75
10
1775
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https://omeka.binghamton.edu/omeka/files/original/1329271217eecd3130dcbb1e3eb9c5a7.pdf
80b7eaf3f1af7664869299c6a538c803
PDF Text
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BINGHAMTON
U N I V E R S 1 T Y
STATE U N I V E R S I T Y O F N E W Y O R K
cad/ob
D E P A R T W E N T
G RADUATE T HESIS
R ECITAL
K ATHLEEN JASINSKAS,
SOPRANO
with
U Lee, Piano
Charles Hyland, Baritone
Frida y, M arch 23, 2012
8:00 p.m.
Casadesus Recital Hall
�PROGRAM
..Mozart
Laudamus Te .
from Great Mass in Cminor
Five Poems of An na Akhmatova (Op. 27)..
1. Sunshine has filled the room
II. True tenderness
III. Memories of sunlight
IV. Greetings
V. The greyeyed King
Selections from Italienisches Liederbuch.
with Charles Hyland, Barito ne
(1756–1791)
.. P ro kofiev
(1891–1953)
.Wolf
(1860–1903)
Ihr seid die Allerschonste
Auch kleine Dinge
Ein Standchen Euch zu bringen
Und willst du deinen Liebsten sterben sehen
Mein Liebster singt a m Haus
Wie soll ich frohlich sein
O wiisstest du, wie viel ich deinetwegen
Schweig’ einmal still
Ich hab’in Penna einen Liebsten wohnen
u ) INTERMISSION «3
Knoxville: Summer of 1915...
...Barber
(19101981)
PROGRAM NOTES
Moza rt was living in Vienna in the winter of 1782 when he
began composition of the Great Mass in cminor (K. 427) as a
gift for his fiancée, soprano Constanze Weber. The mass
setting was a n impressively la rge underta king, scored for
four soloists (SSTB), double chorus and orchestra. Despite
protestations from his father, Mozart and Constanze were
ma rried in the summer of 1782 and they premiered several
movements of the work at St. Peter’s in Salzburg in October
of 1783. By all accounts, the performance was quite
successful, but for unknown reasons Wolfgang and
Constanze left Salzburg permanently the day after the
premiere and the score joins the famous Requiem as a
stunning but incomplete work. The Laudamus Te is the
second of seven sections tha t form the Gloria movement of
the Mass, and its message to praise and glorify God is
highlighted by a sunny key transition to FMajor and no
shortage of vocal and orchestral pyrotechnics.
After the completion of his opera The Gambler in 1916, Se rgei
Prokofiev is said to have told friends that he wanted to relax
and compose a few short, in timate pieces. No stranger to
vocal chamber music, his first several song cycles employed
the poetry of ”socalled Golden Age [poets] such as Push kin
and Lermontov.” This time, however, Prokofiev sought out
the work of upandcoming poet Anna Akhmatova (1889–
1966), enchanted by the “deliberately straightforward and
concrete imagery [used] to convey the sometimes morbid
sensations of a society woma n.” The cycle was completed in
only four days and was a huge success at its premiere at a
Concert of Modern Music i n Moscow on February 18, 1917,
which featured soprano Zinaida Artyomova and the
composer at the piano. Critic Yuly Engel raved that
�Prokofiev had found a new type of lyricism : “One hardly
expects to find tenderness, warmth, emotion or, in short,
lyrical charm in Prokofiev’s music. Some say that the young
Sa muel Ba rber began work on Knoxville: Su mmer of1915 in
1947 in response to a request for a large symphonic work for
Akhmatova’s words, it is difficult to agree with this.” The
composer himself agreed that these compact songs did
indeed represent a tu rn toward more lyric wri ting that
would follow him to the end of his career.
composition: “... my musical response was immed iate and
intense... The summer evening he describes reminded me
so much of similar evenings when I was a child a t home.”
Indeed, Agee and Barber had much in common: both grew
up in the South in the ea rly pa rt of the Twentieth Centu ry,
and both lost their fathers within a year of their works’
completion. The piece is narrated prima rily by a child,
though she seems a t times to transcend into adulthood and
reminisce on the idyllic summer scene. Barber described the
finished product as a ”ly ric rhapsody,” featuring a full
spectrum of orchestral colors, from the serene lilt of the
opening harp and oboe to the full blast of french h orns as the
child drops to her knees in prayer. It was premiered by
American soprano Eleanor Steber and the Boston Symphony
Orchestra in 1948 and has become a beloved staple of the
com pose r has none of it. Bu t after h ea ring the songs set to
Hugo Wolf was one of the most prolific Lieder com posers of
the late 19th Century, producing more than two hundred
songs between 1888 and 1897. The Italienisches Liederbuch
contains fortysix miniatures in two volumes from 1892 and
1896, while Wolf was living and working in Aust ria. The
poems a re traditional 15th Centu ry Tuscan rispetti translated
into German by Paul Heyse. Though the translations are
beautifully done and reta in much of the poetry’s o riginal
flavor, the poems lose the standard structu re of eight 11
syllable lines, which adds to their Italian cha rm. The subject
is love, ranging in expression from sublime to ridi culous
(and the nine selections we have chosen certainly follow that
order!). Each song is a pa instakingly refined snapshot,
ranging in style from a si mple Schubertian serena de to
complex Wagnerian chromaticism, with the occasional hint
of Italian bel canto opera . Though there are no instructions
for how the works are to be performed, they are typically
divided between a male and female voice based on poetry
and musical range, and have been recorded by several
incredible teams, including Elisabeth Schwarzkopf and
Dietrich FischerDieskau.
voice and orchestra by conductor Serge Koussevitzky. He
found himself d ra wn to James Agee’s poem, reca lling post
modern symphonic repertory.
�ABOUT THE PERFORMERS
Soprano Kathleen Jasinskas is currently a Resident
Artist with TriCities Opera and a Master of Music candidate
at Binghamton University, where she studies voice with
Professor Tom Goodhea rt. She was hailed as “a joy to watch”
singing Despina in TCO’s Cosi fan tutte (2010), and has also
been featured as Stella in Les contes d Hoffman (2011) and
Kate Pinkerton in Madama Butterfly (2011) at TCO.
Kathleen made her professional debut in 2009 singing
Antonia in Man of La Mancha with Shreveport Opera, where
she was a member of the Shreveport Opera eXpress Resident
A rtist program. She has been seen as a Studio A rtist at Opera
New Jersey (2009), covering YumYum in The Mikado and as
an Apprentice A rtist at Des Moines Metro Opera (2008),
covering the role of Oscar in Un ballo in maschera.
Kathleen received her Bachelor’s Degree from The
Juilliard School in 2008, where her notable performance
credits included the New York premiere of Ned Rorem’s Our
Town and the American premiere of Cavalli’s La Doriclea. She
made her Alice Tully Hall debut in the Spring of 2007
singing Poulenc’s l a Courte Paille and has presented several
recitals in New York City and her hometown, Kansas City,
KS.
This spring, Kathleen will sing the role of Papagena in
TCO’s Die Zauberflote (April 27 & 29).
An extraordina ry a rtist, Ms. U Lee is a vi rtuoso singer
as well as a pianist and conductor. As a singer, Ms. Lee has
performed many roles, including Giulietta, La voix humaine,
Judith, Suzuki, Mere Ma rie, Idamante, Dorabella, Glenda,
Annio, and more in houses from Taiwan and Malaysia to the
United States and Canada. In April, Ms. Lee will perform the
Second Lady in TriCities Opera’s Die Zaubeflite. As a
pianist/coach, Ms. Lee has worked for Manhattan School of
Music, Dolora Zajick’s Institute for Young Dramatic Voices,
Yard Opera, Grandview Opera, Experimental Theater
(Taipei), and is no w with the M usic Depa rtmen t of
Binghamton University. She has also conducted works by
Debussy, Ravel, Puccini, Mozart and Rossini. Not restricted
to the vocal studio or concert stage, Ms. Lee also made her
appearance on the catwalk for designers Dolita and Stayres,
played cello in Melanie Fiona’s music video (It kills me), and
her a rt work is currently being exhibited in New York.
Charles Hyland, Baritone, is a resident a rtist at the TriCities
Opera and is currently in the Master of Music program at
Binghamton University. He sang the role of Yamadori and
covered the role of Sharpless in the TCO production of
Madama Butterfly, and will be singing Papageno for their
production of Die Zauberflo’te in April. Other previous roles
include Melchior in Amahl and the Night V isitors (Binghamton
University), Masetto in Don Giovanni (Prelude to
Performance, Ma rtina Arroyo Foundation), Figaro in Le
Nozze di Figaro (Catholic University of America), Dr. Falke in
Die Fledermaus (CUA), Schaunard in La Boheme (CUA), Haly
in L’ltaliana in Algeri (Bel Cantanti Opera), and Lorenzo in I
Capuleti e i Montecchi (BCO).
�B nghamton University Music Department ’s
U P C O M I N G EVENTS
Thursday, March 29 — MidDay Concert — 1:20 p.m. — Casadesus
Recital Hall — free
Thursday, April 12 — MidDa y Concert — 1:20 p.m. — Casadesus
Recital Hall — free
Friday, April 13 –– Senior Recital: Alexander Baron, recorder —
8:00 p.m. — Casadesus Recital Hall — free
Saturday, April 14 — Masterclass with organist Carla Edwards — 10
a.m. — 12 noon — First Presbyterian Church, Binghamton — free
Saturday, April 14 — Robert Smith, euphonium, presents “El
Bombardino” with Margaret Reitz, piano — 3 p.m. — Casadesus
Recital Hall — $6 general public; $3 faculty/staff/seniors; free for
students
Sunday, April 15 — Africanaise: An evening of African Inspired
Compositions — 3 p.m. — Anderson Center Chamber Hall — $10
general public; $6 faculty/staff/seniors; $3 students
Sunday, April 15 — Guest Organist Carla Edwards — 4 p.m. — First
Presbyterian Church, Binghamton — $10 general public; $6 fa culty/
staff/seniors; $3 students
Thursday, April 19 — MidDay Concert — 1:20 p.m. — Casadesus
Recital Hall — free
Friday, April 20 — University String Orchestra — 4:00 p.m. — Grand
Corridor — free
I f you enjoyed and were inspired by this performance, please
consider supporting the Department of Music with a financial
gift. Your support helps to continue the work of students,
faculty, and guest artists and their contnbutions to our larger
community. Please make your donation payable to the
Binghamton University Music Department, and send to P.O.
