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https://omeka.binghamton.edu/omeka/files/original/ccda20ab2acef041243495622b62d802.pdf
8b64dba5aa80c86053e737eb2547f59b
PDF Text
Text
BINGHAMTON
U N I V E R S I T Y
E R S i v Y O
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D E P A R T M E N T
Binghamton University
Percussion Ensemble
Fall Concert
JULIE L ICATA , DIRECTOR
Tuesday, December 4, 2012
8:00 p.m.
Anderson Center Chamber Hall
�PROGRAM NOTES
PROGRAM
Binghamton University Percussion Ensemble
. Jeffrey Smith
(b. 1974)
Opening Remarks (2001)
The University of Northern Iowa Percussion Ensemble premiered
Opening Remarks (2001), for marimba quartet in November 2001.
Initially, the title had little significance other than the fact that the piece
could be used as an opening number. However, this piece also
represents one of the composer‘s first explorations in writing for
Susan Powell
Gilded Cage (1998)
(b. 1971)
Eric Sammut
Rotation #4 (1997).
(b. 1968)
Devan Tracy, marimba
percussion and therefore represents his “opening remarks”. One of the
biggest challenges in composing for marimba is the lack of inherent
sustain. In Opening Remarks, Jeffrey Smith overcomes this challenge by
overlapping simple, but very rhythmic, individual parts together to
create what sounds like a thick, sustained texture. Smith often creates
interest in the melody by dividing one melodic line between the four
players, and assigning melodic materials to different players throughout
the piece. The piece is written in a loose ABA form, with a short coda.
.John Cage
Living Room Music (1976)
(1912 – 1992)
To Begin
Story (lyrics from Gertrude Stein’s “The World is Round,” 1939)
Melody
End
Samuel Barber
Adagio for Strings (1938) .
( 1 9 1 0 1 981)
Arr. Julie Licata (b. 1980)
No Exit (1997).
.Lynn Glassock
(b. 1946)
Susan Powell is currently Associate Professor and Director of Percussion
Studies in the Ohio State University School of Music. Powell’s work,
Gilded Cage (1998), is written for four percussionists with similar
instrumentation – toms, cymbals and brake drums. The performer’s
setup, explicitly drawn out by the composer, creates a cage of
instruments around which the percussionists stand. The title is a
combination of two separate sources; the 19%" century popular song The
Girl in the Gilded Cage, and the 20” century percussion ensemble work
Third Construction by John Cage. There are numerous influences from
Cage’s notable piece, including an early quote of the opening theme,
here divided between the four performers and played on tomtoms.
The “cage” theme is further exhibited in the way the performers create
a constantly evolving visual cage with their sticks.
Performers: Emily Goetz, computer science (sophomore), Rohit Karki,
undeclared (sophomore), Steve Olson, mechanical engineering (sophomore),
Benjamin Ramos, computer science (senior), Alexander Rava, Spanish/political
science (sophomore), Tyler Steere, general management (senior), Devan Tracy,
mechanical engineering (senior), Alex Valera, computer science (sophomore),
Andrew Williamson, accounting/music (senior),
composer well known for his chance, or indeterminate music), on the
centennial of his birth we are performing Living Room Music (1976). In
so many of Cage’s works, elements of the performance are left to
Soloist: Devan Tracy, mechanical engineering (senior)
instrumentation up to the performers. Cage states in the score that
To commemorate the pivotal composer, John Cage (a 20” century
happen on the concert stage, or to be determined by the performer.
For Living Room Music, John Cage notated specific rhythms, but left the
“any household objects or architectural elements may be used as
instruments: magazines, newspaper, cardboard, table or other wooden
�BIOGRAPHIES
furniture, floor, wall, window pane. The melody [in the third
movement] may be played on any suitable instrument: wind, string or
keyboard (prepared or not). Do not use conventional beaters.” One of
his intentions with this piece is to demonstrate to the audience that
music can be found anywhere...if the listener is able to open their ears
and minds. Our interpretation of these directions has led us to perform
each movement within a different setting in which you might find
yourself throughout the day. The next time you find yourself in one of
these settings, take a moment to listen to your surroundings and see if
you can hear music in the seemingly random sounds.
Adagio for Strings, a work by Samuel Barber, was originally composed
as the second movement of his String Quartet, Op. 11. In 1938, Barber
solidified his international stature with his arrangement of the second
movement of this quartet for string orchestra. This work, among many
others composed by Barber, is still widely performed today and can be
found in arrangements for various types of ensembles. The slow
moving lyricism of this piece is easily transferred to the marimba
quartet with the right choice of mallets and very sensitive playing. In
order to portray the sustaining ability of the original instrumentation,
each marimba player must roll continuously throughout the piece,
connecting every note with smooth transitions.
Mr. Lynn Glassock received his Bachelor of Music and Master of Music
from the University of North Texas. Glassock has received several
awards for his compositions including winner of the Southwestern
States composition contest in l973; winner of the Festival of New
American Music sponsored by California State University, Sacramento in
I987; and the Percussive Arts Society first place awards in 1994 for Five
Songs for Voice and Marimba; 1998 for Between the Lines; 2000 for
Concerto for Percussion and Wind Ensemble; and in 2004 for Wired. No
Exit, the first prize winner of the Percussive Arts Society Composition
Contest in 1997, is an aggressive, rhythmic percussion ensemble
composition for eight players. The piece requires rhythmic precision
and musicality on an energetic level from each performer.
JULIE UCATA has been teaching percussion lessons and percussion ensemble at
Binghamton University since Fall 2012. Julie also serves as Assistant Professor of
Music at State University of New York, College at Oneonta. At Oneonta, Julie teaches
ensembles and private lessons that span a wide range of percussion instruments and
styles, and teaches a seminar course Music Cultures of the World. Julie has received
performance degrees in percussion from the University of North Texas (D.M.A.),
University of South Carolina (M.M.) and Capital University (B.M.).
As an active performer and advocate of new music, Julie has developed relationships
with many great composers, premiering and commissioning numerous works over the
last ten years by composers such as Thomas Licata, Greg Dixon, Chapman Welch, Scott
Comanzo, Jude Vaclavik, Steve Winstead and Brett Masteller. Significant recent
accomplishments include performances at the Society for ElectroAcoustic Music in
the United States (SEAMUS), the International Computer Music Conference (ICMC),
New Music Focus Week at SUNY Oneonta, New Genre Festival in Tulsa, Oklahoma,
NOW Music Festival at Capital University and numerous performances at the Center
for Experimental Music and Intermedia at the University of North Texas. In addition,
Julie completed her D.M.A. from the University of North Texas in December 2009. Her
dissertation, entitled “Physical Gesture, Spatialization, Form and Transformation in
Watershed I/Ill, for Solo Percussion and RealTime Computer Spatialization by Roger
Reynolds” includes several analytical approaches demonstrated through embedded
video excerpts of her performances of Watershed IV.
In addition to contemporary music performance and research, Julie is also active in the
field of ethnomusicology. Julie spent the summer of 2008 performing, recording and
transcribing traditional drumming of the Ewe people in the Volta Region of Ghana.
She is currently planning a trip to Indonesia to study Balinese and Javanese gamelan,
and a return to Ghana to continue her study of various regional music and dance
styles, and specifically to study Ewe master drumming.
DEVAN TRACY is a senior at Binghamton University, originally from Saratoga Springs,
NY. She is currently majoring in Mechanical Engineering with a minor in Sustainable
Engineering. She plans on bicycling across the country and getting a job in the
sustainable energy or infrastructure industry after graduation. Devan started her
music career in kindergarten on the piano, but soon gave up when she realized that
the musical alphabet stopped at “G.” Nonetheless, she is back in action and has
participated in the BU Percussion Ensemble, Harpur Jazz Ensemble, and Nuporfke
African Drumming Ensemble throughout college. During the summer, she has been
seen performing with the Ryan Jenson Band, and has been working on making a self
titled CD of originals. You might also find Devan running, hiking, motorcycling, slack
lining, or doing yoga.
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�Binghamton University Music Department’s
Coming Events
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Thursday, December 6 Holiday MidDay Concert 1:20 p.m. Fine Arts Room 21 free
Friday, December 7 Hansel and Gretel (school performance and civic groups) 10:00
a.m. Anderson Center Chamber Hall call (607) 7773004 for group reservations
Saturday, December 8 University City Orchestra 3:00 p.m. ~ Osterhout Concert Theater
$6 general public; $3 faculty/staff/seniors; free for students
Saturday, December 8 Master’s Recital: Meghan Cakalli, soprano 8:00 p.m. Casadesus
Recital Hall free
Sunday, December 9 Hansel and Gretel 1:00 p.m. Anderson Center Chamber Hall $9
general public; $6 faculty/staff/seniors; $3 students
Sunday, December 9 Hansel and Gretel 4:00 p.m. Anderson Center Chamber Hall $9
general public; $6 faculty/staff/seniors; $3 students
Sunday, December 9 Senior Recital: Sungkyun Ryu, piano 7:30 p.m. Casadesus
Recital Hall free
Thursday, December 13 Harpur Chorale and Women’s Chorus 8:00 p.m. Trinity
Memorial Church, Binghamton a good will donation wil be collected at the door
Friday, December 14 Nukporfe African Drumming and Dance Ensemble 7:00 p.m.
