plus beaux de mesjours Ah! Chantez ma belle toujours! Quand tu ris sur ta boudte L’amour s’epnouit SWltalyousingu­iled érénade (Seernade) lntheevminginmylrm Doyouhearmythoudus Thatanswerywverysoftly Yoursweetsongranindsmeof “fliemostbeauiful ofmydays Ah! Singmybeautihilt‘weval When you laugh, on your lips The love blossoms Et soudain le farouche Soupgon s’evanouit Ah! Le rire fidéle Prouve un coeur sans detours Ah! Riez ma belle toujours! And suddenly the bitter Suspicion vanishes Ah! The laughter faithful Shows a heart without guile Ah! Laugh my beautiful forever! Quand tu dors calme et pure Duns I’ombre sous mes yeux Ton haleine murmure Des mots harmonieux Ton beau corps se révéle What you sleep, calm and pure In the shade beneath my gaze Your breath murmurs With words harmonious Your lovely body is revealed Without veil and without finery Ah! Sleep my beautiful forever! Le Charme Quand ton sourire me surprit, Je sentis frémir tout mon étre, Mais ce qui domptait mon esprit, Je ne puis d’abord Ie connaitre. Le Charme (T he Charm) Sans voile et sans atours Ah! Dormez ma belle toujours! Quand ton regard tombs sur moi, Je sentis mon ame se fondre, Mais ce que serait cet emoi, Je ne pus d’abord en repondre. Ce qui me vainquit d jamais, Ce fut un plus douloureux charme; Et je n’ai su queje  t’aimais, Qu’en voyant ta premiere lat­me Extase When your smile surprised me, 1 felt quiver all my being, But that which tamed my spirit, 1 could not at first recognize. When your glance fell on me, 1 felt my soul melt, But that which was this emotion. I could not at first reply. That which me vanquished forever, That was a more sorrowful charm; And I only knew that I loved you, When I saw your first tear. [Extase (Ecstasy) Sur un lys pale Mon coeur dort D’un sommeil doux Comme la mort On a lily pale My bean is sleeping In a sleep sweet As the death. .. Mort exquise Death exquisite, Mort parfumee Death perfumed Du  souffle de la bienaimée By the breath ofthewell loved Sur ton sein pale Onyoursweetbruslpale Myheartsleeps Mon coeur dort D’un sommeil doux Comme la mort lnasleepsweet Aslheduth Antonin Dvol‘ik‘s Moravian Duets, op. 20 was written during 1875­1876 for soprano (or alto), and tenor.  The texts for each of the four songs are drawn from traditional Czech folk songs. In each ofthese, the text is a dialogue between a boy and a girl but is sung as one continuing line of text by both singers, rather than exchanged as a dialogue. No.1 Promény Darmo se ty trapis, mfij mily synetku, Nenosim tebe, No.1 Transformations In vain you pine, My clear sweaheart, [don‘t carry you, A j i  tvoja nebudu ani jednu hodini. [don’t carry you in my heart; And I won’t beyours For even one hrmr. copak sobe mysli3, ma mila panenko, Whatevuareyouthinking Mydeargirl, Rozmilé srdenko; Darlingsweethfltt; Nenosim v srdeelru, Dyt ’ sit ty  to moje Foryouaremy A ty musi§ byt ma Lebo mi t& Pan Bah da Andyoumuflbemine, (khlordfiodwillgiveywtome No2 . Rozlouceni NaISvl­g Farewell Zatot‘. se mng, galanetko, Na dobro noc do kola! A ja se ti nezatotim, Ja musim j lt  do pola. Do poletka sireho, Nevidét tam Zidného. Jenom vtaeka sokolitka, Pana Boha sameho Zatoe sat ty, galanetko, Zatoc sa okolo miia, Jako vtatek larabuek okolo pha! Udéel j koel tko,moaj, Moaj, gaalnetko, Bude$ moja No.3 Chudoba Ach, co je to za slavitek, Co talr pelove, p&kné zpiva? Ach, to je muj najmilejsl, Ze mne se vysmiva. Ty se ze mne nevysmivej, Z chudobnej siroty. Twirl around me, sweahean. In a   circle as a ‘good night! And I won‘t twirl around you. I must go to the field. To the wide little field, Where no one is in sight; Only a little falcon And the Lord God himself. Twirl, sweetheart, Twirl around me, Like a little hawk Around a tree trunk! Make a little c ircle, Circle, my sweetheart, You will be mine No.3 Poverty Ah, what is that, like a nightingale, What so nicely, nicely sings? Ah, that is my  cleared, At me he mocks. Don’t mock me, Chot’ ja oer­rum hdnych pawl, Ani bdne Saty. A poor orphan, For I don’t have any money, Nor any clothes. Ty se ze mne nevysmivej, Z chudobnej siroty, Don‘t mock me, a poor orphan, Ani zadne Saty. Not any clothes. Jenom ten vinek zeleny, Kery mam na hlavé, Only this wreath green, Kery mam na sob! Which I have on myself. Chot‘ ja nernarn hdnych penéz, A etn jeden Suranedek, For I don’t have any money, Which I have on my head, And this one dress, �No.4 Vure Sohaj, vure Vule sahaj, vule V zelenym hohote, Pohani’ konieka Po hedbavne Knife No.4 H e  plows, the belavedplmvx (The Last Wish) He plows, the beloved plows In green hill, He drives little horse With silk reins. Ta snare hcdbavné na pole strhand, nevet, mila, nevel‘, sak je laska plana. That rein of silk Rips on the field, Don ’t believe, dear, For his love is  false Never, milé, never, Don’t believe, dear, don‘t believe For you shouldn‘t believe A false boy  who will go to the army. (Der letzte wunsch) A Sak nemas kerno Suhajek falesné Pojede na vojno. Debech mela kona, Sama bech s hemjela, Aspon bech vidéla, Kde bech zahynula.   