Box 5000, Binghamton, NY 13902.
For ticket information, please call the
Anderson Center Box Ofi'ice at 777ART5.
�
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
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Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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1 sound disc
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48 minutes:52 seconds
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE142048">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE142048</a>
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Graduate thesis recital, Kathleen Jasinskas, March 23, 2012
Description
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Works by Te, Mozart, Wolf, Barber. Held at 8:00 p.m., March 23, 2012, Casadesus Recital Hall.
Creator
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Lee, Ü
Hyland, Charles
Jasinskas, Kathleen
Publisher
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Binghamton University Libraries
Date
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3/23/12
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sound
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BINGHAMTON
U N I V E R S l T Y
f
F F )
S TAT E UNIVERSITY OF N E W Y O R K
D E P A R T M E N T
Tnuusmv
HubD AV CONCERT
MARCH 22, 2012
1:20 P.M.
CASADESUS RECITAL HALL
�PROGRAM
..Fred Godfrey, aka Llewellyn Williams
Lucy Long...
(1880–1952)
.. Antonin Dvorak
tr. T. Perry
(18411904)
Timothy Perry, clarinet
Margaret Reitz, piano
John Isenberg, piano
Duet, ”Ah guarda, sorella”
Wolfgang Amadeus Mozart
Dorabella: Caitlyn Gotimer, mezzosoprano
John Isenberg, piano
(1756–1791)
(Pamina’s suicide scene, from DIE ZAUBERFLOTE, Act II)
Pamina: Kathleen Jasinskas, soprano
First Spirit: Kerianna Krebushevski, soprano
Second Spirit: Caitlyn Gotimer, mezzosoprano
Third Spirit: Molly AdamsToomey, mezzosoprano
John Isenberg, piano
Evening Prayer .
from HANSEL und GRETEL
(18131901)
(1756–1791)
(from COSI FAN TUTTE, Act I)
Fiordiligi: Kerianna Krebushevski, soprano
“Bald prangt, den Morgen...,... ..Wolfgang Amadeus Mozart
zu verkL’inden”
from Act I, RIGOLETTO
.. Giuseppe Verdi
Gilda: Christina Kompar, soprano
Giovanna Molly AdamsToomey, mezzosoprano
Duke of Mantua: Mario Eun Hwan Bae, tenor
Paige Elliott, bassoon
Margaret Reitz, piano
Romance in f minor, Op. 11 .
Scene, duet, and aria “Caro nome“.4.....
. Engelbert Humperdinck
(1854–1921)
Sandman: Richard G. Leonberger, tenor
Hansel: Michelle Goldrich, mezzosoprano
Gretel: Christina Santa Maria, soprano
John Isenberg, piano
Wolfgang Amadeus Mozart
Trio, “Soave sia il vento”......
(17561791)
(from COSI FAN TUTTE, Act I)
Fiordiligi: Kerianna Krebushevski, soprano
Dorabella: Michelle Goldrich, mezzosoprano
Don Alfonso: Daniel Romberger, bassbaritone
John Isenberg, piano
“Pronta io son"....
from DON PASQUALE, Act I
.. Gaetano Donizetti
(17971848)
Norina: Meghan Cakalli, soprano
Malatesta: Charlie Hyland, baritone
John Isenberg, piano
�Binghamton University Music D epartment’s
U P C O M I N G E V E NT s
Friday, March 23 — Master’s Recital: Kathleen Jasinkas, so prano —
8:00 p.m. — Casadesus Recital Hall — free
Thursday, March 29 — MidDay Con cert — 1:20 p.m. — Casadesus
Recital Hall — free
Thursday, March 29 — Nukporfe Afr ican Drumming and Dance
Ensemble — 8 p.m. — Anderson Center Chamber Hall — $5 per person
(tickets will be sold at the door)
Thursday, April 12 — MidDay Concert — 1:20 p.m. — Casadesus
Recital Hall — free
Friday, April 13 — Senior Recital: Alexander Baron, recorder — 8:00
p.m. — Casadesus Recital Hall – free
Saturday, April 14 — Masterclass with or ganist Carla Edwards — 10
a.m. — 12 noon — First Presbyterian Church, Binghamton — free
Saturday, April 14 — Robert Smith, euphonium, presents “ El
Bombardino” with Margaret Reitz, piano — 3 p.m. — Casadesus
Recital Hall — $6 general public; $3 faculty/staff/seniors; free for
students
Sunday, April 15 — Africa naise: A n e vening o f A frican Inspired
Compositions — 3 p.m. — Anderson Center Chamber Hall — $10
general public; $6 faculty/staff/seniors; $3 students
Sunday, April 15 — Guest Organist Carla Edwards — 4 p.m. — First
Presbyterian Church, Binghamton — $10 general public; $6 faculty/
staff/seniors; $3 students
For ticket information, please call the
Anderson Center B ox O ffice a t 7 77ARTS
To see all events, please visit music. b inghamton. e du
Become a fan on Facebook by visiting
Binghamton University Music D epar tment
�
Dublin Core
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Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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1 audio disc
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55 minutes :43 seconds
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141871">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141871</a>
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Thursday mid-day concert, March 22, 2012
Description
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Works by Long, Godfrey, Dvořák, Mozart, Humperdinck, Verdi, Donizetti Held at 1:20 p.m., March 22, 2012, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Elliot, Paige
Reitz, Margaret
Jasinskas, Kathleen
Krebushevski, Kerianna
Gotimer, Caitlin
Adams-Toomey, Molly
Isenberg, John
Leonberger, Richard G.
Goldrich, Michelle
Santa Maria, Christina
Kompar, Christina
Bae, Eun Hwan
Romberger, Daniel
Cakalli, Meghan
Hyland, Charles
Publisher
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Binghamton University Libraries
Date
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3/22/12
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In copyright
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sound
-
https://omeka.binghamton.edu/omeka/files/original/9fbd6167b8887b6349453541d722db84.pdf
559ad7b4e0dfd3e082e34d18bc3fb32d
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Text
BINGHAMTON
UNIVERSITY
S T A T E UN I V E R S I T Y O F N E W Y O R K
e d e
[4
D E P A R T M E N T
M u sica N o va
Janey Choi, violin
Adam Goldenberg, marim ba
Georgetta Maiolo, flute
Christian Ma rtin, piano and composer
Margaret Reitz, piano
Stephen Stal ker, cello
Anna Tonna, mezzosopra no
Stephen Zan k, piano
and
Paul Goldsta ub, composer
Sunday, Ma rch 18, 2012
3 :00 p.m.
Casadesus Recital Hall
�PR O G R A M
Leonard Bernstein
Three Meditations from “MASS"......
(19181990)
Stephen Stalker, piano
Margaret Reitz, piano
. Paul Goldstaub
Doubtful S o und (pre miere) .
(b. 1947 )
Georgetta Maiolo, flute
..............Mohammed Fairouz
JederMensch... ...........
(b. 1985)
The E ternal Source
trange
S
Today I Realized Something Very
The Celebration o f the Spirit
Anna T onna, mezzoso prano
Margaret Reitz, piano
Christian Martin
Three NeoRomantic Preludes
(b. 1984 )
Christian Martin, piano
..............Richard Cam’ck
Lo flow
(b. 1971)
Janey Choi, violin
Claws!
Bagatelle for violin a nd p iano
.Theodore W iprud
(b. 1958)
Janey Choi, violin
Stephen Zank, piano
Mallet Palette ( pre miere).
Paul Goldstaub
A da m Goldenberg, marimba
Margaret Reitz, piano
�PROGRAM N OTES
Leonard Bemstein’s Mass was commissioned by Jacqueline Kennedy for the opening of the
II. Today I Realized Something Very Strange
“Today I realized something very strange. I am not happy–and not unhappy. It came to me
suddenly that I am living what only appears to be a life. I hold so much inside of me, I am not
The first Meditation yearns desperately for faith and an answer from God. The cello statement
begins forts and with intensity and ends triple pianissimo. The piano now enters pianissima dolce
free–l suffer–but I don’t know why or what for. My ship is in the harbor, but it has sprung a
leak.”
III. The Celebration of the Spirit
“Gustav Mahler–from the struggles of abstraction, Oskar Kokoschka, the genius, Walter
Gropius, the improviser of cultures and wills–And Joseph Fraenkel, the genial improviser
From Walter I want children–from Oskar, works–from Fraenkel, the celebration of the spirit that
he never offered me. I wish that Fraenkel had moved into my house to live the rest of his life with
me.” – from the Correspondence and Diaries ofAlma Mahler
Thesecond Meditationisa setofvariationsand acodabasedonatheme from the finaleol
Beethoven’s Ninth Symphony. Bernstein avoids the formal character normally associated with
the variation form by changing the length of each variation. This gives a rhapsodic nature to the
movement.
“Preludes. inspired by the songs of birds outside a brightly sunlit den in an apartment in
Chandler, AZ. these first three preludes, first began in 2009 and have just recently been
completed. The birdsong which created the melody for Prelude No. 1 is the trichord 0 2 7, first
introduced in measure one as ED(E)A and developed throughout the piece. The birdsong for
Prelude No. 2 is the trichord 0 3 5, first introduced in measure one as C#D#A#(C#). Prelude
No. 3 was not based on birdsong, but is rather a pattern of unresolved seventh chords, with the
exception of the ending cadence, which create mysterious, relaxing harmonies reminiscent to
those of Debussy or Ravel.
John F Kennedy Center for the Performing Arts in Washington, DC. It was first performed on
September 8, 1971. Two of the instrumental sections, Meditations 1 and 2, were later arranged
for cello and piano. The third Meditation was newly composed from different ideas taken from the
Mass.
and repeats the cello’s statement. The second idea is marked tranquillo. It opens with the cello,
which falls chromatically until the idea is picked up by the piano. The next section rises
chromatically, in answer to the first section. The motive moves between the two instruments as it
rises fortissimo to the high point of the movement.
Meditation 3 begins with an ostinato rhythm which mixes 3/4 and 3/8 time signatures. After a
cello statement the two instruments pass the idea back and forth. The cello then enters with a
new theme, this time a dancelike dotted rhythm. The playful character of the movement is
internipted by a thoughtful slow section. The quicker tempo soon returns, however, and the
movement ends with pizzicato outbursts on the cello.
In the three Meditations Bernstein expresses the many aspects of the religious experience from
the meditative to the joy of living.