Watter’s Theater $3 general admission
Saturday, December 15 Master’s Recital: Brister Hay IV, tenor 3:00 p.m. Casadesus
Recital Hall free
Saturday, December 15 Senior Graduation Recital: Matthew Gukowsky, tuba 8:00 p.m.
Casadesus Recital Hall free
Sunday, December 16 Master’s Recital: Robert HeePyoung Oh, baritone 7:30 p.m.
Casadesus Recital Hall free
—
i
For tickets or to be added to our email list, visit anderson.binghamton.edu or call
(607) 777ARTS. For a complete list of our concerts call (607) 7772592, visit
music.binghamton.edu or become a fan on Facebook.
If you were inspired by this performance, consider supporting the Department of
E
l
Music with a financial gift. Your support helps to continue the work of students,
faculty, and guest artists and their contributions to our community. Please make
your donation payable to the Binghamton University Music Department, and send
your check to BU Music Department, P.0. Box 6000, Binghamton, NY 13902.
�
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1960's - present
Title
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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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1 audio disc
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43 minutes :59 seconds
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Binghamton University Percussion Ensemble fall concert, December 4, 2012
Description
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Works by Smith, Powell, Sammu, Cage, Barber. Glassock Held at 8:00 p.m., December 4, 2012, Anderson Center Chamber Hall.
Creator
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Licata, Julie
Tracy, Devan
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Binghamton University Libraries
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12/4/12
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sound
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https://omeka.binghamton.edu/omeka/files/original/f93892f53ab8f03a8e991e7ff16f1c0e.pdf
4ef622a099e870f8913ee751832d00f0
PDF Text
Text
B NGHAMT ON
U N I V E R S I T Y
STATE UNIVERSITY OF NEW Y O R K
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MIDDAY
CON CERT
Th u rsd ay, Dece mber 4, 2014
1:20 p.m.
Fine Arts Room 2 1
�PROGRAM
Toccata on “Joy to the World”
Craig Phillips
(b. 1961)
Two ChoralePreludes for Advent...........................................J.S.Bach
(16851750)
Nun Komm, der heiden Heiland (“Now come, Savior of the Gentiles")
Wachet au f, ruft uns die Stimme (“Sleepers, Wake! A Voice is Calling")
Jonathan Biggers, organ
Aria: Mache dich, mein Herg.......coovvievivccnininresisaenesssnnessenss Bach
from Christmas Oratorio
(16851750)
Thomas Goodheart, baritone
Jonathan Biggers, organ
Glorious Blue (electronic)
Masakazu Kurihara
Eight Songs of Americana
for unaccompanied baritone
1. Vision
2. Arizona
3. Three Black Crows
4. Beaver Cap, Sir
5. Pretty Molly
6. MotherlnLaw
7. Old White Mule
8. The Maple on the Hill
Richard Hugunine
(b. 1953)
Jake Stamatis, baritone
Variations on a theme by Rossini
from the opera La Cenerentola
Jessica Biagiotti, flute
William James Lawson, piano
Frédéric Chopin
(18101849)
�Bingha mton University Depa rtment of M usic
Coming Events
é b é b é b é b é b é fi é b é b é b é fi é b é b
Thursday, December 4 ~ MeiDay Co n cer t 1:20 p.m. – Fine Arts Building, Room 21 free
Friday, December 5 – Flute S tudio and Flute Chamber Concert 10:45 a.m. – Casadesus
Recital Hall free
Friday, December 5 Holiday Organ Concert featuring jonathan Biggers – 7:30 p.m. –
United Presbyterian Church, 42 Cheango Street, Binghamton $5 general public; free for students
Saturday, December 6 Italian Diction Class Reci tal 7 :30 p.m. – Casadesus Recital Hall ~
free
Sunday, December 7 Firs t A ct of Verdi ’s “Falstaff” ~ 1p.m & 4 p.m. Anderson Center
Chamber Hall – $ l 0 general public, $7 faculty/staff/senion/alumni; $5 for students
Tuesday, December 9 Piano Ensemble Concert– 7:30 p.m. Casadesus Recital Hall – free
Wednesday, December 10 – Nukporfe African Drum m ing and Dance Ensemble – 7:30
p.m. ~ Watters Theater $5 general admission at the door
Thursday, December 11 Holiday MidDay Concert~ 1:20 p.m. Casadesus Recital Hall
free
Thursday, December 11 ~ Harpur Chorale and Women ‘5 Chorus Holiday Concert 7:30
p.m. Trinity Memorial Church, Binghamton – a free donation will be collected at the d oor
Friday, December 1.7 Chinese Singing Class Reci tal 7:3 0 p.m. Casadesus Recital Hall
free
Saturday, january 3 1 Mus ica Nova: A tribu te concert i n memory o f Pau
l R .
Goldftaub – 7:30 p.m. Anderson Center Chamber Hall ~ TBA
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For tickets or to be added to our email list, visit
andersonbinghnmtonxdu or call (6 0 7) 777ARTS. For a complete
list ofour concerts call (607) 7772592, kit music.binghamton.edu
or become a fan on Facebook.
If you were inspired by this performance, 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 community. Please make your donation payable
to the Bmghnmton University Music Department, and send your
check to BU Music Department, P.O. Box 6000, Binghamton, N Y
13902.
�
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
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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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50m 55s
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Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75040">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75040</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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Mid-day concert, Thursday, December 4, 2014
Subject
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Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works by Phillips, Bach, Kurihara, Hugunine, Chopin. Held at 1:20 p.m., December 4, 2014, Casadesus Recital Hall.
Creator
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Biggers, Jonathan
Goodheart, Timothy
Stamatis, Jake
Biagiotti, Jessica
Lawson, William James
Publisher
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Binghamton University Libraries
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Phillips, Craig
Bach, Johann Sebastian, 1685-1750
Kurihara, Masakazu
Hugunine, Richard
Chopin, Frédéric, 1810-1849
Date
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12/4/14
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In copyright
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sound
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https://omeka.binghamton.edu/omeka/files/original/806eeed23f8179da5380d05c99dd6d85.pdf
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BINGHAMTON
U N I V E R S I T Y
a
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State University of New York
Department of Music
Master ’s Recital
Robin Kindig, bassoon
with
Alex Wiesendanger, cello
Margaret Reitz, piano
Kira Slocum, flute
Theresa Perrone, clarinet
Judy Zhu, piano
Sunday, Decem ber 5, 2004
7:00 P M
Casadesus Rec ital Hall
\
�About the Performe rs
ROBIN KINDIG is from Endwell, New York. She attended the MaineEndwell
Central Schools and was involved in musical activities. Her passion for music
led her to Houghton College, where she studied bassoon with Ed Wadin. Kindig
graduated from Houghton in May 2003 with a Bachelor of Music in Music
Education. She is a Master of Music student in bassoon performance and studies
with Lynn Hileman. Upon completion of her degree, she hopes to teach
elementary or middle school band.
ALEX WIESENDANGER is a senior Music and Political Science major at
Binghamton University. He studies composition with Paul Goldstaub and cello
with Stephen Stalker. Next year, Wiesendanger hopes to work with the Jesuit
Volunteer Core.
MARGARET REITZ, piano, 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, and at the American
Institute of Musical Studies in Graz, Austria . Reitz has been on the faculty at
Binghamton University since 1991 and The Ithaca College School of Music
since 1999.
KIRA SLOCUM is a senior Music and Comparative Literature major. She is a
student of Georgetta Maiolo and is a member of the University Symphony
Orchestra and Flute Ensemble. She has also played in the Harpur Jazz Band and
participated in the 2003 Concerto and Aria Competition.
THERESA PERRONE earned her undergraduate degree in Music Education at
Ithaca College, studying the clarinet with Richard Faria. She teaches
kindergarten, first, and second grade vocal music and directs a fourth and fifth
grade chorus in the Greene Central School District in Greene, NY. In addition,
Theresa has a private studio of woodwind students. She is also pursuing her
Masters in Clarinet Performance at Binghamton University, studying with
Timothy Perry.
JUDY (YAN) ZHU, a native from Beijing, China, is a Master of Music student
major in Piano Performance at Binghamton University. She received her
Bachelor of Arts in Music in May 2002 from Binghamton University. She won
Honorable Mention in the New York State Music Teacher’s Association Piano
Competition Collegiate in October 2000. She also won Samuel Reiser
Scholarship from Department of Music at Binghamton University in Spring 2002.