ad a horse,  lrlh I would go alone with him, At least I would see Where I would die. A zahynu­li ja, Zahyneme vobé, Jenom nas poloite   ill die, And i fl w we will both die, Just put us in one grave. Do jedneho hroba, Do jedné trohlice, Bodé vo nas plakat In one grave, In one coffin, The girls from Bystrc will weep for us Do  jednoho hmbat Bestrcké devcice. Selige Nacht lm Arm der Liebe schliefen wir selig ein. Am offnen Fenster lauschte der Sommerwind, und uns’rer Atemzuge Frieden trug er hrnaus in die helle Mondnacht. Und aus dem Garten tasteie zagend sich ein Rosenduft an uns’rer Liebe Bett l l Sflfl duflende Lindenblnte in quellender Juninacht. Eme Wonne aus meinem Gemilite ist mir in Sinnen erwacht. Als klange vor meinen Ohren Spring, the sweet Spring, is the year’s pleasant king; Then blooms each thing, then maids dance in a ring. Cold, doth not sting, the pretty birds to sing, Cuckoo, jug­jug, pu­wee, to­wittz­woo’ The palm and may make country houses GAY, Lambs frisk and play,the shepherd pipes all Sweetly fragrant linden­blossoms In the flowing June­night. A feeling of delight in my heart Is  awakened in my consciousness als tone, die lange verloren, die Jugend leise mn’lck Sflfl duftende Lindenblilte in quellender luninacht Eine Wonne aus meinem Gemme ist mir zu Schmerzen erwacht Sweetly fragrant linden­blossoms In the flowing June­night. A feeling ofdelight in my heart Turns to pain within me day. And we hear ay birds tune this merry lay, Cuckoo,jug­jug, pu­wee, to­witta­woo! . i I Asleep we blissfully fell. At the open window Listened the summer wind, And out breaths Peacefulness carried it out Into the bright moon light. And out of the garden Crept cautiously A scent o f r oses To our love bed And gave us wonderful dreams. Dreams of intoxication So rich with yearning. Dominick Argento earned his Bachelor’s and Master’s degrees at Peabody Conservatory and went on to  fulfill a Ph.D. from the Eastman School of Music. In 1957, Nicholas DiVirgiIio, a friend and fellow student of Argento’s from Eastman, wrote Argento asking him to compose some songs for his graduation recital.  “I went to the bookstore...and from the limited number of volumes of English poetry they had, I  chose a group of six poems of the Elizabethan era to  set.  The Elizabethan Songs – the very first work I composed upon finishing graduate school – has turned out to be my most performed piece.  At present there are at least seven recordings (four American, one English, one German,  and  one  Australian),  several  of  them  done  with  the  baroque  ensemble arrangement (which I prefer) instead of the original piano accompaniment.” Thomas Nash (1567­1601) Nocturne   in my ears  As i f rang  softly the song cfhappiness,  echoing softly, the long lost song ofyouth  leise das Lied vorn G lick, Traume des Rausches So reich an Sehnsucht. 1. Spring By the time ofhis death at age 82, Joseph Marx had written 150 Lieder in addition to his many orchestral, chamber, choral, piano, and organ works.  Marx spent 43 years as a professor, during which he taught 1255 students composition, harmony and counterpoint. In an interview, Marx stated that he wrote lieder because “it was the fashionable thing to do.”  He wrote “Nocturne” in 1911 and “Selige Nacht” in 1912, both set to text by the German poet and dramatist, Otto Erich Hartleben (1 864­1 905). Nocturne und gab uris wundervolle Trnume Selige Nacht (Blessed Night) In the arm of love The fields breath sweet, the daisies kiss our feet Young lovers meet, old wives a­sunning sit, In  every street these tunes our ears do greet Cuckoo, ju­jug, pu­wee, To­witta­woo! Spring‘ the sweet Spring’ 11. Sleep Sam uel Daniel (1562­1691) From Delia Sonnet XLV. Care­charmer sleep, son of the sable Night, Brother to Death, In si ent darkness born, Relieve my anguish and restore thy light; With dark forgetting of my care return And let the day be time enough to morn, The shipwreck of my ill­adventured youth: Let waking eyes suffice to wail their scorn, Without the torment of the night’s untruth Cease, dreams, the images of day­desires, To model forth the passions of the morrow: Never let rising Stm approve you liars, To add more grief to aggravate my sorrow: Still let me sleep, embracing clouds in vain; And never wake to feel the day’s disdain. 