(Peter Cody and Wan Kim, firstyear graduate students for Composition)
Three years ago, my wife and I went to New Zealand and it was wonderful. There were exciting
cities to explore, of course, but nature– the lakes, fiords and the ocean–fonned the most
memorable part of the trip. No houses, no stereos, just exotic birds, playful seals and stunning
waterfalls.
Despite its name, “Doubtful Sound” is a fjord, surrounded by beautiful, majestic mountains. We
arrived by boat and, as we approached one particularly pristine cove, passengers fell silent in the
glorious sunshine and unusually dry weather, to listen to the distinctive, repetitive song of a lone
bird. I think about Doubtful Sound just about every day. A quiet, peaceful place.
‘Jeder Mensch was commissioned for, inspired by, and dedicated to my friend, Kate Lindsay.”
Jeder Mensch Texts
I. The Eternal Source
“Today I know the elemal source of all strength. It is in nature, in the earth, in people who don‘t
hesitate to cast away their existence for the sake of an idea. They are the ones who can love. I
go on living with my face lifted high, but with my feet on the ground–where they belong.”
‘in flow,” the opening work of my hour long Flow Cycle for Strings, explores gradual shifts in
color and expressivity in a constantly moving and evolving musical thread. The music contains
an equal emphasis on both long, evolving gestures and the local pushpull of motifs. This piece
was written for Andrea Schultz, to whom it is dedicated, on April 7, 2006.
The Flow Cycle is influenced by Islamic Mosaics, Gnawa music of Morocco, Albert Camus’
L’Etranger, and the Flow concept of Mihaly Csrkszentmihalyi. While the first work “in flow” for
solo violin uses an expansive linear approach to compose “flow“ of unrelated materials, each
subsequent work (Shadow Flow for viola, Moroccan Flow (unfolding from unit y) for ‘cello, Duo
Flow for violin and ‘cello, and “a cause du soleiT Flow Trio for String Trio) uses a sectional
approach to create a mosaiclike experience of flow that is reflected in each of the works, which
can be performed separately.
“Claws!” attempts to evoke a sensation of dangerous attraction – a combination of silky
seduction with horrormovie dread.
“Mallet Palette” is a new piece for the Musica Nova concert. The marimba and the piano begin
as equal players, with long notes for the marimba and quick notes in the piano. Soon the tempo
gets faster, in g minor most of the time, and there are rhythms of 5/8, 6/8, 9/8 and of course, 4/4.
Finally, at the end, the first section comes back, with a finishing touch. Throughout the
composition, both the marimba and the piano use staccato. legato, accents, and a wide range of
dynamics.
�BIOGRAPHIES
Richard Carrick, born in Paris of FrenchAlgerian and British decent, is a composer whose
music has been performed intematicnally by the New York Philharmonic (Ensemble Series),
Vienna’s Konzerthaus, ISCM World Music DaysSwitzerland, Darmstadt Summer Festival,
Tokyo lntemational House, Merkin Hall, Nieuw Ensemble, JACK Quartet, Nouvel Ensemble
Moderne, soloists Magnus Andersson, Carin Levine, Rohan de Saram, David Shively and others.
Recent awards include a Fromm Foundation Commission from Harvard University for his second
string quartet, and recent works include the hourlong Flow Cycle for Strings (released on New
World Records in 2011), Adagios for Strings, and Find the Devil’s Lead for large ensemble. He
also writes largescale multimedia works including the “operatioally ambitious” (The Village
Voice) Cosmioomics, based on stories by Italo Calvino and combining video, electronics and live
musicians. Carrick is currently Visiting Professor of Composition at Columbia University and
Adjunct Professor at New York University. Carrick is founder/ooartistic director of the New York
based contemporary ensemble Either/Or. His music is published by Project Schott New York.
Canadian violinist, Janey Choi gave her Camegie Hall recital debut in 1997 as a winner of the
Artists International Auditions and continues an active career performing on recital and chamber
series, on Broadway, and with such groups as the New York City Ballet, Ardelia Trio, and the
Teaching Artists Ensemble of the New York Philharmonic. The recipient of numerous awards
including the Chalmers Performing Arts Grant from the Ontario Arts Council (Canada) and
National First Prize in the Canadian Music Competition, she has participated in such festivals as
Mostly Mozart, Norfolk, Taos, the Spoleto Festivals in the US and Italy, Festival Musical de Santc
Domingo, the Santa Fe Opera and the Sarasota Opera.
An avid interarts and crossgenre collaborator, she is the Music Director of Thomas/Ortiz Dance,
and has performed numerous times with the Parsons Dance Co., most notably at the Kennedy
Center in Washington, DC, and at the New Victory Theater in Times Square. She also initiated
an interdepartmental collaboration with the Paul Taylor Dance Company, and the Binghamton
University Music and Dance Departments. Her other interests have taken her to the visual arts
world. developing and presenting an annual “Music + Art” show commissioning artwork based on
chamber works. She has recorded and appeared with such mainstream performers as Bono (U2)
and Quincy Jones, Adele, Beyoncé, Aretha Franklin, Enya, Elton John, JayZ, Sarah McLachlan,
Lenny Kravitz, and Kanye West, on the Grammys, MTV, Saturday Night Live, the Today Show,
at Live 8, Radio City Music Hall and Royal Albert Hall in London, England.
Dr. Choi holds the distinction of being the youngest. and only PreCollege student ever accepted
by her late mentor, Joseph Fuchs at The Juilliard School, where she graduated from the
accelerated BM/MM program with the Joseph Fuchs Graduation Prize. Her other major teachers
include Joel Smimoff, Victor Danchenko, Harvey Shapiro. and Arnold Steinhardt. She attained
her Doctor of Musical Arts degree at Rutgers University with full scholarship and was the
recipient of the Graduate Fellowship Award. Strongly committed to education. she has been on
the faculty of Binghamton University since 2006 and is a Teaching Artist for the New York
Philharmonic and Chamber Music Society of Lincoln Center. She has presented educational
workshops for the College Music Society National Conference, Tokyo College of Music and
Lincoln Center Institute. In her free time, she enjoys marathon and triathlon training, playing
soccer and ice hockey.
Straddling Eastern and Western idioms, Mohammed Fairouz, one of the most frequently
performed composers of his generation, has emerged as a force on the musical scene. Praised
by the New York Times as “warmly sympathetic” and “brilliantly handled,” his music has been
received at venues such as Camegie Hall, Boston’s Symphony Hall, the Kennedy Center and
intemationally throughout the United States, Europe, the Middle East and Australia. He has
received commissions from Musicians for Harmony, Northeastem University, the Imani Winds
(Legacy Commission), the Cygnus Ensemble, Counter)induction, Alea lII (Boston University),
Alwan for the Arts and the Second Instrumental Unit among others.
His music has been championed by some of the foremost performers such as the Borromeo and
Lydian String Quartets, the lmani Winds, The Knights Chamber Orchestra, members of the
Boston Symphony Orchestra, the violinists Rachel Barton Pine and James Buswell, the
clarinettist David Krakauer as well as the conductors Gunther Schuller, Fawzi Haimor and Yoon
Jae Lee. Among the eminent singers that have promoted his wealth of vocal music are Kate
Lindsey. Sasha Cooke, D’Anna Fortunato, David Kravitz and Randall Scarlata. Fairouz has been
recognized as an “expert in vocal writing” by the New Yorker and as a “post millenial Schubert”
by Gramophone Magazine.
He has been invited to lecture and lead residencies across the country at institutions such as
Columbia University, Brown University, Chestnut Hill College, Grinnell College, Northeastern
University (Boston), Humbolt State University and the University of Western Michigan.
Fairouz’s teachers in composition included Gyorgy Ligeti in Vienna as well as John Heiss,
Gunther Schuller, Halim EIDabh and Richard Danielpourwith studies at the Curtis Institute and
New England Conservatory.
Recordings of his music are available on the Sono Luminus, Albany and GM labels. An
upcoming recording featuring Rachel Barton Pine, the Borromeo String Quartet, Imani Winds and
David Krakauer is slated for release on the Naxos Label in the 201213 season. The music of
Mohammed Fairouz is published by Peermusic Classical.
Adam Goldenberg is a senior biochemistry major and music minor. Mr. Goldenberg studies with
Professor Daniel Fabricius, and regularly performs with the University Wind Ensemble and
Percussion Ensemble. in 2011, Mr. Goldenberg was a featured soloist in Terry Gillingham’s
“Concertino for Percussion and Wind Ensemble” and in Paul Creston’s Concertino for Marimba
and Wind Ensemble. In spring of 2012, Mr. Goldenberg will be performing Keiko Abe’s “The
Wave” Concertino for Marimba and Percussion Ensemble on May 10th at the spring percussion
ensemble concert.
Paul Goldstaub, Professor of Music Theory and Composition, Coordinator for Music Theory and
director of Musica Nova concerts. BM, Ithaca College, MM and DMA, Eastman School of Music.
Composition studies with Karel Husa, Samuel Adler and Warren Benson. Studies in Schenkenan
Analysis with Dr. Charles Burkhart. Teaching positions at Ithaca College, CollegeConservatory
of Music of University of Cincinnati, Mankato (Minnesota) State University, and Eastern Michigan
University. Guest lectures at Oberlin Conservatory, Syracuse University, Wells College, St. Olaf
College, the Chautauqua Institution, and the institute for Contemporary Music Education at St.
Thomas University. Papers and workshops presented at national meetings of College Music
Society. the National Association of Schools of Music, New York State School Music Association,
�New York State Music Teachers Association, and many colleges and universities. Articles
published in the Music Educators Journal and the Encyclopedia of American Literature of the
Christian Martin is a senior at Binghamton University in Binghamton, New York and he plans to
pursue both Master’s and Doctorate degrees in music theory and composition upon graduation.
Michigan University. Compositions performed at Lincoln Center, Camegie Hall, offoff Broadway,
and in Canada, Great Britain, Germany, Japan, Russia and Italy.
performed with the Temple University Singers, Arizona State Choml Union, and the Binghamton
University Chorus. Other recent compositions include “Nine Lives,” for clarinet and piano (2010);
“Walls of Glass,” for accompanied SSAATTBB (Second Prize in Edwin Fissinger Choral
Sea and the Great Lakes. Guest performer at Syracuse University, regional meeting of the
American Guild of Organists, and as pianist/composer for the dance program at Eastern
Awarded grants from the National Endowment for the Arts, the National Endowment for the
Humanities, Meet the Composer, and the Minnesota State Arts Board. Annual awards from the
American Society of Composers, Authors and Publishers (ASCAP). National finalist in the
St.Paul Chamber Orchestra’s American Composer Competition. Works performed by the St. Paul
Chamber Orchestra, Guthrie Theater, Minnesota Opera, Society for New Music, Cincinnati Opera
and in many oncampus concerts with other faculty. Music published by LawsonGould, Roger
Dean Publishing Company, Ken Dom Publications and International Trombone Press/Southem
Music. Member of the music faculty since 1998.