She studies with Ewa Mackiewiczwolfe.
�P rogram
Sonata for Bassoon and Cello......................Wolfgang Amadeus Mozart
I. Allegro
(17561791)
II. Andante
III. Rondo
Robin Kindig, bassoon; Alex Wiesendanger, cello
S
o
n
a
t
e
P
I. Leicht bewegt
II. Langsam, Marsch, Pastorale
a
u
l Hindemith
(18951963)
Robin Kindig, bassoon; Margaret Reitz, piano
F
r
a g m e
I. Waltz
II. Solitude
III. Holiday
IV. Reverie
n
t
s
R
o
b
e
r
t Muczynski
(b. 1929)
V . Exit
Kira Slocum, flute; Theresa Perrone, clarinet; Robin Kindig, bassoon
Intermission
Trio Pathétique.................................................................Mikhail Glinka
I. Allegro Moderato (18041857)
II. Scherzo, Trio
III. Largo
IV. Allegro con spirito
Theresa Perrone, clarinet; Robin Kindig, bassoon;
Judy Zhu, piano
Please remember to turn ojf or silence all cell phones and pagers
during the performance. Thank you.
�Coming Events
Tuesday, December 7 – University Percussion Ensemble – 8:00 p.m. –
Anderson Center Chamber Hall free
Thursday, December 9 – Holiday MidDay Concert – 1:20 p.m. – Casadesus
Recital Hall free
I
Thursday, December 9 – University Symphony Orchestra – Field, Forest
and Fiacre – 8:00 p.m. – Anderson Center Osterhout Concert Theater $10
general public; $7 faculty/staff/seniors; free for students
i
i
�
Dublin Core
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Coverage
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1960's - present
Title
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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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0:45:54
Streaming Audio
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253369&change_lng=en&select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253369&change_lng=en&select_viewer=metsViewer</a>
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Title
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Master's recital, Robin Kindig, bassoon, December 5, 2004
Alternative Title
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Recital Tape 2004-12-5
Description
An account of the resource
Works of Mozart, Hindemith, Muczynski, Glinka. Held at 7:00 p.m., December 5, 2004, Casadesus Recital Hall.
Creator
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Kindig, Robin
Reitz, Margaret
Publisher
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Binghamton University Libraries
Date
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12/5/2004
Rights
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In copyright
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17167dd5f8536775dd20989316c2fae4
PDF Text
Text
INGHAMTON
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D ANIEL F ABRICIUS , CONDUCTOR
Sunday, December 2, 2012
3:00 p.m.
Anderson Center Chamber Hall
�UNIVERSITY WIND SYMPHONY
PROGRAM
Daniel Fabricius, Conductor
.Jack Stamp
(b. 1954)
Fanfare for a New Era (1997)
Blue Lake, Overture for Concert Band (1971).
John Barnes Chance
(1932 — 1972)
Suite of Old American Dances (1949)
.Robert Russell Bennett
(1849 — 1981)
I.
II.
III.
IV.
V.
Cakewalk
Schottische
Western One Step
Wallflower Waltz
Rag
Folk Dances (1979).
PICCOLO
ALTO SAXOPHONE
TROMBONE I
Cara Natale
Stephi Verhage
Christopher Beard
Veronica A. Mantilia
Daniel Gross
Christopher Murdock
TROMBONE II
Ryan Meehan
TENOR SAXOPHONE
Kevin Clements
TROMBONE III
Neel Tarikeri
FLUTE I
Jackie Robins
Nicole Safran
FLUTE II
Andrea Dewhirst
Devan Kasinki
Hagar Dayan
BARITONE
SAXOPHONE
Philip H. Westcott
OBOE
Jenna Graff (+English Horn) TRUMPEI’I
Jason Boniello
Kimberly Muller
Brandon Young
Brittany Wilson
.Dmitri Shostavovich
(1906 — 1975)
Transcribed by H. Roberts Reynolds
.
Elsa’s Procession to the Cathedral, from “Lohengrin” (184648)
Richard Wagner
(1813 — 1883)
Transcribed by Lucien Cailliet
CLARINET I
George Deutsch
Mary McGahay
TRUMPET II
Joshua Golub
Jared Biunno
CLARINET II
Sofia Schneiderman
Stephanie Sheintul
TRUMPET III
Andrew Vaccaro
Ray Futia
CLARINET III
David Mossissey
JooWon Kim
Erin Annis
FRENCH HORN
David Luther
Molly O’Brien
Haleigh Doetschman
Lauren Corey
BASS CLARINET
Molly Rice
Zach Stanco
EUPHONIUM
Ryan Shumaker
Justin Canaday
Andrew Kaufman
TUBA
Elliot Bowen
Matthew Gukowsky
Michael Burgner
PERCUSSION
Emily Goetz
Benjamin Ramos
Alexander Rava
Wesley Roth
Tyler P. Steere
Alex Valera
�CONDUCTOR
PROGRAM NOTES
Daniel Fabricius is the newly appointed conductor of the Binghamton University Wind
Symphony. Professor Fabricius has been a member of the music faculty since 1992,
serving as percussion instructor for twenty years before accepting this new
appointment. He holds degrees from Mansfield University and Ithaca College and has
studied conducting with Donald Stanley (Mansfield University), Rodney Winther
(Ithaca College), Stephen Peterson (Ithaca College), Col. Arnald Gabriel (US Air Force),
and Mallory Thompson (Northwestern University). In addition to his duties at BU he
SOMETHING NEW
Fanfare for a New Era was written as a celebration of Lt. Col. Lowell E Graham’s
appointment as Commander of the United States Air Force Band. The composer
states, “As I envisioned the piece, I knew that I heard something energetic and vibrant,
highlighting the talents of this fine ensemble..."
also serves as Director of Bands at Owego Free Academy where he has developed one
of the finest instrumental music programs in the region. He is highly regarded in the
region as a conductor, as a percussion performer, and as a music educator.
Professor Fabricius has been a member of the Binghamton Philharmonic percussion
section since 1982 but is also comfortable performing in popular, rock, jazz, and other
styles. He has played as a freelance percussionist, accompanying national touring
artists such as Michael W. Smith, Tommy Tune, Jerry Vail, Lorrie Morgan, Ringling
Brothers Circus, the Smothers Brothers, and Ella Fitzgerald. He has served the New
York State School Music Association as an AllState Percussion adjudicator for many
years. He also serves NYSSMA as the Instrumental Jazz Reviews editor of The School
Music News and is the Jazz Editor for the NYSSMA Manual. In addition to his
collegiate work at BU, he has also served Ithaca College as a consultant, as a member
of the Summer Session faculty, and as a cooperating teacher for over 35 student
teachers. He also serves the Summer Music Academy at Ithaca College as a percussion
instructor and jazz ensemble conductor. He has presented many clinics at music
conventions and conferences and often serves as a guest conductor for honor band
festivals.
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The work derives its framework from the opening trumpet motif. The motif is
expanded and developed through a variety of compositional techniques including
choraIe, fugue, augmentation, polychordal usage, and minimalism.
Dr. Jack Stamp is Conductor of Bands at Indiana University of Pennsylvania. Dr.
Stamp’s primary composition teachers have been Robert Washburn and Fisher TuII.
Recent studies include work with noted American composers David Diamond and Joan
Tower.
He is active as a guest conductor, clinician, adjudicator, and composer throughout
North America and Great Britain. His compositions have been commissioned and
performed by leading military and university bands across the United States. He has
won the praise of American composers David Diamond, Norman Dello Joio, Michael
Torke, Samuel Adler, Robert Ward, Robert Washburn, Fisher Tull, Nancy Galbraith and
Bruce Yurko for performances of their works. He is also a contributing author to the
“Teaching Music Through Performance in Band” series. In 2000, he was inducted into
the prestigious American Bandmasters Association.
SOMETHING BLUE
Chance wrote Blue Lake Overture in 1971 for the Blue Lake Fine Arts Camp in
Michigan. Beginning with a tempo marking of slancio ("with impetuosity”), the initial
motive is heard in the horns. The outer sections of the piece feature rhythmic intensity
brought about by Chance’s free use of both three and two eighth note groupings
within measures of 4/4. While this often produces a 3+3+2 pattern which matches the
length of the 4/4 bar, more often the note groupings defy that meter altogether,
spilling over barlines and creating moments that sound like 5/8, 9/8, and even
unknown hybrid meters. The middle section settles into a circuslike waltz with
wandering tonality. Every section of the band gets a soIi in this rhythmic thrill ride.
The energy of the opening returns to carry the work to its finale.