111. Winter Wllliam Shakespeare (1568­1616) From “Love’i Labour’s Lost” When icicles hang by the wall, And Dick the shepherd blows his nail, And Tom bears logs into the hall, And milk comes frozen home in pail; When blood is nipt and ways be foul, Then nightly sings the starring owl, Tuwhitl Tuwhoo! A merry note! While greasy Joan Doth keel the pot When all aloud the wind doth blow, And coughing drowns the person’s saw, And birds sit brooding in the snow, And Marian’s nose looks red and raw, When roasted crabs hiss in the bowl, Then nightly sings the starring owl, Tuwhit! Tuwhool A merry note! While greasy Joan doth keel the pot �IV. Dirge ‘Wiliam Shakespeare (1568­1616) Come away, come away, Death Andin udcypvuslemebeln id; Fly away, Fly away, breath Iam slain by a fair cruel maid. My shroud ofwhite stuck all with yew, O prepare it! Mypcrtot’death,monesomie Did share it Not  a flower, not a flower sweet On my black coffin let there be strown; Not a friend, not a friend greet My poor corpse where by bones shall be thrown A thousand thousand sighs to save, Lay me, o where Sad true lovers never find my grave To weep there! V. Diaphenia Henry Constable (15552­16102) Diaphenia, like the dnffidown dilly, Whiteas lhesulL fairas Ihelily, Heigh ho, how do I love thee! I do love thee as my lambs Are beloved of their damns! How blest were I if thou would’st prove me! Dinpheniu like the spreading roses, That in thy sweets all sweets encloses, Fair sweet, how I do love thee! I do love thee as each flower loves the sun’s live­giving power, For dead, thy breath to  life might move me. Diaphenia like to all things blessed When all thy praises are expressed Dear joy, how I do love thee! As the birds do love the spring, Or the bees their careful king: Then in requite, sweet virgin, love me! Abou t the Performers: VI. Hymn Ben Joh nson (1572­1637) Queen and huntress, chaste and fair, Now the sun is laid to sleep, Seated in thy silver chair, State in wonted manner keep Hesperus entreats thy light, Goddess excellently bright Earth, let not thy envious shade Dare itself to interpose; Cynthia’s shining orb was made Heaven to clear when day did close Bless us than with wished sighL Goddess excellently bright. Lay thy bow of pearl apart, And thy crystal­shining quiver, Give unto the flying hart Space to breathe, how shun soever, Thou that mak’st a day ol’nighL Goddess excellently bright. flmanda Chmela, soprano Originally from  Lindenhurst. New York, Ms Chmela is  currently pursuing a Master’s in Opera Performance under the direction of Mary Burgess. She is also a member of the Tri­Cities Opera Resident Artist Training Program.  Roles with Tri­Cities include Gretel (Hansel and Gretel), Barbarina (Le Nozze di Figaro), Ms.  Pinkerton  (The  Old  Maid  and the  Thief), Page  (Amalfl  and the  Night Visitors), and  Page (Rigoletto).  Upcoming performances include the role of Ciesca (Gianni Schicchi), and as the soprano soloist in Honegger’s King David with the Binghamton University Chorus and Orchestra.  During the summer of 2009, she performed with the CRS Barn Studio as Edith (Pirates of Penzance) and with the Summer Savoyards as Josephine (H MS Pinafore). Ms. Chmela received her undergraduate degree in Musical Theatre from SUNY Fredonia where she stud ied under Julie Newell.  She performed the roles of Ann (A Little Night Music), the Sandman (Hansel and Gretel), and Mrs. Cratchit (A Christmas Carol), in addition to several scenes programs, a commence ment eve concert, and performance trips to both Italy (2008) and Japan (2006). Dankflfieling, tenor Dan Ibeling is from Roselle, Illinois, and is currently pursuing his Masters of Opera  degree  with  Binghamton  University  under  the  direction  of  Profs. Skrabalak and Sicilian, and is also a member of the Tri­Cities Opera Resident Artist Training Program . Over the last two seasons, he has appeared as Borsa in Rigaletta, Kaspar in Amahl and the Night Visitors, Don Curzio in  Le nozze di Figaro, and Spoletta in Tosca.  Upcoming performances include the title role in Honegger’s King David with the Binghamton University Chorus and Orchestra, and Gherardo in Gianni Schicchi at TCO.  Dan has also been an apprentice with the  Des Metro Opera, and spent a summer  in  Graz, Austria studying at  the American Institute of Musical Studies.  Dan received his B.A. in Music from the   evada, Las Vegas. University o fN Margaret Reitz, pianist Ms. Reitz is a native of the Binghamton Area.  She received her Bachelor and Master of Music degrees in piano performance with accompanying emphasis. She attended Boston  University, New England Conservatory and Binghamton University.  She  has studied piano with Jean Casadesus, Victor Rosenbaum, Seymour Fink and Walter Ponce and accompanying with Allen Rogers. She has accompanied throughout the United States, in  England, South America, Spain and at the American Institute of Musical Studies in Graz, Austria.  She was a winner of the Artistic Ambassadors Program by  the United States Information Agency in partnership with the John F. Kennedy Center for the performing arts. She  was an official accom panist  for  the MTNA  State and Eastern  Divrsion Competition held at Ithaca College. She has bee n a guest chamber music artist in �Morges,  Switzerland.  She  also  was selected  to  attend  the  Accompanying Workshop  for  Singers  and  Pianists  held  at  Northwestern  University  with Chicago  Lyric  Opera  Faculty  and Coaches.  