Georgetta Maiolo is a member of the faculty of Binghamton University and Broome Community
College, teaching Flute and directing Flute Ensembles. From 1977 to 1996, she held the position
of Assistant Professor of Flute at Ithaca College, Ithaca, New York. She also taught Flute at
Hartwick College, Oneonta, New York and West Virginia University, Morgantown, West Virginia.
Mrs. Maiolo is a graduate of Duquesne University, Pittsburgh, Pennsyivania and attended
graduate school at West Virginia University, Morgantown, West Virginia. She studied with
Bernard Goldberg, principal llutist of the Pittsburgh Symphony, Marcel Moyse at Marlboro School
of Music, and Victor Saudek. At the age of 15, she made her solo debut with the Pittsburgh
Symphony. Mrs. Maiolo is the recipient of numerous honors, including the Very Reverend
Thomas J. Quigley Award, the NCMEA National music award, the Pittsburgh Tuesday Musical
Club, the Enola M. Lewis Scholarship and the Mu Phi Epsilon Sterling Achievement Award.
Mrs. Maiolo is the principal flutist of the Binghamton Philharmonic Orchestra, TriCities Opera
Orchestra, and Downtown Singers Orchestra. In addition to her playing positions. she
concertizes as a soloist, recitalist and chamber musician. Mrs. Maiolo has been recognized for
the breadth of her contributions to performance and music education. She has premiered
compositions for flute by Jack Martin, Dan Locklair, Edith Borroff, Malcolm Lewis, Richard
Herman, Jeffrey Nitch, Timothy Rolls and Paul Goldstaub. In 1985, Mrs. Maiolo was honored to
conduct the NYSSMA AllState Flute Choir. From 1981 to 2001, she served as the flute
chairperson for the NYSSMA Manual. Mrs. Maiolo is chapter advisor for Mu Phi Epsilon, Zeta Eta
Chapter at Binghamton University. She is a “clinician” for the Selmer Company. She is a member
of the National Flute Association, and has recorded for Crest Records and NPR.
Her performances have earned her lavish praise: “Georgetta Maiolo provided some exquisite
musical moments in her flute solos,” wrote Alice Mitchell in a review in The Press & SunBulletin
in Binghamton, New York. “Georgetla Maiolo should be singled out for praise in her work with
Soprano Louise Wohlafka in the ‘Mad Scene’ in Lucia. Her tone was like another lovely voice in
the cadenza... Ms. Maiolo’s wonderful tone and musicianship were in evidence here and through
the entire opera,” commented a critic for WSKGFM radio. In the August 1999 Opera News
review of TriCities Opera production of Die Zauberflote, William W. West stated “...with some
lovely flute playing from Georgetta Maiolo.”
Prior to college, he attended Arizona School for the Arts, was a member of the Phoenix Boys
Choir, and performed in the AllRegionals and AllState high school choirs. Christian has also
Composition Competit‘on, 2011); Purple and Pearl, for accompanied SSAATTBB (2011), and
placed in the San Jose Choral Productions Composition Competition; Echoes. for Horn.
Bassoon and Piano, and Our Beautiful Nation, for String Quartet.
Margaret Reltz, 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 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 Worlshop for Singers and Pianists held at
Northwestern University with Chicago Lyric Opera Faculty and Coaches. She was invited to the
international Clarinet Conference to play a recital in Tokyo, Japan. She was a guest artist on the
Comell Summer Series. She was an official pianist at the Intemational 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 recorded a CD with the Glickman
Ensemble again this summer in Englewood, NJ. 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. She was a Guest Artist playing
two concerts in Granada. Spain and accompanied the Barcelona Song Festval . She soloed with
the Catskill Symphony at the Otesaga in Cooperstown, NY under the direction of Charles
Schneider . This coming summer she will accompany and play chamber music at Musica De
Compostela in Spain. She will also be in the “Masterclass” play in Newport, Rhode Island at the
Casino Theater in the role of the pianist. She is also invited to play a recital with the Glickman
Ensemble at the IDRS Convention in July.
She is currently on the faculty at Binghamton University since 1991 and Ithaca College School of
Music since 1999. She is Treasurer of the local District VII Music Teachers Association and is an
active adjudicator for the National Piano Guild Organization.
Stephen Stalker. cellist, teaches at Binghamton University. He formerly taught at Colgate
University, Mansfield University, Ithaca College and the Binghamton City School District. He was
the principal cellist of the Cayuga Chamber Orchestra in Ithaca, NY, and has performed
extensively with the Catskill Chamber Players of Oneonta, NY, and in concerts at Binghamton
University. Performing with the Catskill Chamber Players he has presented Meet the Composer
concerts with prominent American composers including John Cage, Virgil Thomson, Lou
Harrison and George Crumb. The Chamber Players appeared at Weill Recital Hall, premiering a
�set of four string quartets by Henry Brant. With violinist, Janet Brady, and pianist, Walter Ponce,
he performed the complete Beethoven Trio cycle at SUNYBinghamton. He performed with
Solisti New Yorkon their Alaskan cruise ofthe Inner Passage from Vancouverto Juneau. As a
member of the Madison String Quartet, he was a finalist in the Naumberg Chamber Music
Competition in New York City and the Evian International String Quartet Competition in Evian,
France. He has performed in many recital appearances with pianist, Michael Salmirs. He
performs regularly with the Trio Amici. Trilogy, Baroque ‘n Blue, Early On and in concerts at
Binghamton University. He is a past president of the New York State Chapter of the American
String Teachers Association and was Strings Chair for the New York State School Music
Association. He is a founder of the Southem Tier Music Teachers Association and the
Binghamton Cello Festival. He is a graduate of the Manhattan School of Music in New York City.
Fulbright scholar to Spain, mezzo soprano Anna Tonna combines a distinguished career as an
operatic mezzo with a dedication to the music of Spain and Latin American composers a
natural consequence of her roots and her affinity for Hispanic culture and language.
She has appeared at the Leo Baeck Institute, Goethe Haus and Weill Recital under Elysium
Between Two Continents. Joy in Singing, the Connecticut Schubert Club, the Pacific Music
Festivalin Japanwhereshewasafellowmndhasbeenateaturedrecinlistwith Musicade
Camara in NYC. She appeared in New York’s Town Hall in a concert with orchestra celebrating
the composers from Dominican Republic, as well as being featured in the zarzuela’s as Cecilia
Valdes and Luisa Fernanda. She was seen in the title role of Maria de Buenos Aires (Piazzolla)
with the Connecticut Grand Opera, and has been a guest with Los Amigos de la Zarzuela,
Association of Dominican Classical Artists, The Interpretation of Spanish Song Festival in
Granada, the Festival Iberoamericano de Bellas Artes in San Juan, Puerto Rico, the Otor’io
Cultural Iberoamericano in Huelva (Spain), as well as appearing as guest lecturer and recitalist
on the subiect 20” century Spanish art song at the University of California in Riverside and La
Universidad de La Rioja (Spain). Anna made an auspicious debut at The Festival Casals de
Puerto Rico in March 012009 in a solo recital of art songs by the classical composers of Puerto
Rico.
2010 found Anna singing the role of Olympia in Albeniz’s The Magic Opal in the Auditorio
Nacional de Madrid, the title role in Bizet’s Carmen. Adalgisa in Bellini’s Norma both in Madrid
(Spain) and Medellin (Colombia) as well as the zarzuela EI Barbero de Seville at the Teatro
Fernén Gémez in Madrid. In May of 2011 she bowed at New York’s Lincoln Center in the North
American premiere of Giordano’s f/ Re in the role of La Astrologa with Teatro Grattacielo. Among
her appearances in 2012 will be as Rosina in The Barber of Seville in Barcelona (Spain), a recital
of songs by Latin American composers with North South Consonance in Manhattan, and a
lecture recital with the Asociacion Rioja Lirica in Logrofo (Spain) as well as guest recitalist at
symposium of music by the classical composers of Puerto Rico at SUNY Albany. After winning
the voice prize in the summer of 2011, she retums to the festival Musica en Compostela in
Santiago de Compostela (Spain) for a concerts of chamber music by composers of Spain.
Hispanic Society of America in New York City will feature her in concert for voice. guitar and
dance about the life of the Duchess of Alba of Goya in the winter of 2012. In July of2011, her
disc “The songs of Julio Gomez‘ debuted under the discographic label Verso with Spanish
pianist Jorge Robaina.
Born in 1958 in Washington, DC and currently residing in New York, Theodore Wiprud is a
composer who also plays important roles as concert presenter, educator, and music executive.
His compositions are known for the impact they make on performers and audiences, reflecting
his constant interaction with both adult and young musicians and listeners from the New York
Philharmonic. where he currently serves as Director of Education. to classrooms and community
venues.
Wiprud’s music frequently deals with spiritual experience: orchestral music (such as Hosannas of
the Second Heaven) and chamber music (String Quartet No. 1, Refining Fire and String Quartet
No. 2, Intimations and Incarnations) responding to Dante’s Divine Comedy and similar works;
choral music on texts from diverse religious traditions (Three Mystical Choruses); and percussion
scores like Anima and Dark Love. Other pieces involve American literature. including American
Journal, based on Robert Hayden’s poem, and A Georgia Song, a setting of Maya Angelou. His
Saxophone Quartet has been described as “a work of substance, rewarding to perform. and
warmly received by audiences.”
Wiprud earned his bachelor’s degree in biochemistry at Harvard and his master’s in theory and
composition at Boston University, where he worked with David Del Tredici. He was a Visiting
ScholaratCambridge UniversityasastudentofFlobh Holloway, and acornposition tellowatlhe
Aspen Music School studying with Jacob Druckman and Bemard Rands.
Stephen hnkbegan studying piano,theoryandcompositionattheageoffrve. Hehasheld
previous fulltime appointments at several major universities in the Midwest, Southwest and
Northeast, including SUNYBinghamton and the University of Rochester.