A Texas native, John Barnes Chance played percussion in high school before he began
composing. He studied under Clifton Williams at the University of Texas and earned
his bachelor’s and master’s degrees in music. After graduation he joined the Army
service bands as a percussionist and arranger. After his discharge he received a grant
from the Ford Foundation’s Young Composers Project and wrote seven pieces for
school ensembles. He served on the faculty of the University of Kentucky from 1966
until his untimely death in 1972. In August 1972, Chance was airing a tent in his
garden when a metal pole contacted an electrified fence used to confine his dogs.
Chance was accidentally electrocuted and died from cardiac arrest.
�SOMETHING OLD.....
Robert Russell Bennett (June 15, 1894 – August 18, 1981) was an American composer
and arranger, best known for his orchestration of many wellknown Broadway and
Hollywood musicals by other composers such as Irving Berlin, George Gershwin,
Jerome Kern, Cole Porter, and Richard Rodgers. As the composer explained, the
catalyst for the creation of his Suite of Old America Dances was a rare indoor concert
by the Goldman Band held at Carnegie Hall:
When Edwin Franko Goldman arrived at his seventieth birthday it was
celebrated by a concert sponsored by the League of Composers. For
the concert they engaged the Goldman Band of New York and asked
Dr. Goldman to conduct his own band in honor of his own anniversary.
[My wife} Louise and I went to that [3 January 1948] concert and I
suddenly thought of all the beautiful sounds the American concert
band could make that it hadn’t yet made. That doesn‘t mean that the
unmade sounds passed in review in my mind at all, but the sounds they
made were so new to me after all my years with orchestra, dance
bands and tiny “combos” that my pen was practically jumping out of
my pocket begging me to give this great big instrument some more
music to play. To satisfy this urging I found time to put a goodsized
piece on paper. There was really no such thing as spare time for me at
that time, but somehow I got a part done here and a part done there
and one day there was this piece to show Dr. Edwin Franko Goldman
to see if he was interested in adding one more idiom to his great
collection. Dr. Goldman and his son Richard, also a doctor, became
very warm friends indeed and gave the new piece a great sendoff. It
was published with the name Suite of Old American Dances. I had a
nice name for it, but you know how publishers are—they know their
customers, and we authors never seem to. My name for it was Electric
Park. Electric Park in Kansas City was a place of magic to us kids. The
tricks with big electric signs, the illuminated fountains, the big band
concerts, the scenic railway and the big dance hall—all magic. In the
dance hall all afternoon and evening you could hear the pieces the
crowds danced to, and the five movements of my piece were samples
of the dances of the day. "
The Goldman Band premiered SOAD—with the composer conducting–in Central Park,
New York, on June 19, 1949, and gave it several additional performances that summer.
Robert Russell Bennett spent much of his career collaborating with the composers and
lyricists for musical theater productions. During the mid20m century theater goers
and record and radio listeners would know many of the most famous musicals in the
era – such as Oklahoma, South Pacific, or The Sound of Music – by the “sound” of
Bennett’s brilliant orchestrations. Schooled by his mother to disdain popular music,
Robert Russell Bennett found the dichotomy between his serious compositions and his
arranging work to be a lifelong struggle. In spite of his prolific output, which included
the opera Maria Malibran, more than seven symphonies, a large variety of chamber
works, and at least five concertos, his reputation today as a classical composer rests
primarily on two oftrecorded pieces, the Suite of Old American Dances and Symphonic
Songs for Band. This may be attributed both to the modesty so characteristic of
Bennett and to the Eastman Wind Ensemble recordings which popularized them. In his
composing, Bennett brought to bear his considerable talent for orchestration as well
as a gift for conceiving melodies and harmonic structure in his head; longtime Bennett
copyist Adele Combattente (of Chappell Music) confirmed his ability to write parts in
score order, as opposed to filling in leftover parts and doublings as he completed
primary melodic lines. He nearly always scored directly in ink, rather than pencil.
The Tony A ward for orchestrations has only ex isted since 1997 ; Bennett w as given a
Special Tony Award in 1957 and again in 2008 “in recognition of his historic
contribution to American musical theatre in the field of orchestrations, as represented
on Broadway this season by Rodgers & Hammerstein’s South Pacific.” Other honors
have included his Oscar for the film Oklahoma!, a 1962 Emmy award, television’s
Christopher Award in 1960, the City of New York’s Handel Medallion in 1967, Los
Angeles’s honorary Scroll in 1979, and an honorary doctorate from Franklin and
Marshall College in 1965. The dances Bennett chose to set to music were as follows.
Cakewalk – The cakewalk dance originated on the southern plantations, where
slaves often imitated their plantation owners. The dance or “strut” was danced
to jiglike banjo/fiddle music, usually done by couples who, with a backward
sway, strutted in a medium high step or low kicking fashion. Plantation owners
would encourage their workers by presenting prizes for the best couples. The
prize was often a cake, usually shared with the other participants. The men
would often dress in long coats with high collars and the women in frilly gowns,
to mimic their white owners.
Schottische – Although the title of this dance suggests that its roots lie in
Scotland, the schottische is actually a German variant of several Bohemian dances
that later developed into the polka. The schottische features quick shifts from
foot to foot and a striking of the heel. These movements resemble the Scottish
reel and may have inspired the name. Because the polka was at one time called
the “Scottish Waltz,” it is also possible that this earlier dance inspired its
namesake. Either way, the dance came to the United States by way of England
when polka dancing became the rage among continental society in the 1840s.
The music for the early schottische was usually written in 2/4 time, and many
describe the dance as simply a slow polka.
Western One Step – The Western One Step included in the Suite of Old American
Dances is a somewhat misleading title. As Frederick Fennell points out, “The
composer informed me that this is also a dance known as the ‘Texas Tommy,’ an
obviously brighteyed tune with an equally brighteyed tempo.” Little is known
about the Texas Tommy, one of the obsolete forms of the onestep. This dance,
from the early 20 ” c entury, is believed to have originated in brothels and saloons,
where ladies of the evening were known as “tommies.” There is a record of the
Texas Tommy appearing in the New York Lafayette Theatre production of
Darktown Follies in 1913,
Wallflower Waltz – Although the beginning of the 20 ” century represented a
new cultural era, replete with new dance steps, the time honored waltz still
reigned as king of the ballroom dance scene.
�Rag – It seems fitting that Bennett chose to end his suite with a rag. Although
there is no one specific dance that can be associated with the rag style, Bennett’s
choice of music is representative of the era as a whole. The ragtime era
coincided with the beginning of the century, and with a new generation which
was harshly criticized by its elders for embracing novel ideas.
THE WEDDING
Elsa’s Procession to the Cathedral, with its medieval color and pageantry, prefaces her
betrothal to Lohengrin, mystic Knight of the Holy Grail, who comes to deliver the
people of Brabant (Antwerp) from the Hungarian invaders.
SOMETHlNG BORROWED.....
Composed in Shostakovich‘s lighthearted style, Folk Dances is a singlemovement
work is filled with the joy and exuberance of the Russian people. The many folk
In the operatic presentation, a large double chorus (representing the people of
Antwerp) adds its song of solemn praise to that of the orchestra. It is in this music,
melodies are combined in a string so that musical energy abounds and the spirit of folk
musical thoughts that w ere t o culminate in Tristan, The Ring, and Parsifal. Not quite
dances can easily be imagined. Folk Dances was originally the third movement of a
suite for orchestra entitled Native Leningrad, Op. 63, first published in 1942 and
reissued in 1970 as Suite, My Native Country. This suite was assimilated from the
incidental music to a theatrical production of the same opus entitled Motherland.
Shostakovich collected several native Russian dance tunes and carefully tied them
together into this single composition. In the theatrical production, this set was called
Youth Dance or Dance of the Sailors – a name, though not specifically noted, that held
over to the orchestral suite. Marck Vakhutinskii arranged this suite for Russian band
instrumentation (a greater percentage of brass parts than American instrumentation)
in 1952 and was edited for America bands by H. Robert Reynolds in 1979.
emancipated from the musical speech of his operatic contemporaries, one finds in the
Lohengrin score those unmistakable flights into musicodramatic magnificence
transcending all that preceded it in idiom and musical adventure.
Dmitri Dmitriyevich Shostakovich (September 25, 1906 – August 9, 1975) was a Soviet
Russian composer and pianist and a prominent figure of 20th century music.
Shostakovich achieved fame in the Soviet Union under the patronage of Leon Trotsky’s
chief of staff Mikhail Tukhachevsky, but later had a complex and difficult relationship
with the government. Nevertheless, he received accolades and state awards and
served in the Supreme Soviet of the RSFSR (1947–1962) and the USSR (from 1962 until
death). After a period influenced by Sergei Prokofiev and Igor Stravinsky, Shostakovich
developed a hybrid style, as exemplified by Lady Macbeth of the Mtsensk District
(1934). This single workjuxtaposed a wide variety of trends, including the neoclassical
style (showing the influence of Stravinsky) and postRomanticism (after Gustav
Mahler). Sharp contrasts and elements of the grotesque characterize much of his
music. Shostakovich‘s orchestral works include 15 symphonies and six concerti. His
chamber output includes 15 string quartets, a piano quintet, two piano trios, and two
pieces for string octet. His piano works include two solo sonatas, an early set of
preludes, and a later set of 24 preludes and fugues. Other works include three operas,
several song cycles, ballets, and a substantial quantity of film music.