She  was  recently  invited  to  the International Clarinet Con ference to play a recital in Tok yo, Japan. She was  a guest artist on the Cornell Summer Series.  She was an official pianist at  the lntemational  Double Reed  Competition  and  Convention  in 2007  at  Ithaca College and was invited to play the 2009 Convention in Birmingham, England with  the  Glickman  Ensemble.  She  was  selected  to  accompanying  at  the Interpretation o f  Spanish Music in  conjunction with University o f  Madrid in Grenada, Spain coached by  Teresa Berganza and at Marines School o f  Music summer 2008.  She was a Guest Artist playing two concerts in Granada, Spain this past summer and accom panied the Barcelona Song F estival in July.  She is the pianist for Theater Street Productions performing concerts in Lenox, Mass and Newport Rhode Island this fall. She is currently on the faculty at Binghamton University since 1991 and Ithaca College School of Music since 1999. She is on the Executive Board of the New York District MTNA organization,  She  is President of the  local District VII Music Teachers Association and is  an active adjudicator for the National Piano Guild Organization. Musica Nova Coordina ted by  Mary Burgess and Timothy LeFebvre w ith pianis ts  Margaret Reitz and  William J a mes  La w son N ew  Composto ins for Vocie Binghamton University Music Department ’s UPCOMING E V E N TS aS  D e a s Sunday, February 21” Mus/ca Nova: New Combos/hons for Voice ­ 3:00 PM, Anderson Center Chamber Hall, $$ Satur day, February 2 7 ”  Master’s Rec/[ah Daniel [be/lug, tenor, 8:00 PM, Casadesus Recital Hall, FREE Thursday, March 4 ”  Mid­Day Concert, 1 :20 PM  – FREE Casadesus Recital Hall Thursday, March 4 ”  Friedheim Memonla/ Lecture/Recital Series: Schumann (Mobius), 8:00 PM, Casadesus Recital Hall, $$ (FREE for students, 100 maximum tickets) Satur day, March 6 ”  University Symphony Orchestra: Concerto & Aria Concert, 8:00 PM, Osterhout Concert meater, $$ (FREE for students) Sunday, M arch 7 ” '  Wind Symphony, 3:00 PM ­ FREE Anderson Center Chamber Hall Thursday, March 11‘" Mid­De y Concert, 1 :20 PM  – FREE Casadesus Recital Hall Sunday, March 1 4 ”  Ewa Mackiewla­ Wolfe: 1810 – 2010, A Chop/n Celebration, 3:00 PM, Anderson Center Chamber Hall, $$ Thursday, March 1 8 ”  Mid­0a y Concert, 1:20 PM  FREE Casadesus Recital Hall 7  Thursday, March 1 8 ”  Harpur Chorale and Women s’  Chums, 8:00 PM, Anderson Center Chamber Hall, FREE Sun, Fepruarrill  y  at 30m BINGHAMTON  ” " ‘ " ‘ ‘ ‘ ‘ '  '  Anderson Center Chamber Hall For tickets. call (607) 777­ARTS.  S u a For ticket information, please call the Anderson Center Box Office at 777­ARTS To see all events, please visit music. binghamton. edu Become a fan on Facebook by visit/fig Binghamton University Music Department � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 55:19:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145162">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145162</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Amanda Chmela, master's recital, February 20, 2010 Recital Tape 2010-2-20 Description An account of the resource Works by Handel, Berlioz, Hector, Hugo, Chausson, Duparc, Dvorak, Marx, Argento. Held at 8:00 p.m., February 20, 2010, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Chmela, Amanda Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2010-02-20 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/6b9a215787772298a00b368362aac624.pdf b9f8603ba41c62072c39daf7ee9b3598 PDF Text Text BINGHAMTON B E Y E  R S I T Y STATE  U N I V E R S I T Y   OF  NEW  Y OR K [4 217224 D E P A R T M E N T Masters ’ Recital Daniel Ibeling, tenor with Amanda Chmela, soprano and Pej Reitz, piano Saturday, February 27, 2 0 1 0 8: 00pm Casadesus Recital Hall �Handel debuted his opera Atalanta in 1736, wh ich was created specifically for the wedding celebration of Frederick, the Prince of Wales.  While popular in its day, the opera is rarely performed. Aminta sings Di ad Irene in the third act, furious over Irene’s decision to leave him for another man. PROGRAM Di ad Irene from Atalanta George Friderick Handel (1685­1759) O wuss! ich doch den weg zuriick Sonntag ..Johannes Brahms (1833­1897) Di ad Irene Di ad Irene, tiranna, Infedele, ria, Go tell Irene, the tyrant, Crudele d’un mostro peggjore, . Ah, no... Dille, dille piuttosto,   ic, Dille ch’un core qunl e i l m Piu trovar non potra. Unfaithful, wicked, The m lone iswone fl un u m onsl e r Ah, m.,.tzll Plummet, Tell her that a heart better than mine. She will  never find Dille, Barbara, dille Ma ché 7 Tell, the barbarous one, tell her ., But what? No, che basta No, it is enough For my pure faith, To see those serene eyes With the first indication of loving compasion Wie bist du, meine Konigin Alla pura mia (E, Di veder quei begli occhi serene Con la prima amorosa pieta Four Moravian Duets, Op. 20. I.  