�Bin gha m ton U niv ersit y M usic D epart m en t ’s
U P C O M I N G E V E NT 5
Thursday, March 22 – MidDay Concert – 1 :20 p.m. –
Casadesus Recital Hall – free
Frida y, M arch 23 – M aster ’s R ecital : Kathleen Jasinkas,
soprano – 8 :00 p.m. – Casadesus Recital Hall – free
Thurs day, March 29 – M id Day Concert – 1:20 p.m. –
Casadesus Recital Hall –free
Thurs day, March 2 9 – N u k porfe A frican D rum m ing a nd D ance
Ensem ble – 8 p.m. – Anderson Center Chamber Hall – $5 per
person (tickets will be sold at the door )
Thurs day, A pril 1 2 – M id Day Concert – 1:20 p.m. – Casadesus
Recital Hall – free
Frida y, A pril 1 3 – Senior R ecital : Ale x ander Baron, r ecorder –
8:00 p.m. – Casadesus Recital Hall – free
Saturda y, A pril 14 – M asterclass wi th o rganist Carla E dwards
– 10 a. m. – 12 noon – First Presbyterian Church, Binghamton –
free
Saturda y, A pril 14 – R obert S mith, e uphonium, presents “ El
Bom bardino ” wi th M argaret R eitz, piano – 3 p.m. – Casadesus
Recital Hall – $6 general public ; $3 faculty/staff/seniors ; free for
students
Sunda y, A pril 1 5 – A fricanaise : A n e vening o f A frican
Inspired Com positions – 3 p.m. – Anderson Center Chamber
Hall – $ 10 general public ; $6 faculty/staff/seniors ; $3 students
For ticket infor mation, please call the
A nderson Cen ter B ox Office a t 777ART5.
�
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1960's - present
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Binghamton University Music Department Tape Recordings
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Concerts ; Instrumental music ; Live sound recordings
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Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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60 minutes :15 secondss
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Musica Nova, March 18, 2012
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Works by Bernstein, Goldstaub, Fairouz, Martin, Carrick, Wiprud Held at 3:00 p.m., March 18, 2012, Casadesus Recital Hall.
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Choi, Janey
Goldenberg, Adam
Maiolo, Georgetta
Martin, Christian
Reitz, Margaret A.
Stalker, Stephen
Tonna, Anna
Zank, Stephen
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Binghamton University Libraries
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3/18/12
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sound
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Text
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Jonathan Biggers
organ
Saturday, March 17, 2012
4:00 p.m.
United Presbyterian C hurch
Binghamton, N e w Y o rk
�ABOUT THE PERFORMER
PROGRAM
J o n a t h a n Biggers, hailed as “one of the most outstanding concert
organists in the United States,” maintains an active career as both a
..].S. Bach
Fantasia and Fugue in Gminor, BWV 542
(16851750)
Deuxiéme Fantasie .
Jehan Alain
(19111940)
Fantasia Ut,Re,Mi,Fa,Sal,La ..
..Jan Pieterzoon Sweelinck
(15621621)
Two ChoralePreludes
Prelude on Slane (“Be Thou My Vision”)
.. Craig Phillips
Prelude on Brother Iames’ Air.
..Searle Wright
(b.1961)
(19182004)
Hymn:
St. Patrick’s Breastplate (see insert)
Fantasy in Fminor, K.608 ..
.. Wolfgang Amadeus Mozart
+ GuilbaultThérien Organ, 1996 «
(17561791)
professor of organ and harpsichord, and as a concert organist of the first
order. He holds the prestigious Edwin Link Endowed Professorship in
Organ and Harpsichord at Binghamton University (State University of
New York), and has presented hundreds of concerts in church and
university settings throughout the United States, Canada, and Europe.
Most recently, he presented the opening concert for the National
Convention of the American Guild of Organists held in July 2010 in
Washington D.C., performing for over 1600 organists. He has appeared
as a featured soloist with orchestras in both the United States and
Canada, including the Atlanta Symphony Orchestra and the Calgary
Philharmonic Orchestra, and has been featured frequently on NPR
(“Pipedreams”), the Canadian Broadcast Corporation (CBC), and on
Radio and Television Suisse Romande broadcasts in Geneva,
Switzerland. Scott Cantrell, classical music critic of The Dallas News,
stated that Biggers‘ performances demonstrate “authority and
eloquence”, and further stated “were there more performers like this, the
organ would be far less a minority interest”.
Dr. Biggers studied with Russell Saunders (Eastman School of Music;
DMA); Lionel Rogg (Conservatory of Music, Geneva, Switzerland;
Fulbright study); J. Warren Hutton (The University of Alabama; MM
and BMus); and with Wallace Zimmerman (Atlanta; precollege); he
has also worked extensively with Harold Vogel (Bremen, Germany), and
with Arthur Poister (former Professor of Organ at Syracuse University).
A prizewinner of dozens of competitions, he was notably awarded a
unanimous first prize in the 1985 Geneva International Competition, one
of the most prestigious music competitions in the world; second prize in
the 1982 American Guild of Organists National Organ Playing
Competition; and a unanimous first prize in the 1990 Calgary
lntemational Organ Festival Concerto Competition, where he presented,
with the Calgary Philharmonic Orchestra, the world premier
performance of Snowwalker: A Concerto for Organ and Orchestra by
Pulitzer prizewinning composer Michael Colgrass. A champion of new
�music for the organ, he has premiered other works by notable 20th and
MUSIC NOTES
21st century composers such as Richard Proulx (Chicago: Concerto for
Organ and Orchestra), Craig Phillips (Los Angeles: Suite for Organ,
Brass and Percussion), Persis Vehar (Buffalo: Soundpiece for Organ),
and David Brackett (Montréal: Nightworks for Organ solo).
Two highly acclaimed compact disc recordings of Dr. Biggers’
performances have been released by Calcante Recordings (Sleepers
Wake! A Reger Perspective, featuring five major organ works by
Romantic composer Max Reger; and Bach on the Fritts! , featuring
major organ works by Johann Sebastian Bach). Plans are also underway
for the production of several other CD releases in the future, including a
recording of the complete organ works of J.S. Bach, and a recording of
organ music by Craig Phillips.
Saint Patrick’s Breastplate is a Christian hymn whose original Old Irish
lyrics were traditionally attributed to Saint Patrick during his Irish
ministry in the 5th century; however, it was probably actually written
later, in the 8th century. It is written in the style of a druidic
incantation for protection on a ioumey. It is part of the Liber
Hymnorum, a collection of hymns found in two manuscripts kept in
Dublin.
The words were translated into English verse by Cecil Frances Alexander
in 1889 and set to two traditional Irish tunes, St. Patrick and Deirdre.
The hymn, also known by its opening line “I bind unto myself today". is
currently included in the English Hymnal, the Irish Church Hymnal
and The Hymnal (1982) of the U.S . Episcopal Church. It is often sung
during the celebration of the Feast of Saint Patrick on or near March
17, as well as on Trinity Sunday. In many churches it is unique among
standard hymns because the variations in length and metre of verses
m ea n t hat at least three different tunes must b e used different i n the
melody sung by the congregation.
The prayer known as “Faeth Fiada", or the “Lorica of St. Patrick” (St.
Patrick’s BreastPlate) was first edite d by Petrie in his “History of Tara".
Scripture references may include Ephesians 6:1017:
is mighty power. (11) Put on
(10) Finally, be strong i n the Lord and i n h
od, so that you can take your stand against die devil’s
the full a rmor of G
schemes. (12) For our snug/e i s not against flesh and blood, but against
the rulers, against the authorities, against the powers of this dark world
and against the spiritual forces of e vil i n the heavenly realms. (13)
Therefore put on the full a rmor of God, so that when the day of e vil
comes, you may be able to stand your ground, and after you have done
everything, to stand. (14) Stand fi rm then, with the belt o f truth buckled
lace, (15)
around y our waist, with the breastplate o f r ighteousness i n p
and with your feet fi tted with the readiness that comes from the gospel
ddition to all t his, take up the shield o f faith, with
eace. (16) I n a
of p
which you can extinguish all t he flaming arrows of the evil one. (17)
Take the helmet of s alvation and the sword o f the Spirit, which is the
word of God.
�God’s way to lie before me,
Lyrics of Druidic Incantation
1 arise today
Through a mighty strength, the invocation of the Trin ity,
Through the belief in the threeness,
Through confession of the oneness
Of the Creator of Creation.
1 arise today
Through the strength of Christ’s birth with his baptism,
Through the strength of his crucifixion with his burial,
Through the strength of his resurrection with his ascension,
Through the strength of his descent for the judgment of Doom.
1 arise today
Through the strength of the love of Cherubim,
In obedience of angels,
In the service of archangels,
In hope of resurrection to meet with reward,
rayers of patriarchs,
In p
In predictions of prophets,
In preaching of apostles,
In faith of confessors,
In innocence of holy virgins,
In deeds of righteous men.
I arise today
Through the strength of heaven:
Light of sun.
Radiance of moon,
Splendor of fire.
Speed of lightning,
Swiftness of wind,
Depth of sea,
Stability of earth,
Firrnness of rock.
1 arise today
Through God’s strength to pilot me:
God’s might to uphold me,
God’s wisdom to guide me,
God’s eye to look before me,
God’s ear to hear me,
God’s word to speak for me.
God’s hand to guard me.
God’s shield to protect me,
God’s host to save me
From snares of devils.
From temptations of vices,
From everyone who shall wish me ill,
Afar and anear,
Alone and in multitude.
I summon today all these powers between me and those evils,
Against every cruel merciless power that may oppose my body and soul,
Against incantations of false prophets,
Against black laws of pagandom
Against false laws of heretics,
Against craft of idolatry,
Against spells of witches and smiths and wizards,
Against every knowledge that corrupts man’s body and soul.
Christ to shield me today
Against poison, against burning,
Against drowning, against wounding,
So that there may come to me abundance of reward.
Christ with me, Christ before me, Christ behind me,
Christ in me, Christ beneath me, Christ above me.
Christ on my right, Christ on my left,
Christ when I lie down, Christ when I sit down, Christ when I arise,
Christ in the heart of every man who thinks of me,
Christ in the mouth of everyone who speaks of me,
Christ in every eye that sees me.
Christ in every ear that hears me.
I arise today
Through a mighty strength, the invocation of the Trinity,
Through belief in the threeness,
Through confession of the oneness,
Of the Creator of Creation.