H. Robert Reynolds is Principal Conductor of the Wind Ensemble at the Thornton
School of Music at the University of South California, where he holds the H. Robert
Reynolds Professorship in Wind Conducting. This appointment followed his retirement
after 26 years from the University of Michigan School of Music, where he served as
the Henry F. Thurnau Professor of Music, Director of University of Bands, and Director
of the Division of Instrumental Studies. In addition, he has also been conductor of the
Detroit Chamber Winds and Strings for over 25 years.
mystic yet powerful, that we find Wagner striking out with those new and intense
In this transcription of Elsa’s Procession for symphony band, Lucien Cailliet, with his
great talent for instrumentation, has succeeded in building into the instrumental
framework of the modern band a true and delicate representation of all that Wagner
so eloquently describes with orchestra and chorus. In the present score, the
instrumental solo voices of the original score are paralleled, the choral voices deftly
absorbed in the rich instrumental texture and all the luxuriant Wagnerian color re
created in terms of the instrumentation for the band.
Richard Wagner (born May 22, 1813, in Leipzig; died February 13, 1883, in Venice), a
German composer, was one of the most influential people who lived during the 19th
Century. His most influential works were in the medium of opera. These compositions
include Der Ring des Nibelungen, Tristan und Isolde, and Die Meistersinger von
Narnberg. Even though he died more than a century ago, Wagner remains a divisive
figure due to his personal views.
Wagner first attended school in Dresden and eventually attended Leipzig University in
1831. At this time he studied briefly with Christian Gottlieb Muller and was heavily
influenced by Beethoven. He gained his first position through help of his brother as
the choirmaster at the theater in Wirzburg. Wagner composed operas at this time
influenced by Weber and Bellini. His early career led him to travel throughout
Germany with one company, hold a position in Berlin, and move to Paris in 1839. His
first large success was with the premiere of Rienzi in Dresden in 1842. This was
followed shortly by the premiere of Der fliegende Hollidnder, and then Wagner’s
appointment as assistant choirmaster for the court in Dresden. While in this position
he presented the premiere of Tannhéuser.
In 1848, after the revolutions in Paris and Vienna, Wagner saw an opportunity to
develop a German national theater and joined revolutionary minded people. When an
attempt at revolution in Dresden failed, the composer was forced to flee because of
his associations with the revolutionaries. He first stayed at the home of Liszt but then
moved on to Zurich. Wagner spent much time writing in the 1850s and was able to
secure living expenses from two women. Ideologically, he began to associate with the
philosopher Arthur Schopenhauer. He conducted important works such as Tristan und
Isolde and Die Meistersinger von Nu’rnberg but Wagner had also accumulated a lot of
debt.
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In 1864, Ludwig II of Bavaria gave the composer money to pay his debt and also gave
him an annual salary as well. This helped Wagner to move back to Germany and to
develop his theater in Bayreuth. The composer also developed a relationship with
Cosima, the daughter of Liszt and wife of Hans von Bulow, who he eventually married.
In 1876 the complete Ring Cycle was performed for the first time. Wagner’s last major
work, Parisfal, was premiered in Munich in 1882. He passed away from a heart attack
shortly after moving with his family to Venice.
2 0 1 2 2013 SEASON
Lucien Cailliet (May 22, 1891 January 3, 1985) was an American composer,
conductor, arranger a nd clarinetist. Born at Dijon, in France, Cailliet studied at the
Conservatory in his native city before migrating to the United States in 1918. CaiIIiet
worked as staff arranger for the Philadelphia Orchestra. During this time, he founded
the Cherry Hill Wind Symphony, which would later become the Wind Symphony of
Southern NewJersey.
[I rzsazsmrz Februayr$ &10 ,2013 ] Apmzsamma
Cailliet is well known among wind musicians for his faithful arrangements of orchestral
music for wind ensemble. In particular, his arrangements of Elsa’s Procession to the
Cathedral (from Wagner’s opera Lohengrin) and Finlandia (a symphonic poem by Jean
Sibelius) have become staples of the wind ensemble repertory.
Lucien Cailliet served as Associate Conductor of The Allentown Band (Pennsylvania)
from 1934 until 1969. During that period, he conducted many of his arrangements on
Allentown Band Concerts. The renowned composer and arranger studied at several
French music conservatories before graduating from the Dijon Conservatory at age
twentytwo. He also received a degree from the National Conservatory in Paris. He
was a bandmaster in the French Army and, in 1915, he toured the United States with
the French Army Band. In 1919, he joined the Philadelphia Orchestra as a clarinetist,
saxophonist, and arranger, where he worked closely with Leopold Stokowski. In 1923,
at age thirtytwo, Cailliet became an American citizen and continued to play with the
Philadelphia Orchestra while attending graduate school at the Philadelphia Musical
Academy. After receiving his Doctor of Music Degree in 1937, he moved to California
to teach at the University of Southern California. After teaching there for seven years,
he decided to devote his time to guest conducting and composing film scores.
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1960's - present
Title
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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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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE140937">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE140937</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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Binghamton University Wind Symphony presents "Something Old, Something New, Something Borrowed, Something Blue," December 2, 2012
Description
An account of the resource
Held at 1:20 p.m., December 12, 2012.
Publisher
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Binghamton University Libraries
Date
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12/6/12
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In copyright
Type
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sound
-
https://omeka.binghamton.edu/omeka/files/original/bf10fb5c0bdd7bfeb2ed36f916423969.pdf
a342bd8bbc791ca86f4bf0acb9cae3a7
PDF Text
Text
BINGHAMTON
U N I V E R S I T Y
S T A TE UN I V E R S I T Y OF
NEW V O R K
[4
z e t d ec
D E P A R T M E N T
UNIVERSITY SYMPHONY
ORCHESTRA
Hea ther Worden, Conductor
PRESENTS
“From the N ew World”
FEATURING THE PREMIE RE OF
“MUSIC FOR SONORA”
BY C HRISTIAN M ARTIN
Saturday, December 6, 2014
3:00 p.m.
Osterhout Concert Theater
�BINGHAMTON UNIVERSITY SYM PHONY ORCHESTRA
Ploy licolP
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ea PROGRAM 6
Emily Paye
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Jessica Bi
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Kohar Bedonian
Our Town .
Music from the Motion Picture
Music for Sonora .
‘World Premiere*
Aaron Copland
(19001990)
Chris tian Mar tin
(b.1984)
_,
Michelle Li
Oboe
Joe Kim
Ti g h ts
53 :1 5:11”
Clarinet
Mary McGaiay
Skylar 0. Buono
Bass Clarinet
® IN TERMISSIO N « 8
Lame” Bass
Bassoon
Bailey Thomas
Symphony No. 9 in E minor, op.95.
“From the New World”
1. Adagio All
egro molto
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sATBO
111. Scherzo: Molto vivace
I V . Allegro con fuoco
Antonin Dvoi‘ak
(18411904)
Percussion
Alex Szigethy
.
Emi Bm
Daniel Cooke
Keyboards
Alison Tuck
Emily Goetz
Micah Neiss
Steve 0,50”
Ben Calhoun
Dan Meln
i ovsky
Lindsay Covn
i gton
Sharon Grazi
rano
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Margaret Girardi
Jaya Rao
Violoncello
Daniel Moriaeis
Violin I
Kierain Mu
Gabriele lflirye
Alexio Chang
Abriame Guruparan
Jiwon Nam
Kristen Moriarty
Many Spencer
Deborah ‘ ' '
Evan FemMznothnl
Charlie Miler
Allison Butler
Kelly Mercer
Chloe Tso
Nathaniel Christman
Sara Inca
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Jessica Funnel
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Raeleen Biohler
Contrabass
John Voi
Laira n d
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Kyle Cullen
Robert Durante
French Horn
Emmanuel Davis
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Tuba
Eleanor Krasner
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Anthony DeNirlis
Emma Lecarie
Maya Orlofsky
Jodie Bach
M“ KY‘W (Jay) Kim
Viola
Harman Watrobski
Patrick Jones
ei McMah
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Gabriel Bedald
Matt McAu. liffe
Kathryn Saturnino
© Trumpet
Anne Taylor
Elliott Vogel
Thomas Parker
Trombone
Jacob Strotnrn
Bethany Evans
Christopher Beard
Rebewe Sgroi
Harrison Duriln
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a PROGRAM NOTES «
Our Town Music from the Film ScoreAaron Copland
I f y ou are trying to answer the ques tion, “what is American music?', you
would most likely have a discussion about Aaron Copland’s compositions. Born in
1900 in Brooklyn, New York, this American music composer sought to encompass
an “American sound” in his compositions by invoking jazz and folk style into
classical composition techniques. His journey to produce this sound truly began in
Paris (19171921) at the Fountainebleau School of Music where he studied with
acclaimed teacher, Nadia Boulanger. His study abroad gave him the tools to begin
fulltime composition work upon returning to the United States in 1925. His goal
when he came back to America was to create music that was accessible to audiences,
meaning that it could be easily learned and would have a wider appeal. He found
these qualities to be most pertinent with incidental music and so his compositional
focus surrounded film scores and ballets. Some of his more acclaimed works
include Rodeo (1942 ballet), The City (1939 film score), Appalachian Spring (1944
ballet), and the composition tha t we will explore more in depth, music from the
film score Our Town.