Promény While most musicians struggle to gain recognition, in 1853 Robert Schu man wrote an article claiming 20­year old Johannes Brahms was “destined to give ideal expression to the times.” Though this placed the burden of expectation on him, Brahms would live up to his billing. These three selections are wonderful examples of the Romantic period, filled with rich harmonies, and delicate word painting. II.  Rozlou¢eni III. Chudoba Antonin Dvol‘ék (1841­1904) I V .  Vufe sohaj, vuie O wit/It ich doch den Weg zuriick 0 w ut  ich doch den Weg zufllck, Den lichen Weg zum Kinderland! O warum sucht’ ich nach dcm Gluck wlNTERMISSION a Poéme d ‘unjour... I.  Rencontre II.  Toujours Ill.Adieu To Julia  .  .  . I.  The bracelet II.  The maiden blush III. To daisies IV. The night piece V .  Julia’s hair VI. Cherry ripe Und lleB der Mutter Hand? ....Gabriel Fauré (1845­1924) Roger Quilter (1877­1953) O wie mich sehnet auszuruhn, Von keinem Streben aufgeweckt, Oh, if I only knew the road back, The deer road to childhood’s land! Oh, why did I search for happiness And leave my mother’s hand? Oh, how I long wben tmt, Not to be awakened by  anything, Die moden A ugen zuzutun, To shut my weary eyes, With love gently surrounding! Und nichts zu forschm, nichts zu splhn, Und nur zu traumen leicht und Iind, Der Zeiten Wandel nicht zu sehn, Zum zweiten Mal ein Klnd’ Only dreams, sweet and mild; Not to notice the changes of time, To be once more a child! Von Liebe sanft bedeckt! O zeigt mir doch den Weg zuruck, Den lieben Weg zum Kmderland! Vergebens such ich nach dem Gluck, Ringsum ist oder Strand! Nothing to search for, nothing to beware of, Oh, do show me the road back, The dear road to childhood’s land! In vain I search for happiness, around me naught but deserted beach and sand! �Sonntag So hab’ ich dochdieynuWoche Mein feines Liebchen nicht geaeh‘n, lch sah es an einem Sonntag Wohl vor der Tare steh’n: Das tausendschone Jungfraulein, Das tausendschone Herzelein, Wollte Gott, wollte Gott, ieh war’ lueute bei ihr! So will mir doch die ganze Woche Das Lachen nicht vergeh’n, Ich sah as an einem Sonntag Wohl in die Kirche geh’n: Das tausendschone Jungfraulein, Das tausendschone Herzelein, Wollte Gott, wollte Gott, ich war’ heute bei ihr! Wie bist du, meine Konigin Thiswholeweeltlhavena Sealmydeliclttsweefiuelrt IuwhaonSu mlIy. Standirginfimtofthedoor: m fi m d n m b e o u fi f u l g irl, ‘l’iuatthnusand­liuumbeluait‘uihfltt WouId,God,IwaewithktodayI This whole week, my laughing Has not ceased, I saw her on Sunday, Going to church: ‘That thousand­times beautiful girl, WoudlG .od ,I werewhti h  erotday! That thousand­tm i es beautiful heart, Du  lachle nur, Lenzdifte wehn Durch mein Gemiute, wonnevoll! How blissful you are, my queen, When you are gentle and good! Merely smile, and spring fragrance waits Though my spirit blissfully! Frisch aufgeblihter Rosen Glanz, Vergleich ich ihn dem deinigen? Shallloompartittoyouus? Wie bist du, meine Konigin, Durch sanfte Gute wonnevoll! Ach, uba alles, was da blaht, Ist deine Blitte wonnevoll! Durch tote Wasten wandle hin, Und griine Schatten breiten sich, Ob  furchterliche Schwile dort Ohn Ende brute, wonnevoll! Lab mich vergehn in deitietn Arm! Es ist ihm ja selbst der Tod, Ob auch die herbste Todesqual Die Brust durduwnte, wonnevoll! The brightness offruhly blooming roses, Ahsoaring over all thlthoonu Isyourblonun, blissful! Wander through dead wastelands, And green shadows will be spreading, Even if fearful sultriness Broods there without end... blissfully! Let me die in your arms! It is in them that death itself, Even iftheshatpestpain Ragesin mybrelst .. is blissful! Antonin Dvofak composed his Moravian Duets in 1875­1876, for soprano (or alto), and tenor.  The texts for each of the four songs are drawn from traditional Czech folk songs.  The text isn’t a dialogue in a true sense, but rather unison thoughts shared between two narrators, the second piece being the exception. No.1 Promény No.1 Transformations Darmo se ty trapis, In vain you pine, Nenosim ja tebe, I don’t carry you, ma jmliy synetku, Nenosim v srdecku; A j l t voja nebudu ani jednu hodinu. copak sob! mysli3,  m a mail panauko, Dyt ’ sit ty  to moje Rozmilé srderuko; A ty  musifi byt ma Lebo mi t& Pan Buu‘ h da My dear sweetheart, I d on ’tun y you i n m y l m tt; And I won‘t be yours For even one hour. Whatever are you thinking, My dear girl, For you are my Darling sweetheart, And you must be mine, Orthel iordGodwiIlgi veyoutome No.2 Rodoud‘ent’ No.2Slylng Farewell A ja se ti nezato¢im, In a circle as a ‘good night’! And I won‘t twirl around you, I must go to the field. Zatot se mn!, galartecko, NA  dobro noc do kola! Ja muslm jlt do pola. Do polecka sireiuo, Nevidet tam Zadného. Jenom vtatka sokolitka, Pana Boha samého. Twirl around me, sweetheart, To the wide  little field, ‘Where no one is in sight; Only a little falcon And the Lord God himself Zao t € sa okoo l  mia, Jako vtagek Jarabagek okolo pita! Twirl, sweetheart, Twirl