�Music Department’s
UPCOMING EVENTS
Sunday, March 18 – Musica Nova – 3 p.m. – Casadesus Recital Hall – Free
Thursday, March 22 MidDay Concert– 1:20 p.m. – Casadesus Recital Hall free
Friday, March 23 Master’s R ecital: Kathleen jasinkas, soprano 8:00 p.m. Casadesus
Recital Hall – free
Thursday, March 29 MidDay Concert– 1:20 pm. Casadesus Recital Hall – free
Thursday, March 29 Nukporfe African Drumming and Dance Ensemble 8 p.m.
Anderson Center Chamber Hall – $5 per person (tickets will be sold at the door)
Thursday, Apri l 12 MidDay Con cert 1:20 p.m. – Casadesus Recital Hall – free
3 Senior Recital: A lexander Baron, recorder– 8:00 p.m. – Casadesus
Friday, April 1
Recital Hall – free
4 Masterclass with organist Carla Edwards – 10 a.m. – 12 noon First
Saturday, April 1
Presbyterian Church, Binghamton – free
4 Robert Smith, euphonium, presents “El B ombardino” with
Saturday, April 1
Margaret Reitz, piano 3 p.m. Casadesus Recital Hall $6 general public; $3
faculty/staff/seniors; free for students
Sunday, April 1 5 Ahicanaise: A n evening ofAfrican Inspired Compositions 3 p.m.
– Anderson Center Chamber Hall – $10 general public; $6 faculty/staff/seniors; $3 students
Sunday, April 15 Guest Organist Carla Edwards – 4 p.m. – First Presbyterian Church,
Binghamton $10 general public; $6 faculty/staff/seniors; $3 students
If you enjoyed and were inspired by this performance, please consider
supporting the Department of Music with a financial gift. Your support helps
to continue the work of students, faculty, and guest artists and their
contributions to our larger community. Please make your donation payable to
the Binghamton University Music Department, and send to P.O. Box 6000,
Binghamton, NY 13902.
For ticket information, please call the
Anderson Cen ter Box O ffice at 7 7 7’AR T S
�
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
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Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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1 sound disc
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74 minutes: 45 seconds
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141816">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141816</a>
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Title
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My Favorite Fantasies, March 17, 2012
Description
An account of the resource
Works by Bach, Sweelinck, Philips, Wright, Mozart Held at 4:00 p.m., March 17, 2012, United Prebyterinan Church, Binghamton, New York.
Creator
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Biggers, Jonathan
Publisher
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Binghamton University Libraries
Date
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3/17/12
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In copyright
Type
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sound
-
https://omeka.binghamton.edu/omeka/files/original/130e0b6a82e385dcffdf7c095921802d.pdf
b85f9c752d6e73123b4c9638656691ac
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
wdec
[4
D E P A R T M E N T
ANADA
O,C
Choral Music by Canad ian Composers,
F olksongs, an d Songs of F irst Nations People
Women ’s Chorus
Molly AdamsToomey, conductor
H arp ur Chorale
Peter Browne, conductor
Assisted by
Jushin Choi, pianist
Nicholas Polacco, trumpet
Emily Goetz, percussion
Thursday, March 15, 2012
8:00 p.m.
Anderson Center Chamber Hall
�PROGRAM
Combined Choirs
.....Lydia Adams
Mi’kmag Honour Song .
The Mi’maq Honour Song is a chant dedicated to and in jonour of the Creator. The
employment of nature sounds and the call of the human voice honours this tradition of
the Mi’kmaq peoples. The sounds are not in any particular language, but are perhaps a
derivation of a text handed down through the ages.
Harpur Chorale
.Traditional
Salish Song (from Six Canadian Folk Songs)
Arr. Derek Healey
Women’s Chorus
Missa Brevis ..
. Nancy Telfer
Kyrie
Gloria
Rise Up My Love
Harpur Chorale
.
a Healey Willan
Rise up, my love, my fair one, and come away;
for lo, the winter is past, the rain is over and gone;
the flowers ap pear upon the earth;
the time of the singing ofbrrds is come.
Song of Solomon
Women’s Chorus
Cantate Domino . . . . . . . . . . Ruth Watson Henderson
Kaitlyn Mulligan and Christina Santa Maria,
Megan Orcutt, Susan Rosenberg, soloists
Nicholas Polacco, trumpet
Cantate Domino canticum novum Sing to the Lord a new song.
Cantate Dominum omnis terra Sing to the Lord all the earth.
0 sing to the Lord a new song, sing to the Lord all the earth.
0 sing to the Lord, and bless his name: proclaim his salvation from day to day.
Declare his glory among the nations, his wonders among all people.
For the Lord is great and gently to be praised; He is to be feared above all Gods.
Clap your hands all peoples! Sing to God with loud songs ofjoy!
God has gone up with a shout, the Lord with the sound of the trumpet.
Sing praises to the Lord, with the lyre, with the sound of melody,
With trumpets, with the sound of the horn.
Praise his name with dancing, with the timbrel and harp.
adapted from Psalms 47, 96, 98, I49
�Psalm 23 ..
Imant Raminsh
The Lord is my shepherd; I shall not want.
He Maketh me to lie down in green pastures
he leadeth me beside the still waters. He restoreth my soulr
He leadeth me in the paths of righteousness for his name’s sake.
Yea, though I walk through the valley of the shadow of death, 1 will fear no evil.
For thou art with me, they rod and thy staff they comfort me.
Thou preparest a table before me in the presence of mine enemies:
Thou anointest my head with oil, my cup it runneth over.
Surely goodness and mercy shall follow me all the days of my lif
And I will dwell in the house of the Lord forever.
Harpur Chorale
Onokenoga.
Deep were the crashing waves that tore our whaler’s mast away,
And dark are these sunless days waiting for the ice to break.(refrain)
Strange is the whaler’s fate to be saved from the raging waves,
only to waste away in this lonely grave. (refrain)
James Gordon
l‘se the b‘y that builds the boat, and l’es the b’y that sails her!
I’se the b’y that catches the fish and takes ‘em home to Lizer,
Psalm 23
. . . . .. Mark Sirett
Onokenoga is a soundscape that portrays an ancient Mohawk legend. The setting is
Lake on the Mountain. known to the Mohawk First Nation people as Onokenoga
(Lake ofthe Gods). The legend tells the story of two lovers from rival villages, who
late one night meet on the shores of the lake and vow their undying love for each
other. The young warrior departs for his village on the far shore, but a sudden
Hip yer partner, Sally Tibbo’! Hip yer partner, Sally Brown!
Fogo, Twillingate, Mor’tons Harbour, All around the circle!
Sods and rinds to cover your flake, cake and tea for supper,
Codfish in the spring o’ the year fried in maggoty butter.
1 don ’t want your maggoty fish, that ’s no good for winter;
1 could buy as good as that down in Bonavisteri
1 took Lizer to a dance, and faith, but she could travel!
Ev’ry step that she did take was up to her knees in gravel!
Susan White, she’s out of sight, her petticoat wants a border,
Old Sam Oliver, in the dark, He kisses her in the corner.
Newfoundland Folk Song
violent storm causes his canoe to capsize and he drowns. Legend has it that the
spirit of the young girl continues to wander the shores seeking her lost love in vain.
Grandmother Moon
she looks into and beyond my soul
the lacy cedar boughs creating her shadows
. Eleanor Daley
cedar ones weave design of midnight canvas
she looks into and beyond my soul
she a powerful sacred hoop of full light
Stephen Chatman
Text by Robert E. Swanson (190594)
Stephen Chatman
The song of star to star, but there are sounds,
More deep than human joy and human tears,
That Nature uses in her common rounds:
Traditional
The fall of streams, the cry of winds that strain
The oak, the roaring of the sea’ surge, might
Of thunder breaking afar off, or rain
That falls by minutes in the summer night.
These are the voices of t h e s ecret soul, from which she came.
To him who hears them grief beyond control, joy without a name,
Wakes in his heart thoughts bedded there, impearled,
Before the birth and making of the world.
Arr. Donald Patriquin
O dance my monk, dance. don’t you hear the dance'. ,
Ah! If my monk would like to dance : 1 would gi ve a cap. I would give him a sash.
l would give him a rosary, l would gi vc him a homespun coat.
If he had not made a vow ofpoverty, I would gi ve him other things as well.
Quebec folksong
We have not heard the music ofthe spheres,
7
F robisher Bay
Harpur Chorale
We have not heard the music of the spheres,
quiet powers speak out in her name
we’lalin (welcome)
Mary Louise Martin (Mi’kmaq)
Ah! Si mon moine voulait danser
Seattle Red
Voices of Earth . . . t . , . . . . . . .
simplicity against the ebony blues and blacks
of night sky land and crystal star people
she looks into and beyond my soul
her round face of translucent beauty and light
Women’s Chorus
..Traditional
Arr. John E. Govedas
1’se theB’y.
James Gordon
Arr. Tamarack
Cold is the Arctic Sea. Far are your arms from me,
Long will this winter be, frozen in Frobisher Bay.
“One more whale!” our captain cried. “One more whale then we‘ll beat the ice.”
But the winter star was in the sky, the seas were rough, the winds were high.(refrain)
The song of star to star, but there are sounds.
Archibald Larnpman (18611899)
0 , Canada
Combined Choirs
Canadian National Anthem
Original French Text by A.B. Routhier
English version by RA Stanley Weir
. . C. LaVallée
Arr. Bruce Borton
�WOMEN’S CHORUS
Molly AdamsToomey, conductor
Jushin Choi, accompanist
Soprano
Michaela Andriatch
Alida Cooke
Alto
Amy Conway
Ashley Grumman
Caitlin Gotimer
Jennifer Micceri
Kaitlyn Mulligan
Megan Orcutt
Jessica Pyne
Christina Santa Maria
Ariel Schlesinger
Fangling Zeng
Maggie Pictor
Susan Rosenberg
Joanna Wallace
C rystal Gonzalez
Erika N oach
Nm
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New Beginnings
Beginnings
Back to our Roots
‘ . . \ I u ( h l l . 20 l 2 . ~ t 1 l ) p. m .
01 1. 4:00 p.m.
Sunday, October i s . 2
SL Parrick’s Catholic Church
Sunday,
9 Leroy Street. Binghamton, N Y
Tnmrv Memorial Church
44 Main Street. Binghamton, NY
Lessons and Carols for Christ ma s
Crossroads
Sunda y, N o vember 2 . 20 1 1 . 4 :00 p.m.