Written in 1940 and based on Thornton Wilder’s play by the same name,
the film score from Our Town found great acclaim, even earning Copland an Oscar
nomination. Copland said of film score music in general, “The composer is in a
special posi tion to apprecia te wha t music does to a fi l m because he sees i t firs t
without any music. Movie audiences may not consciously realize they are listening
to music when they view a film, but it works in their emotions nonetheless.”
Copland succeeded in accessing daese emotions through capturing the quiet and
ordinary daytoday living of Grover’s Corners (the town in which the play is based)
through his humble musical composition. His subtle utilization of the New
England town’s hymn runes, along with the delicate namre in which he constructed
the tempi and melodic themes brought together a score that was both beautiful and
hones t t o the r eali ty o f the town.
M usic for Sonora Christian Martin
written by Daniela Rivera’
Music for Sonora, is an orchestral piece built on a short Navajo hymn that
comes from the Native American Church in Arizona. Written in a free variation
form and conceived in a sneamofconscioumess manner, the music reflects the
composer’s memory of his childhood home in the Arizona desert. The vast,
openness of the desert is depicted by spatial, linear harmonies which open the piece
and continue for some time. After first being introduced by the chorus, individual
melodic fragments of the original song are staggered, transposed, interwoven and
augmented in r hythm by the orchestra and soloists. What follow are a number of
varia tions on the main theme both transposed up, transposed down, augmented in
rhythm, and restated in retrograde (reverse). The piece closes with repetitions of
the opening melody. which gradually fade away.
Martin earned his BA and MM in Composition at Binghamton U niversity
omposition. He currently works as an
(SUNY) and plans to pursue a DMA i n C
in Tempe, AZ and as a freelance
Rio Salado College
for
instructor
adjunct
editor/ transcriber of music. He is also the accompanist of the Nimmonsburg
United Methodist Chancel Choir and heads the music for a new contemporary
praise and worship service there. Christian has performed with the Phoenix Boys
Choir, the Arizona State University Choral Union, the Canterbury Choir, the
Binghamton University Chorus, the Harpur Chorale, and the Vivaldi Singers. He
has worked as a freelance musician, performing extensively on various instruments
in a range of styles. Serving as a concert organizer and performer, he has performed
for Senior Citizen Centers, Banquets. and Fundraiser Concerts. He has served as a
studio producer of several genres of music including production for 2008 American
Idol Top Twelve Finalist David Hernandez. Many of his compositions have won
national awards, including 1st place in the San Jose Choral Productions Choral
Composition Competition, 2nd place in the Edwin Fissinger Choral Composition
Competition, and 3rd place in the Corpus Christi Chorale Choral Composition
Competition. Christian was also awarded the Samuel Reiser Scholarship (2012)
and the Philip Friedheim Memorial Award (2014). In 2012, his Six Preludes for
solo piano were performed by composer and pianist Christopher Morgan Loy
(PhD). His most recent work Da ncing Water, Swimming Shadows, a song cycle
written for Grammywinning mezzosoprano Jacqueline HomerKwia tek, was
premiered by HornerKwiatek along with Michael Compitello (percussion),
Timothy Perry (Clarinet), Margaret Reitz (Piano), and Joseph Vanderpool (Violin)
in the Spring of 2014. A registered member of ASCAP, he currently works as the
composer for AA. Michael Productions, writing music for television. He has
provided editing and notation services for Schubertiade Music LLC, composer
Daniel Thomas Davis, and for the late professor and composer Paul Goldsnub
(PhD).
written by Christian Martin
Symphony No. 9 in E minor, op. 95, “From the New World”
Antonin Dvorak
Dvotak was born into the unsophisticated cultural and social background
of a butcher and innkeeper’s family. However, this did not prevent him from being
exposed to music at a young age. He attended school, took music lessons, played in
church, and in the village band. In 1857 he entered the Prague Organ School,
where he received a comprehensive academic foundation in music theory and
performance, and soon a fter secured a spot as violist in a dance orchestra, which
would become the Prague Provisional Theatre Orchestra. He played principal viola
under the baton of such conductors as Bedrich Smetana and Richard Wagner. It
was shortly a fter this tha t he le ft the orchestra to pursue composing full time.
�In June 1981, Jeannette Thurber, president of the Na tional Conservatory
of Music i n A
merica, asked Dvorak i f he would
accept the post of Artistic Director
and Professor of Composition. Securing a composer of Dvofalt’s eminence to lead
the conservatory would be an exceptional feat. Besides Dvorak’s fame in America,
a noteworthy reason for the offer was his reputa tion as a composer wi th a
na tionalistic style. Thurber had long dreamt of the creation of a na tional American
style of music and raising the standards equal to those in Europe. While teaching,
Dvorak built the curriculum and found many of his students receptive to his ideas
while also providing him with inspiration. It was through them that he first
encountered AfricanAmerican and American Indian music. Once hearing them,
he arpressed belie f that they would be the basis for this new American style.
In 1893, with the support of Jeanette Thurber and the commission from
the New York Philharmonic, Dvoi’alt released his Symphony No. 9 (“From the New
World”) in E minor. I t w
as very much a reflection on the experiences and emotions
of the composer during his time in America while combining the broader European
wmphonic style. The opening movement immediately announces the main the me.
a distinc tive melody tha t will appear in every movement. The second movement is
characterized by a lovely. romantic English Horn melody that was inspired by
Longfellow’s poem Song of Hiawatha “Funeral in the Forest”. This melody would
la ter be arranged by one of his students into the now famous spiritual. Goin ’ Home.
The third movement Scheno. also inspired by Longfellow’s Song of H iawatha (the
Indian dance and feast) is characterized by an offbeat melody created around a
hemiola (a rhythm with a 2 against 3 feel). In the fourth movement, Dvoialt uses
the development to work in the themes of a ll of the previous movements and
presents the motto with the majestic and stormy brass sec tion. His response to
American popular styles is seen where he alludes to folksongs that incorporate the
pentatonic (5 note) scale in melodic lines, rhythmic ostinatos, and strongly
syncopated rhythms. He does a ll of this while also incorpora ting follt music from
his own home country. Together these features present a dramatic, lyrical, and
na tionalistic symphony that presents a rich panorama of ravishing and sensa tional
orchestral colors.
written by Jessica Biagiotti*
BiNGHAmTON l j x ’ iunu il n m oul c
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Binghamton Community Orchestra
Presenting Quality Orchestral Laperiences for fh
20742075 Season
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“The Migh ty Handful”
Saturday. November 22. 2014
“How Suite l l ls'“
Saturday. February 28. 2015
“Romantic Spring”
Saturday May 9. 2015
Welcommg back to the podium as conductm
Dr. Timothy Perry
Concerts start at 7 pm
East Middle School
' ~ Program notes written by Daniela & Jessica were done as part of a project for the Basic
Conduc ting course this semester tha t is taught by Dr. Timothy Perry & Heather Worden.
o
167 East Frederick Street
Binghainlon
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13904
Visit mm:BinghanitonConmuminOrchestmorg for more information!
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Coming Events
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Saturday, Dece m ber 6 Italian Diction Class Reciml– 7:30 p.m. Casadesus Recital Hall ~
free
Sunday, December 7 First Act o f Verdi ’s ‘Talstaff” – 1p.m 8 4 p.m. – Anderson Center
Chamber Hall – $ 1 0 general public; $7 faculty/staff/seniors/alumni; $5 for students
Tuesday, December 9 – Piano Ensemble Coneen – 7:30 p.m. Casadesus Recital Hall free
Wednaday, December 10 ~ Nukporfe African Drumming and Dance Ensemble 7:30
p.m. Watters Theater $5 general admission at the door
Thursday, December 1 1 ~
Ho lidly MidDay Concert– 1:20 p.m. Casadesus Recital Hall
free
Thursday. December 11 ~ Harpur Chorale and Women’s Chorus H oliday Concert 7:30
p.m. – Trinity Memorial Church, Binghamton – a free donation will be collected at the door
Friday, December 1 2 Chinese Singing Class Recital 7:30 p.m. Casadesus Recital Hall
free
Saturday, J an u u y J I – Musica Nova: A tribute concert in memory o f Paul R .