around me, Like a little hawk Around a tree trunk! Udelej koletko,moja, Make a little c ircle, Bude3 moja You will be mine, ZatoX sat ty, galanoékn, Moja, ylmecko. No.1 Chudoba Ach, co je to za stavicek. Co tak pekn!, p&kné zpiva? Ach, to je muj najmilejsi, Ze mne se vysmiva. Ty se ze mne ntvysmuvej. Circle, my sweetheart, No.1 Poverty Ah, what is that, like a nightingale, What so nicely, nicely sings? Ah, that is my  dearest, At me he mocks. Don’t mock me, Z chudobnej siroty, A poor orphan, Ani Zadne 3aty. Nor any clothes. Ty se ze mne névysmivej, Z chudobnej siroty, a poor orphan, Chot’ ja némam ladnych penéz, Chot’ ja némam Zadnych penéz, Ani b dne  3aty. Jenom ten vinek zeleny, Kery mam na hlavt, A tenjedau Suranedek, Kery mam na sob! For I don‘t have any money, Don’t mock me, For I don’t have any money, Not any clothes Only this wreath green, Which I have on my head, And this one dress, Which I have on myself. �No.4 Vure Sohaj, vufe (Der letzte wunsch) Vufe 3ohaj, vuie V zelenyin héhofe, Polihni konitka Po hedbévne Si‘ii’ihe. Ta smite hedbdvnk na pole strhan, nevel‘, mila, never, 3ak je laska plan’a Neveéf, milk, nevfi, A b k  nemas Itemo Suhajek falesné Pojcde na vojno. Debech mela koiia, Sama bech s heinjela, Aspon bech videla, Kde bech zahynula. A zahynu­li ja, the helm­alpha T (HNo.4 Hepbm,  he plows, t e Las t W s i h ) he beloved plows You ask me to be quiet, In green hiII, He drives little horse Et de me’n aller, solitaire, Sans me rappeler quij aimais! and to depart alone without thinking of the one whom I love! ‘l’hat rein o f silk Rips on the field, Don’t believe, dear, For his love is false. Demandez plutdt aux etoi a De tomber dans I’immensité, A la nuit de perdre ses voiles, Au jour de perdre sa clarté, Yaimightmoreeailyaskthestars to fall fiorntluslry, or the nightto li ft its veils, Don’t believe, dear, don’t believe For you shouldn’t believe A false boy Demandezllamaimmense who will go to the army. Ulpaisersasombramnyotsl Irid,wla=itluwindsaretagingdanentedly, askfltemmmlmtheirdisnal sobbing! Iflhadaliorse, lumuldgaalonewithhim, Atleastlwouldsee Mais n’asperea pas que rnon dme S’arrache 4 ses dpres douel urs eanuptootitssomrw With silk reins, Wliaelwoulddie. And i fl  will die, we will both die, Zahyneme voba, Jenorn nas palate Do jednoho hroba. Just put us in o   ne grave. Do jedneho hroba, Do jedne trohlice, Bodo vo nks plaltat Bestrrzke deyciee In one grave, In one coffin, The girls from Bystrc will weep for us. Fauré’s song cycle Poéme d ‘un jour (poem of a day) is a fine example of melodic.  The narrator, a poet himself, ventures from flirtatious playfulness in Rencontre, to anger over his lover’s rejection of him in Toujours, and, most interestingly, to an optimistic indifferent departure in Adieu. Rencontre J’etais triste et pensif quand je t’ai rencontrée, Je sens moins aujourd’hui mon obstine tourment; O dis­moi, serais­tu la femme iriaeperee, Et le réve ideal pouisuivi vainement’! 0,passanta qudouxyeiogseriis—tudonc I’amie Qui reiulrait le bonheur au poete isolé, Eles—mnyonnasnnsonanuafiamie, Comme Ie ciel natal sur un eoeur d’eltilé” Ta  tristesse sauvage, a la mienne pareille, Aime a voir Ie soleil décliner sur la mer! Devant I’immensité ton extase s’eveille, Etleclunnedassoiisktabelleirruest chm Une mysterieuse et douce sympathie Déja m’enchaine a toi comme un vivant lien, E t mon ame frémit, par l’amour envahie Et mon coeur te cherit saris te connaitre bien! Toujaurs Vous me demandez de ma taire, lwissadandpensivewhenlmelyou, 1 sense less today my persistent torment; Tellme,waeyouthegirl Imetbyehanoe, the ideal dream I have vainly sought.” A passer­by with gentle eyes, were you the friend who brought happiness to a lonely poet? Did you shine upon my vacant bean like the native sky on an exiled spirit? Your shy sadness, so like my own, la vatowatchthesinsaovett l usa! Your delight is awakened before its immensity, and the evenings spent with your lovely soul are dear to me. A mysterious and gentle sympathy already binds me to you like a living bond, My soul trembles with overpowering love, And my heart cherishes you, knowing you hardly at all De fuir loin de vous pourjamais, Dedassechersasvamsflots, El,quandlavaitssoraaidana\ce, Et se depouille de sa flamme Comme Ie printemps dc ses fleurs! Adieu Comme tout meurt vita, la rose Declose. Et les frais manteaux diapres Des PMS; Les longs soupirs, les bienaimeea, Fumées! On voit dans ce monde lager Changer. Plus vite que les flots dea gréves, Nos raves, Plus vite que Ie givre en fleurs, Nos coeurs! A vous l’on se croyait fiddle, Cruelle, Mais helas! les plus longs amours Son! courts! Eije dis en quittan! vos oharrnea, Sans Iarmes, Presqu’au moment da mon aveu, Adieu! to flee from you forever to a distant place, ort l’udaytorid itselfof’its brightness! Asktheiinmenseooean todryupiuvastwatets, Butdanothopethatmysoul anddouseitsflame asthesming­timeoansheditsflowas! Like