Tabernacle United Methodm Church
sarurdav. November 26.201 1..to p.m. &
Sunda y, J unc 3, 2012, 4 :00 p. m
8351.1... Street, Binghamton, N Y
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346 Prospect Street, Bmghamrm N
C hn n h of the Holy Tnmt';
For Tickers:
wnnsmadsigalchoir.com
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HARPUR CHO RALE
2012 34th Season
The Madrigal L Cholr of B i n gh a m t o n
Peter Browne. conductor
Soprano
Michelle Goldrich
Kerianna Krebushevski
Stephanie Nam
Sabrina Scull
Katherine Sucha
Samantha van Adelsberg
Hollie VanDerHeide
Alto
Denise Aquino
llyssa Baine
Carrie Buck
Suzanne Greene
Shoshana May
Tenor
Ari Hausman
Ricky Nan
Joshua Rovou
David Schwartz
Brandon Seabrook
Bass
David Clark
Thomas J. F urey
Pak Lok Pio Lau
Christian Martin
Daniel Romberger
David Stern
~ 20112012 Season
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LUCIA DI LAMMERMOOR
October 21& 23, 2011
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�Binghamton Univer sity Music D epartment’ s
UPCOM ING E V E N7 15
Saturday, March 17 – Organist Jonathan Biggers presents “My Favorite
Fantasies” – 4 p.m. – First Presbyterian Church $10 general public; $6
faculty/staff/seniors; $3 students
Sunday, March 18 – Musica Nova – 3 p.m. – Casadesus Recital Hall – Free
Thursday, March 22 – MidDay Concert – 1:20 p.m. – Casadesus Recital Hall
free
—
Friday, March 23 – Master’s Recital : Kathleen Jasinkas, soprano – 8:00
p.m. – Casadesus Recital Hall – free
Thursday, March 29 – MidDay Concert – 1:20 p.m. – Casadesus Recital Hall
free
—
Thursday, March 29 – Nukporfe African Drumming and Dance Ensemble –
8 p.m. – Anderson Center Chamber Hall – $5 per person (tickets will be sold at
the door)
Thursday, April 12 – MidDay Concert – 1:20 p.m. – Casadesus Recital Hall
free
—
Friday, April 13 – Senior Recital : Alexander Baron, recorder – 8:00 p.m. –
Casadesus Recital Hall – free
Saturday, April 14 – Masterclass with organist Carla Edwards – 10 a.m. –
12 noon – First Presbyterian Church, Binghamton – free
Saturday, April 14 – Robert Smith, euphonium, presents “El Bombardino”
with Margaret Reitz, p iano – 3 p.m. – Casadesus Recital Hall – $6 general
public; $3 faculty/ staff/seniors; free for students
Sunday, April 15 – Africanaise : An evening of African Inspired
Compositions – 3 p.m. – Anderson Center Chamber Hall – $10 general public;
$6 faculty/staff/seniors; $3 students
For ticket information, please call the
Anderson Cen ter Box Office at 777ARTS.
.For more information, please call (607) 7772592, visit
music. blnghamton. edu or become a fan on Faceboolr.
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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63 minutes :13 seconds
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Title
A name given to the resource
O, Canada: Choral music by Canadian composers, folksongs, and songs of First Nations people, March 15, 2012
Description
An account of the resource
Held at 8:00 p.m., March 15, 2012, Anderson Center Chamber Hall.
Creator
An entity primarily responsible for making the resource
Adams-Toomet, Molly
Browne, Peter
Choi, Justin
Polacco, Nicholas
Goetz, Emily
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
3/15/12
Rights
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In copyright
Type
The nature or genre of the resource
sound
-
https://omeka.binghamton.edu/omeka/files/original/b18e5ddb7950ef14fcb219d5a956ebe8.pdf
046a6ad545fd6863a88555beb7439404
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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
wdec
[4
D E P A R T M E N T
RECITAL
&
MASTER CLASS
Timothy Smith
Tenor and Alto Trombone
Pej Reitz
Piano
Sunday, March 11, 2012
7:30 p. m.
Casadesus Recital Hall
�PROGRAM
ABOUT THE PERFORMERS
Timothy Smith currently holds the chair of Second Trombone with the
Buffalo Philharmonic Orchestra. a position he has had since 2009. Prior
Concerto for Alto Trombone
Leopold Mozart
(1719–1787)
Heine Lieder from Schwanengesang .
Franz Schubert
(17971828)
a ) BRIEFPAUSE cz
Basta for unaccompanied trombone
.. Folke Rabe
(1935)
Concerto for Trombone. . . . . . . . Launy Grandahl
III Movement
(18861960)
to joining the BPO, Tim served as Acting Principal Trombone of the San
Diego Symphony and Opera during the 2008–2009 Season, and also
served as Acting Second Trombone for the Jacksonville Symphony in
2007. Mr. Smith frequently substitutes with the Chicago Symphony
Orchestra. and has also appeared with the Lyric Opera of Chicago,
Grant Park Symphony, Baltimore Symphony, St. Paul Chamber Orches
tra. Cincinnati Symphony and Opera, Virginia Symphony, Chicago
Philharmonic, Ravinia Festival Orchestra. Chicago’s Music of the
Baroque, Chicagoland Pops, and ma ny regional orchestras throughout
greater Chicago.
Internationally, Mr. Smith has performed in Germany, Ireland, Mexico,
and the Dominican Republic with orchestras and chamber ensembles
alike. In the chamber music realm, Tim was a founding member of the
Second City Brass Quintet, as well as the CT3 Trombone Quartet,
winners of the 2005 ITA International Trombone Quartet Competition.
Additionally, he has performed with the Bach Week of Evanston festival,
International Contemporary Ensemble, and Buffalo Chamber Players.
As a pedagogue. Mr. Smith has served on the music faculty of San
Diego State University, the British School of Chicago. and maintained a
private teaching studio while living in Chicago. He has also been a
featured clinician and recitalist, presenting programs at schools such as
a ) INTERMISSION cz
MASTER CLASS BEGINS
Baylor University, Ithaca College, San Diego State, SUNY Fredonia,
University of San Diego, and the University of Central Arkansas. Tim can
be heard on recordings with the Buffalo Philharmonic, Music of the
Baroque, Northwestern University’s Symphonic Wind Ensemble. and for
FisherPrice.
Along with his duties as Second Trombone in Buffalo, Tim frequently
plays alto and bass trombones in the orchestra. The trombone section is
active as a chamber ensemble around Western New York, and will be
premiering a triple trombone concerto, written for them by Eric Ewazen,
with the Buffalo Philharmonic and Maestra JoAnn Falletta in the fall of
2012.
Timothy studied with Dr. Harold Reynolds at Ithaca College, and
following graduation in 2003, went on to complete his Master’s studies
with Michael Mulcahy and Charlie Vernon at Northwestern University.
Some of Mr. Smith’s additional teachers include Nitzan Haroz, Mark
Fisher, Megumi Kanda, Royce Landon, James Miller, and Randy Hawes.
Tim is an S. E. Shires Company Artist.
�TEXT FOR SCHUBERT LIEDER
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 perform
ing arts.
Pej 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 Pianists held at Northwestern
University with Chicago Lyric Opera Faculty and Coaches. She was in
vited 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
recorded a CD with the Glickman Ensemble again this summer in
Englewood, NJ. She was selected to accompanying a t the Interpretation
of Spanish Music in conjunction with University of Madrid in Grenada,
Spain coached by Teresa Berganza and at Mannes School of Music.
She was a Guest Artist playing two concerts in Granada, Spain and
accompanied the Barcelona Song Festival. She soloed with the Catskill
Symphony at the Otesaga in Cooperstown. NY under the direction of
Charles Schneider. This summer she will accompany and play chamber
music at Musica De Compostela in Spain. She will also be in the
“Masterclass” play in Newport, Rhode Island at the Casino Theater in the
role of the pianist. She is currently on the faculty at Binghamton Univer
sity since 1991 and Ithaca College School of Music since 1999.
Poems by Heinrich Heine (1797–1856)
Der Atlas — Atlas
l, wretched Atlas, a world
The whole world of pain
I must carry,
I bear the unbearable, and my
heart
ls breaking in my body.
You proud heart, you wanted it so!
You wanted to be happy, eternally
happy.
Or eternally miserable, proud heart,
And now you are in misery.
Ihr Bild — Her Portrait
I stood in dark dreams
And stared at her image.
And the beloved visage
Quietly came to life.
Upon her lips appeared
A smile so wonderful,
And as if from tears of sadness
Her eyes sparkled.
And my tears flowed as well
Down from my cheeks
And oh, I just can’t believe,
That I have lost you!
Das Fischennadchen –
The Fisher Girl
Beautiful fisher maiden,
Come, steer your boat to land.
Come here and sit down beside
me,
We’ll dally, hand in hand.
Come, nestle your head on my
heart now,
And don’t be afraid of me;
Just think of how bravely, daily
You trust in the savage sea.
My heart is like the water
With storms and waves and tides,
And many a pearl of beauty
Upon its bed resides.
Die Stadt — The Town
On the distant horizon
Appears like a cloudimage
The town with its spires
Shrouded in the gloom of
evening.
A damp breeze mffles
The green surface of the water;
In a moumful rhythm rows
The boatman in my craft.
The sun rises once again
Glowing above the earth
And shows me that spot
Where I lost my beloved.
Am Meer— At the Seashore
The sea sparkled far and wide
In the last glow of evening;
We sat at the lonely fisherman’s
hut,
We sat silent and alone.
The fog rose, the water surged.
The gull flew back and forth,
From your lovely eyes
The tears dropped.
I saw them fall upon your hand
And fell on my knees;
And from your white hand
I drank away the tears.
Since that time my body pines
My soul is dying with yearning;
The wretched woman
Poisoned me with her tears.
�. m
. m z
i x ’ i
Il ’o t sx
!
And wrings his hands with the force
of his pain;
Der Doppelgfinger — The
Ghostly Double
The night is quiet, the streets
I’m horrified when I see his face —
are silent.
My beloved lived in this house;
She left the town a long time ago,
But the house still stands in the
same place.
A man stands there. too, and
stares upward
The moon shows me m y o wn I
likeness.
You ghostly double. you pallid
fellow!
Why do you ape my lovesickness,
That tormented me here
So many nights long ago?
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�Binghamton Univer sit y Music Department ’s
U P C O M I N G E V E N T S
MidDay concerts are held on Thursdays, 1:20 PM in Casadesus Recital
Hall unless otherwise noted and are FREE
Thursday, March 15 — MidDay Concert — 1:20 p.m. — Casadesus Recital
Hall — free
Thursday, March 15 — Harpur Chorale & Women’s Chorus — 8 p.m. —
Anderson Center Chamber Hall — $6 general public; $3 faculty/staff/seniors;
free for students
Saturday, March 17 — Organist Jonathan Biggers presents “My Favorite
Fantasies” — 4 p.m. — First Presbyterian Church — $10 general public; $6
faculty/staff/seniors; $3 students
Sunday, March 18 — Musica Nova — 3 p.m. — Casadesus Recital Hall —
Free
Friday, March 23 — Master’s Recital : Kathleen Jasinkas, soprano — 8:00
p.m. — Casadesus Recital Hall — free
Thursday, March 29 — MidDay Concert — 1:20 p.m. — Casadesus Recital
Hall — free
Thursday, April 12 — MidDay Concert — 1:20 p.m. — Casadesus Recital
Hall — free
Friday, April 13 — Senior Recital : Alexander Baron, recorder — 8:00 p.m.
— Casadesus Recital Hall — free
I f you enjoyed and were inspired by this performance, please
consider supporting the Department of Music with a financial
gift. Your support helps to continue the work of students,
faculty, and guest arh’sts and their contributions to our larger
community. Please make your donation payable to the
Binghamton University Music Department, and send to P.O.
Box 6000, Binghamton, NY 13902.
For ticket intbnhation, please call the
Anderson Center Box Office at 777ARTS.
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF / Rosetta
PDF with Rosetta audio/video link
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
2 audio discs
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
41 minutes: 24 seconds
69 minutes :37 seconds
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141762">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141762</a>
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Title
A name given to the resource
Recital & master class, March 11, 2012
Description
An account of the resource
Works by Mozart, Schubert, Rabe, Grandhal Held at 7:30 p.m., March 11, 2012, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Reitz, Margaret
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
3/11/12
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/78251da1aa44436267940f02a6c3f3db.pdf
a95619a8e550eb2f63108ba1812680a1
PDF Text
Text
BINGHAMTON
U N I V E R S l T Y
S T A T E U N l V E R S I T Y O F NEW Y O R K
D E P A R T M E N T
The Binghamton University
Depart ment o f Musi c prese nts a
MIDDAY
CONCERT
£2
Tuesda y, M a r c h 6, 20 12
1 :2 0 p. m.
Casadesus Rec ital Ha ll
�PROGRAM
String Quartet # 14 in D minor, D.81 0
(“Death and the Maiden")
.Franz Schubert
(1797–1828)
l. Allegro
Aria of Amina, “Come per me sereno Sovra iI sen,”
from La Sonnambu/a
Christina Santa Maria, soprano
William James Lawson, piano
Quartet for Saxophones
lll . Papillons
Gabriel Fauré
(1845–1924)
Natalie McCreary, fl ute
Margaret Reitz, piano
Sonata #23 in F minor, Op. 57, “Appassionata”.
1. Allegro assai
.Ludwig van Beethoven
(1770–1827)
SungKyun Ryu. piano
Sonata in Eflat Major for V iola and Piano, Op. 1 20, No. 2.......Johannes Brahms
1. Allegro amabile
(1833–1897)
Benjamin Pochily, viola
Michael Salmirs, piano
Concerto for Trombone and Orchestra .
ll. Andante grave (Quasi una leggende)
Launy Grendahl
(1886–1960)
William Marsiglia, trombone
Margaret Reitz, piano
The Lure of L ittle Voices
Stephen Lias
(b. 1966)
Richard G. Leon berger, tenor
U Lee, piano
Neoromantic Preludes Nos. 1, 2, 3 .
Christian Martin, piano
Vincenzo Bellini
(1801–1835)
Meghan Cakalli, soprano
U Lee, piano
Stefano Donaudy
(18791925)
Fantaisie for Flute and Piano (1898)
Gordon Stout
(b. 1952)
Adam Goldenberg, marimbo
James Hsia and Gabrielle Maire, violins
Benjamin Pochily, viola
Xander Edwards, violoncello
Amorosi miei giorni
Mexican Dance #1 for Marimba Solo.
. Christian Man in
(b. l990)
Tiger Rag .
Faustin JeanJean
(1900–1979)
Traditional, Arr. Bill Holcombe
Dean Papadoupolos, soprano saxophone
Zal Mirza, alto saxophone
Raymond Hendricks. tenor saxophone
Darin Mihalik, baritone saxophone
Duet, “O Mimi, tu piii non torni” from La Boheme
. Giacomo Puccini
(1858–1924)
Mario Eun Hwan Bae, renor (Rodolfo)
Robert HeePyoung Oh, baritone (Marcello)
U Lee, piano
James Hsia, Violin—is a second~year M.M. majoring in V iolin Performance
Gabrielle Maire. Fiolin—is a sophomore, major undeclared
Benjamin Pochily, Hal o is a sophomore majoring in Music and Comp.Science
Xander Edwards, Violoncello—is a sophomore, major undeclared
Christina Santa Maria. Soprano—is a freshman B.Mus majoring in Voice
Natalie McCreary, Flute—is a junior majoring in Human Development
SungKyun Ryu. Piano—is a senior majoring in Mathematics
William Marsiglia. Trombone–is a junior majoring in Biology and Music
Richard G. Leonberger. Tenor—is a secondyear M.M. majoring in Opera
Christian Martin. Composer–is a senior B.A. Music major
Adam Goldenberg. Marimba—is a senior majoring in Biochemistry/Music minor
Meghan Clkalli. Soprano—is a secondyear M.M. majoring in Opera
Dean Papadoupolos, Soprano Saxophone—is a senior majoring in Accounting
Zal Mirza. Alto Saxophone—is a sophomore majoring in Engineering
Raymond Hendricks. Tenor Saxophone—is a senior majoring in Engineering
Darin Mihalik. Baritone Saxophone—is a freshman majoring in Physics
Mario EunHtvan Bae. Tenor—is a firstyear M.M. majoring in Opera
Robert HeePyoung Oh. Baritone—is a firstyear M.M. majoring in Opera
�Binghamtan University Music Department’s
U P C O M I N G . E V E NT S
M M t b ' fi M t D W fi w r b ’
MidDay concerts are held on Thursdays, 1:20 PM in Casadesus
Recital Hall unless otherwise noted and are FREE
Saturday, March 10 — Paul Taylor Dance Compa ny with the
University Symphony Orchestra — 8 p.m. — Osterhout Concert
Theater — $41 general public; $36 faculty/staff/seniors; $21 students
Sunday, March 11 — Trombone Recital and Ma sterclass with guest
art ist Timothy Smith — 7:30 p.m. — Casadesus Recital Hall — free
Thursday, March 15 — MidDay Concert — 1:20 p.m. — Casadesus
Recital Hall — free
Thursday, March 15 — Harpur Chorale & Women ’s Chorus : O
Canada — 8 p.m. — Anderson Center Chamber Hall — $6 general
public; $3 faculty/staff/ seniors; free for students
Saturday, March 17 — Organist Jona than Biggers presents “My
Favorite Fantasies” — 4 p.m. — First Presbyterian Church — $10
general public; $6 faculty/staff/seniors ; $3 students
Sunday, March 18 — Student Song Recital — 3:00 p.m. — Phelps
Mansion Museum — $10 general public; BU students free with valid I.D.
Thursday, March 22 — MidDay Concert — 1:20 p.m. — Casadesus
Recital Hall — free
Friday, March 23— Master’s Recit al : Kathleen Jasinkas, sopra no —
8:00 p.m. — Casadesus Recital Hall — free
if y ou enjoyed and were inspired by this performance, please
consider supporting the Department of Music with a financial
gift. Your support helps to continue the work of students,
faculty, and guest artists and their contributions to our larger
community. Please make your donation payable to the
Binghamton University Music Department, and send to P.O.
Box 6000, Binghamton, NY 13902.
For ticket information, please call the
Anderson Center Box Office at 777ARTS.
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF / Rosetta
PDF with Rosetta audio/video link
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
1 audio disc
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
77 minutes :58 seconds
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141270">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141270</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']
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'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 6, 2012
Description
An account of the resource
Work by Schubert, Donaudy, Beethoven, Brahms, Grondahl, Lias, Martin, Stout, JeanJean, Puccini Held at 1:20 p.m., March 6, 2012, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Hsia, James
Maire, Gabrielle
Pochily, Benjamin
Edwards, Xander
Santa Maria, Christina
Lawson, William James
McCreary, Natalie
Reitz, Margaret
Ryu, Sungkyun
Salmirs, Michael
Marsiglia, William
Leonberg, Richard
Lee, U
Martin, Christian
Goldenberg, Adam
Cakalli, Meghan
Papadopoulos, Dean
Mirzram Zal
Hendricks, Raymond
Mihalikm, Darin
Bae, Eun Kwan
Oh, Robert Heepyoung
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
3/6/12
Rights
Information about rights held in and over the resource
In copyright
Type
The nature or genre of the resource
sound
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: Universal Viewer / Rosetta
Rosetta audio media
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
1 audio disc
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
55 minutes
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141267">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141267</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
Master's recital, Robert Heepyoung Oh, December16, 2012
Description
An account of the resource
Work by Oh Held at 7:30 p.m., December 16, 2012, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Oh, Robert Heepyoung
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
12/16/12
Rights
Information about rights held in and over the resource
In copyright
Type
The nature or genre of the resource
sound
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: Universal Viewer / Rosetta
Rosetta audio media
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
2 audio discs
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
55 minutes :43 seconds
25minutes :1 second
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141263">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141263</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
History of video game music, December 15, 2012
Description
An account of the resource
Work by Gukowsky Held at 8:00 p.m., December 15, 2012, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Gukowsky, Matthew
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
12/15/12
Rights
Information about rights held in and over the resource
In copyright
Type
The nature or genre of the resource
sound
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: Universal Viewer / Rosetta
Rosetta audio media
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
2 audio discs
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
45 minutes :46 seconds
52 minutes :39 seconds
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141259">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141259</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
Singing Chinese December 14, 2012
Description
An account of the resource
Held at 7:00 p.m., December 14, 2012, Casadesus Recital Hall.
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
12/14/12
Rights
Information about rights held in and over the resource
In copyright
Type
The nature or genre of the resource
sound