Goldstaub ~ 7:30 p.m. Anderson Center Chamber Hall TBA
Friday, February 6 ~ TriCities Opera presents Rossr’ni’s The Italian Gid in Algiers
8:00 p.m. The Forum Theater call (607)7720400 for tickets
Saturday, February 7 GuestArtist: Pianist Gleb lvanov 7 :30 pan. Anderson Center
Chamber Hall TBA
Sunday, February 8 TriCities Opera presents Rusini ’s The l tali m Girl in Algiers
3:00 p.m. – The Forum Theater – call (607 )7 720400for tickets
Sunday, February 15 Jonathan Biggers Lecture/Recital Baroque Organ Performance
Practice Concert 4 :00 p.m. Fine Arts Room 2 1 $7 general public; $5
famlry/staff/senims/alumni; free for students
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For tickets or to be added to our email list, visit andersonbinghamtonedu or
call (607 ) 777ARTS. For a complete lat of our concerts call (607 ) 7 7 72592,
visit music.binghamton.edu or become a fan on Facebook.
If you were inspired by this performance, 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 community.
Please make your donation payable to the Binghamton University Music
Department, and send your check to B U Music Department, P.O. Boa 6000,
Binghamton, NY 13902.
�
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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01:13:43
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Title
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University Symphony Orchestra presents From the New World: Featuring the premiere of "Music For Sonora" by Christian Martin
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works by Copland, Martin, Dvořák. Held at 3:00 p.m., December 6, 2014, Osterhout Concert Theater.
Creator
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University Symphony Orchestra
Worden, Heather
Martin, Christian
Publisher
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Binghamton University Libraries
Contributor
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Copland, Aaron, 1900-1990
Martin, Christian
Dvořák, Antonín, 1841-1904
Date
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12/6/14
Rights
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In copyright
Type
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sound
-
https://omeka.binghamton.edu/omeka/files/original/d924a47b6e8c94e2d1e1c987cc645136.pdf
c93e5e73ee21e1ac37bb05b4af72b6d0
PDF Text
Text
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‘BINGHAMTON
U n g i j v E, R s 1 T Y
State University of New York
Department of Music
UNIVERSITY PERCUSSION
ENSEMBLE
Daniel Fa bricius, co nductor
Tuesday, Decem ber 7, 2004
‘ 8:00 p.m.
Anderson Cente r Chamber Hall
�Prog ram
BRAZILIAN STREET D A N C E . . . . . . . . . . . . . . . . . . Thom
. . . . . .as A.
. . A. Brown
EINE KLEINE NACHTMUSIK. ......... Wolfgang Amadeus Mozart
MOVEMENT 1
Arranged by James L. Moore
SYMPHONY FOR PERCUSSION.............................
José S
erebrier
AdagioConga
Solo
Moto Perpetuo e Cadenza
IN TE
RMIS SI 0 N
TOOL TIME
I
SABRE DANCE
Matthew Chedister
David
ini
Aram Khachaturian
Arranged by James L. Moore
�About the Conductor
DANIEL FABRICIUS took the post of Percussion Instructor at Binghamton
University in September 1992. He also has been Director of Bands at Owego
Free Academy since 1989. Fabricius is active as a perform ing percussionist in
the Southern Tier. He is a member of the Binghamton Symphony Orchestra as
well as Timpanist/Principal Percussionist for the Orchestra of the Southern
Finger Lakes. In recent years, he also has performed as a percussion soloist in
chamber ensembles, in musical theater productions and with a variety of
nationally known artists. He performs often as a freelance musician and as a
member of the local dance band, “Classy Brass.”
As a music educator, Fabricius holds professional memberships in the New
York State School Music Association, the International Association of Jazz
Educators, the Percussive Arts Society, and the National Band Association. He
also has served two terms as President of the New York State Band Directors
Association. He has worked on the Summer Session faculty for the Ithaca
College School of Music and also serves as a cooperating teacher for senior
student teachers. He has conducted many honor band festivals, presented clinics
on a variety of music education topics, and has adjudicated at music festivals
throughout New York.
�UN IV ER SIT Y P ER CU SS IO N E NS EM BL E
Matthew Chedister, Washingtonville, NY
Matthew Cosnett, Vestal, NY
Matthew Green, Westchester County, NY
Spencer Lo, Brooklyn, NY
Richard Postel nik, Fresh Meadows, NY
Pete Tringali, Brewster, NY
Mark Turley, Cicero, NY
* * * * * * * * * * * * * * * *
* * * * * * * * * * * * * * * *
*
Co ming Events
Thu rsda y, Dec emb er 9 – Holiday Mid Day Con
cert – 1:20 p.m. –
Casadesus Recital Hall – free
Th u rsda y, D ecem ber 9 – University Symp hon y O
rche stra – P ragu e to
Vien na : Fiel d, Fore st and Fiac re with ChaiKy
ou Mallinson and
Margaret Reitz, pianists, Timothy Perry, Conduct
or – 8:00 p.m. –
Anderson Center Osterhout Concert Theater $1
0 general public; $7
faculty/staff/seniors; free for stude nts
]
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�
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>
Rights
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In copyright.
Template: PDF / Rosetta
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Original Format
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1 audio disc
Duration
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0:43:20
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253372&change_lng=en&select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253372&change_lng=en&select_viewer=metsViewer</a>
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Title
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University percussion ensemble, December 7, 2004
Alternative Title
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Recital tape 2004-12-7
Description
An account of the resource
Works of Brown, Mozart, Serebrier, Chedister, Mancini, Khachaturian. Held at 8:00 p.m., December 7, 2004, Anderson Center Chamber Hall.
Creator
An entity primarily responsible for making the resource
Fabricius, Daniel
Publisher
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Binghamton University Libraries
Date
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12/7/2004
Rights
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In copyright
-
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>
Rights
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In copyright.
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54 minutes : 42 seconds
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141083">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE141083</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
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Master's recital Meghan Cakalli, December 8, 2012
Description
An account of the resource
December 8. 2012
Creator
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Cakalli, Meghan
Publisher
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Binghamton University Libraries
Date
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12/8/12
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In copyright
Type
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sound
-
https://omeka.binghamton.edu/omeka/files/original/1a77430cf80616aa5f73bf96ab378c45.pdf
7bb6c4f791e680448cd835f3ac6bf16f
PDF Text
Text
BINGHAMTON
U N I L V E R S L T
144/00
D E P A R T M E N T
Binghamton
University
Symphony
Orchestr a
GEORGE MYERS, CONDUCTOR
Saturday, December 8, 2012
3:00 p.m.
Osterhout Concert Theater
�PROGRAM
Binghamton University Symphony Orchestra
MUSICIANS
VIOLIN I
Gustav Holst
(1874 – 1934)
Jupiter from The Planets
Three Dances from The Bartered Bride Bedfich Smetana
(1824 – 1884)
I. Polka
II. Furiant
III. Dance of the Comedians
.eINTERMISSIONe
Symphony No. 7 in A Major
II. Allegretto
Finlandia .