everything that dies quickly, the blown rose, h te fresh multi­colored flowers on the meadows. Long sighs, those we love, gone like smoke. One sees in this frivolous world, Change. Quicker than the waves on the beach, Our dreams. Quicker than frost on the flowers, Our hearts. One believes oneself faithful to you, Cruel, But alas! the longest of love affairs Are short! And I say on quitting your charms, Without tears, Close to the moment ofrn y avowal, Adieu! �Though he did venture into other branches, Roger Quilter is chiefly remembered for his contribution to art song. Quilter didn‘t participate in the early 20” century music evolution, and instead composed music with rich harmonies, filled with the sound of romantic wistfulness, and lust for past memories. He adopted work from the 17” century poet Robert Herrick to create To Julia, a six part song cycle for tenor and piano, which debuted in 1905 . I. The Bracelet IV. The night piece Julia, this my silken twist; For what other reason is  ‘t, The shooting stars attend thee, And the elves also, Wh y  I tie a bout thy wrist, But to show thee how, in part, Thou my pretty captive art? But thy bondslave is my heart, ‘1’is but silk that bindeth thee, Knap the thread and thou art free: But ‘tis otherwise with me, I am bound, and fast bound, so That from thee I cannot go,   I f could, I would not so. 11. The maiden ‘s blush Like the sparks of fi re, befriend thee. So look the mornings when the sun Paints them with fresh vermillion. So cherries blush, and Kethem pears, And apricocks in  youthful years; So corrals look more lovely red, And rubies lately polished So purest diaper doth shine, Stain’d by the beams of claret wine. As Julia looks when she doth dress Her either cheek with bashfulness. IIL To daisies Shut not so soon, the dull­ey’d night Has not as yet begun To make a seizure on the light, Or to seal up the sun No marigolds yet closed are, No shadows great appear; Nor doth the early shepherd‘s star Shine like a spanglc here. Stay but till my Julia close Her life­begetting eye, And let the whole world then dispose ltsel fto live or die. Her eyes the glow­worm lend thee, Whose little eyes glow Like the sparks of fire, befriend thee. No Will­o’­th’­Wisp mislight thee, Nor snake or slow­worm bite thee; But on, on thy way, Not making a stay, Since ghost there’s none to affright thee Let not the dark thee cumber: What though the moon does slumber? The stars of the night Will lend thee their light Like tapers clear without number. Then, Julia, let me woo thee, Thus, thus to come unto me ; And when I shall meet Thy silv ’ry feet My soul l ‘ ll  pour into thee V . Julia ’s hair Dew sat on Julia’s hair And spangled too, Like leaves that laden are With trembling dew: Or glitter’d to my sight, As when the beams Have their reflected light Danc’d by the streams. VI. Cherry ripe Cherry­ripe, ripe, ripe, I cry, Full and fair ones; come and buy lfso be you ask me where They do grow, I answer  there, Where my Julia’s lips do smile ; There’s the land, or cherry­isle, Whose plantations fully show All the year where cherries grow flfiout the Performers: fDam’dIfieBng, tenor Dan Ibeling is from Roselle, Illinois, and is currently pursuing his Masters of Opera degree with Binghamton University under the direction of Profs. Skrabalak and  Sicilian,  and  is  also  a member of  the  Tri­Cities  Opera  Resident  Artist Training Program.  Over the last two seasons, he  has appeared as Borsa in Rigoletto, Kaspar in Amahl and the Night Visitors, Don Curzio in Le nozze di Figaro, and Spoleha in Tosca.  Upcoming performances include the title role in Honegger‘s King David with the Binghamton University Chorus and Orchestra, and Gherardo in Gianni Schicchi at TCO.  Dan has also been an apprentice with the Des  Metro Opera, and  spent a summer in Graz, Austria studying at  the American Institute of Musical Studies.  Dan received his B.A. in Music from the University of Nevada, Las Vegas. Amanda Chmela, soprano Originally  from Lindenhurst,  New  York,  Ms  Chmela  is  currently  pursuing  a Master‘s in Opera Performance under the direction of Mary Burgess.  She is also a member of the Tri­Cities Opera Resident Artist Training Program.  Roles with Tri­Cities include Gretel (Hansel and Gretel), Barbarina (Le Nozze di Figaro), Ms. Pinkerton (The Old Maid and the Thief), Page (Amahl and the Night Visitors), and Page (Rigoletto).  Upcoming performances include the role of Ciesca (Gianni Schicchi),  and  as  the  soprano  soloist  in  Honegger’s  King  David  with  the Binghamton University Chorus and Orchestra.  During the summer of 2009, she performed with the CRS Barn Studio as Edith (Pirates of Penzance) and with the Summer Savoyards as Josephine (H.M.S. Pinafore). Ms. Chmela received her undergraduate degree in Musical Theatre from SUNY Fredonia where she studied under Julie Newell.  