Ludwig van Beethoven
(1770 – 1827)
...Jean Sibelius
(1865 – 1957)
Ella Serrano
Rebeca Sgroi
Ife Samms
Emma Lecarie
Nicholas Thompson
Joseph Vanderpool
Sara Sunshine
Anna Li
Christopher Rogers
Karen Fu
Cameron D’Auria
Simon Benarie
VIOLIN II
Gabrielle Maire
Natalie Bock
Jaclyn Podd
Jiwon Nam
Emily Sui
Olivia Rhines
Sarah Kohtz
Nathaniel Christman
Eleanor Krasman
Michael Tiongson
Fanny Chu
VIOLA
Jillian Chen
Mimi Nam
Ethan Schaber
Lindsay Covington
Tiffany Williams
Harrison Dulin
VIOLONCELLO
Eric Wuu
CLARINET
Jaclyn Adler
Felicia Scalzetti
Paul Watrobski
Richard Reitz
Xander Edwards
Raeleen Bichler
Andrew Card
Deborah Mariottini
Emily Mockler
Skylar Orenstein
Buono
BASS
Kristine Beckmann
Gabriel Felix
Robert Durante
PICCOLO
Alexander Baron
FLUTE
Jessica Biagiotti
Lindsay Ralbovsky
OBOE
Allison Moskowitz
Rebecca Marwin
Hao Sun
BASSOON
Laura Earls
Natalie Spitzer
HORN
Zachary Birnbaum
Matt McAuliffe
Natalie Rivera
Kathryn Saturnino
TRUMPET
Kevin Hannon
Junbo Yan
TROMBONE
Billy Marsiglia
Drew Perotti
Jacob Strohm
BARITONE
Ryan Shumaker
TUBA
Matthew Gukowsky
TIMPANI
Benjamin Rothschild
PERCUSSION
Steve Olson
Andrew Williamson
�BIOGRAPHY
GEORGE MYERS was director of orchestras at Ithaca High
School for the past sixteen years, until his recent retirement. He
began his performing career at the age of 11, performing a
concerto movement live on WNYC radio for the broadcast “Young
America Plays.” He holds an MM in Viola Performance from
SUNY Binghamton, where he studied with Toby Appel. As a
member of the Catskill Chamber Players (which included BU
professor Timothy Peny, as well as BU cellist Steven Stalker and
1
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violinist Janet Brady) and the Catskill String Quartet, he performed
a large body of 20th century works, giving premieres at Weill Hall
at Carnegie Hall. Under grants from Meet the Composer, he had
the opportunity to work with such notable composers as Virgil
Thompson, John Cage and Henry Cowell. The Catskill Quartet
also performed many children’s concerts throughout upstate New
York, and for their service to education, the Catskill Conservatory,
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York State Governor’s Arts Award. He was on the faculty of
3
Hamilton College for 15 years, teaching violin, viola and chamber
music. During his time at Hamilton, he also wrote a number of
arrangements for their jazz ensemble, as well as arranging and
performing with a ten piece jazz band in the area. He has also
served on the faculty of both Colgate University and Ithaca
&
’
College, teaching viola. He conducted performances for the
Mohawk Valley Arts Association, and has been guest conductor
for NYSSMA festivals. Mr. Myers was a member of the
Glimmerglass Opera orchestra for 15 years, beginning at its
inception. For 10 years, he was principal violist with the Utica
Symphony, and served in that capacity with a number of upstate
regional orchestras. H e has twice toured as a soloist in Europe
with the Ostschweizer Kammerorchester, and performed a s a
member of the Spoleto Festival Orchestra in Italy. For 14 years,
as a member of the Aurora Quintet, he was in residence at Ithaca
College’s Summer Chamber Music Institute, where he conducted
the string chamber orchestra and coached quartets of talented
young musicians from across the country. He is currently a
member of the core orchestra of the Cayuga Chamber Orchestra.
He is married to Jennifer Reuning Myers, a prominent Suzuki
violin teacher and musician in the Ithaca area.
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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
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Original Format
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1 audio disc
Duration
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39 minutes :36 seconds
Streaming Audio
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Binghamton University Symphony Orchestra, December 8, 2012
Description
An account of the resource
Works by Holst, Smetana, Beethoven, Sibelius Held at 3:00 p.m., December 8, 2012, Osterhout Concert Theater.
Creator
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Myers, George
Publisher
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Binghamton University Libraries
Date
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12/8/12
Rights
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In copyright
Type
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sound
-
https://omeka.binghamton.edu/omeka/files/original/0c92387b4a328abf30acdfebb2e54733.pdf
4a7c422cacaf4774d3553707603b0ff3
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Text
BINGHAMTON
U N I V E R S I T Y
STATE U N I V E R S I T Y O F
N E W Y O R K
M
[4
M
D E P A R T M E N T
Piano Ensemble
from the studios of
Jinah Lee &
Michael Salm irs
Tuesday, April 29, 20 1 4
8:00 p.m.
Casadesus Recital Hall
�2c) PROGRAM (93
Hungarian Dance in G minor, Bk. 1........................ Johannes Brahms
(18331897)
Natasha Talukdar, Benjamin Calhoun
An der schonen blauen Donau, Op. 31 4................Johann Strauss, Jr.
(18251899)
Arr. by Christian Mondrup
Amela Dervishi, Jee Soo Han
Maurice Ravel
Beauty and the Beast from Mother Goose
(18751937)
Samantha Bangug, Christine Fan
Ballet from Petite Suite................................................CIaude Debussy
(18621918)
Xiaomo Qian, Siqi Feng
Arabian DlnLL
Dance of the Sugar Plum Fairy
Pyotr Ilyich Tchaikovsky
(18401893)
Arr. Eduard Langer
Priscilla Cheng, Annie Tao
Charles Gounod
Faust: Valse Brillante
(18181893)
Arr. Fr. Burgmuller
Hwi Jae Cho, Yujung Jane Jung
Libertango......................................................................Astor P iazzolla
(19211992)
Arr. Pablo Ziegler
Annie Tao, Natasha Talukdar
�Binghamton University Music Depa rtment’s
Upcoming Events
6&66fl66fl6r’éfl6r’éflofiéflééfl66fléiéfl
Tuesday, April 29 – Piano Ensemble Concert 8:00 p.m. – Casadesus
Recital Hall free
Th u day, May 1 MidDay Concert 1:20 p.m. Casadesus Recital
Hall free
Th ursday, May 1 – GrammyAward Winning vocal guest a rt ist
Jacqueline HornerKw iatek 8:00 p.m. Casadesus Recital Hall $5
general public; free for students
Friday, May 2 Flute Studio a nd Flute Chamber Concert 1 1:30 a.m.
Casadesus Recital H all free
Friday, May 2 – TriCities Opera presents Strauss Die Fledermaus
8:00 p.m. The Forum Theatre call (607) 7720400 for tickets
Saturday, May 3 – University Symphony Orchestra: Symphonic
Smorgasbord 3:00 p.m. Osterhout Concert Theater $7 general
public ; $5 (aculty/sta(if/seniors; tree tor students
Saturday, May 3 – Senior Recital: Xander Edwards, cello 8:00 p.m.
Casadesus Recital Hall free
Sunday, May 4 TriCities Opera presents Staruss’ Die Fledermaus
3 :00 p.m. The Forum Theater call (607) 7 7 20400 for tickets
Tuesday, May 6 – Pe rcus ion Ensemble Concert 8:00 p.m. Anderson
Center Chamber H all $7 general public ; $5 (aculty/stai‘f/seniors; free for
students
m e w b m e w m m e w m w b w e a
For tickets or to be added to our email list, visit anderson.binghainton.edu or call
(607) 777AR’IX, For a complete list of our concerts call (607) 7772 592, visit
music. binghamton.edu or become a fan on Facebook.
If you were inspired by this performance, consider supporting the
Department of Music with a financial gift. Your support helps to
cont i nue the work of students, faculty, a nd gues t art is t s a nd their
contrilmtions to our community. Please make your donation payable
to the Binghamton University Music Department. and send your
check to B U M usic Department, l ’ . ( ) . Box 6000, Binghamton, N Y
13902.
�
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.
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Original Format
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1 audio disc
Duration
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37:16:00
Streaming Audio
Streaming URL
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Accessibility
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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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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Piano ensemble from the studios of Jinah Lee and Michael Salmirs
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works by Moszkowski, Debussy, Manookian, Brahms, Dvořák, Rachmaninoff, Chabrier, Piazzolla. Held at 7:30 p.m., December 9, 2014, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Lee, Jinah
Salmirs, Michael
Fan, Christine
Green, Maurice
Chen, Shana
Han, Jeesoo [Jee Soo]
Cermak, Samantha E.
Lee, Yuseong
Malinovsky, Daniel
Su, Vicky
Bogdanove, Grace
Calhoun, Benjamin
Bangug, Samantha
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Contributor
An entity responsible for making contributions to the resource
Moszkowski, Moritz, 1854-1925
Debussy, Claude, 1862-1918
Manookian, Jeff
Brahms, Johannes, 1833-1897
Dvořák, Antonín, 1841-1904
Rachmaninoff, Sergei, 1873-1943
Chabrier, Emmanuel
Piazzolla, Astor
Date
A point or period of time associated with an event in the lifecycle of the resource
12/9/14
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.)
0:49:58
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253375&change_lng=en&select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253375&change_lng=en&select_viewer=metsViewer</a>
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Thursday holiday mid-day concert, December 9, 2004
Alternative Title
An alternative name for the resource. The distinction between titles and alternative titles is application-specific.
Recital Tape 2004 12-9
Description
An account of the resource
Held at 1:20 p.m., December 9, 2004, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Schum, Jody
Borton, Bruce
Basttek, Jessica
Boczar, Kathryn
Maiolo, Georgetta
Cecere, Greg
Epelman, Emie
Jacobsen, Alfred
Lokken, Patrick
Sternberg, Patrick
Wittmer, Hannah
Salmirs, Michael
Han, Che Sut
Lee, Eunjong
Kempin, Kristel
Ho, Ion
Levine, Maia
Na, Grace
:eFebvre, TImothy
Biggers, Jonatham
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
12/9/2004
Rights
Information about rights held in and over the resource
In copyright