She performed the roles of Ann (A Little Night Music), the Sandman (Hansel and Gretel), and Mrs. Cratchit (A Christmas Carol), in addition to several scenes programs, a commencement eve concert, and performance trips to both Italy (2008) and Japan (2006). Margaret Rfitz, pianist Ms. Reitz is a native of [he Binghamton Area.  She received her Bachelor and Master of Music degrees in piano performance with accompanying emphasis. She attended Boston University, New England Conservatory and  Binghamton University.  She has studied piano with Jean Casadesus, Victor Rosenbaum, Seymour Fink and Walter Ponce and accompanying with Allen Rogers. She has accompanied throughout the United Slates, in England, South America, Spain and al the American Institute of Musical Studies in Gra z, Austria.  She was a winner of the Artistic Ambassadors Program by the United States Information Agency in partnership with the John F. Kennedy Center for the performing arts. She  was an  official  accompanist for the  MTNA  State  and  Eastern  Division Competition held at Ithaca College. She has been a guest chamber music artist in Morges, Switzerland.  She also was selected to attend the Accompanying Workshop for Singers and Pianisls held at Northwsslem University with Chicago Lyric Opera Faculty and Coaches. She was recently invited to the International Clarinet Conference to play a recital in Tokyo, Japan. She was a guest artist on the Cornell  Summer Series.  She was  an  official pianist  at  the International �Double Reed Competition and Convention in  2007  at Ithaca College and was invited to play the 2009 Convention in Birmingham, England with the Glickman Ensemble. She was selected to accompanying at the Interpretation of Spanish Music in conjunction with University of Madrid in Grenada, Spain coached by Teresa Berganza and  at Mannes School of Music summer 2008.  She was a Guest  Artist  playing two concerts in  Granada,  Spain  this  past  summer  and accompanied the Barcelona Song Festival in July.  She is the pianist for Theater Street  Productions  performing  concerts in  Lenox,  Mass  and  Newport  Rhode Island this fall. She is currently on the faculty at Binghamton University since 1991 and Ithaca College School of Music since 1999. She is on the Executive Board of the New York District MTNA organization.  She is President of the local District VII Music Teachers Association and is an active adjudicator for the National Piano Guild Organi zation. T ri­Cities O pera 2009­2010 Season (sy  d o n i z e l l i e R ev FRIEDHElM MEMORIAL Lecture/Recital  H U M A N N ROBE/2 T SC  MOBIUS ENSEMBLE Janey Choi, Violin Roberta Crawford, Viola Michael Salmirs, Piano Stephen Stalker, Cello o p r i l   3 0   8  m a y   2 , 2 0 1 0 Thursday, March 4, 2010 8:00 p. m. Casadesus Recital Hall �Binghamton University Music Department ’s   U P C O M I N G  E V E N7­5 s e s a m e ­ m a c a w Thursday, March 4°”  Mid­Da y Concert, 1.20 PM ­ FREE Casadesus Recital Hall Th ursda y,  M a r ch  4 ”  Friedheim Memorial Lecture/Recital Series: Schumann (Mobius), 8:00 PM, Casadesus Recital Hall, $$ (FREE for students, 100 maximum tickets) Satur da y,  M ar ch  6% University Symphony Orchestra: Concerto & Ana Concert, 8:00 PM, Osterhout Concert Theater, $$ (FREE for students) Sunday, March 7 ”  wind Symphony, 3:00 PM ­ FREE Anderson Center Chamber Hall   1”' Mid­Day Concert, 1 :20 PM ­ FREE Thursday, M ar ch 1 Casadesus Recital Hall   4 ”  Ewa Mackiewicz­ Wolfe: 1810 – 2010, A Chopin Su n da y,  M a r ch 1 Celebration, 3:00 PM, Anderson Center Chamber Hall, $$   8 ”  Mid­Day Concert, 1 :20 PM ­ FREE Thursday, M ar ch 1 Casadesus Recital Hall   8 ”  Harpur Chorale and Women s’  Chorus, Th ursda y, M a r ch 1 8:00 PM, Anderson Center Chamber Hall, FREE Sa t u r da y,  M a r ch  20° " Senior Honors Recital: Briana Sakamoto, soprano, 8:00 PM, Casadesus Recital Hall, FREE Su n da y,  M a r ch  21"t Senior Honors Recital: Marc Silvagni, percussion, 3:00 PM, Casadesus Recital Hall, FREE Thursday, M ar ch  25‘h Mid­Day Concert, 1 :20 PM ­ FREE Casadesus Recital Hall For ticket information, please call the Anderson Center Box O ff i ce  a t 777­ARTS To see all events, please visit music. b inghamton. e du Become a fan on Facebook by visiting Binghamton University Music Department � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 17:42 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE154590">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE154590</a>https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE154590 Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Daniel Ibeling, tenor, master's recital, February 27, 2010 Recital Tape 2010-2-27 Description An account of the resource Works By Handel, Brahms, Dvorak, Faure, Quilter. Held at 8:00 p.m., February 27, 2010, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Ibeling, Daniel Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2010-02-27 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound