8 10 1775 https://omeka.binghamton.edu/omeka/files/original/4c6f09d652b8ef7c11d020babb2bc75b.pdf 970cbde82720c67ed050b869ac6bb1ca PDF Text Text STATE UNIVERSITY OF NEW YORK AT BINGHAMTON THE DEPARTMENT OF MUSIC OPERA WORKSHOP ROBERTA SCHLOSSER, Director presents An Evening of Comedy SCENES FROM LA BOHÈME MERRY WIVES OF WINDSOR TALES OF HOFFMANN COSÌFAN TUTTE James Osborne, Musical Director Jon Carbery, Dramatic Director FEBRUARY 24, 25, 1975 CASADESUS RECITAL HALL 8:15 P.M. �PROGRAM CHARACTERS La Bohème LA BOHÈME Giacomo Puccini Act I. Scene 1. The action takes place in a cheerless attic studio. Time-about 1830 in Paris. Act II. 'Musetta's Waltz' Outside the Café Momus in the Latin Quarter on Christmas Eve. Otto Nicolai THE MERRY WIVES OF WINDSOR Act I. Scenes 1 and 2. A courtyard on a summer afternoon in the Town of Windsor. Rodolfo, a poet -------------- ------------------········----··------ Anthony Brienza, tenor Marcello, a painter ------------------- --- ---------- Michael David Quinn, baritone Schaunard, a musician ---------------------------------- Thomas Fordham, baritone Colline, a philosopher -------------------------------------------------- Gary Levine, bass Benoit, a landlord ------------------------------------------------ Arthur Sherry, baritone Musetta, a grisette ------------------------------------------------ Ursula Raeth, soprano Mimi, a seamstress ------------------------------------------ Victoria Deuany, soprano Aleindoro, a man about town ___ _____ ______ ___ _______ __ James Osborne, baritone The Merry Wives of Windsor Mrs. Ford, a well-preserved, very merry woman of thirty-five ----------- --------------------------- Shirley Brown, soprano ( Mon. performance) Karen Haight, soprano ( Tues. performance) Mrs. Page, lively, but less so than her friend -------------- ------------------------------ Rachel Gardner, soprano The Tales of Hoffmann Frantz, an aging, nearly-deaf servant to Crespel, a musician -------------------------------- Preston Stockman, tenor Così Fan Tutte - INTERMISSION - THE TALES OF HOFFMANN Jacques Offenbach Act. IV. Frantz's Aria. Crespel's house in Munich. Fiordiligi ----------------- ----- -------------------------------- ------ Victoria Devany, soprano Dorabella ---------- ----------- ---------- -------------------- -- ----- Alice Weintraub, soprano Ladies from Ferrara and Sisters, living in Naples Guglielmo, officer, betrothed to Fiordiligi ---------------- ------------ ---- -------- Michael David Quinn, baritone Ferrando, officer, betrothed to Dorabella --------- ------------------ ------------ ---- --------- Anthony Brienza, tenor Despina, chambermaid to the ladies ______ Mary Ann Ferraiolo, soprano Don Alfonso, an old philosopher ______________ Thomas Fordham, baritone ACKNOWLEDGEMENTS COSÌ FAN TUTTE Act II. Duet. A room in the sister's home. Act I. Finale. The action takes place in Naples. Time-late eighteenth century. Wolfgang Amadeus Mozart Musical Preparation ---- -------------- -------- Roberta Schlosser, James Osborne Accompanist and Coach ( 'Bohème' and 'Hoffmann' scenes) __________________________ Barbara Benvin Accompanist and Coach ( 'Così' and 'Merry Wives' scenes) ___ ____________ __ _ Chai-kyov Mallinson Staging Concept ( 'Casi' scenes) ---------------------- ---------------- James Osborne Technical Supervisor ( Lighting, Costumes, Properties, Make-up) -------------- ------------------------------------------ Roy Abbott Stage Manager ------------------------------------------------------------------ Vincent Pantuso �PROGRAM NOTES La Bohème Act I In their cold, shabby attic--Rodolfo, the poet and Marsella, the painter--hungry and freezing, are trying in vain to concentrate on their work. Colline, the philosopher enters complaining that because the pawnshops are closed on Christmas Eve he has been unable to sell his books. Schaunard, the musician, had better luck. He comes bringing fuel and provisions. During the preparation of their meal, the landlord enters unexpectedly and demands payment of his long overdue rent. The Bohemians offer him wine and turn him out amidst joking and laughter. On to Café Momus. Act II At the Café Momus, Rodolfo has just introduced Mimi to his friends when Musetto appears escorted by old but rich Alcindoro. Marcello, whom she loves--if only periodically--describes her fickle character to Mimi. Musetta, angered by Marcello's simulated indifference, breaks into a description of her charms, hardly modest but entirely accurate. The Merry Wives of Windsor The Nicolai treatment ( first performance-1849) of the Shakespearean subject preceded the Verdi version ( Fallstaff-1893) by nearly a half century. Hermann von Mosenthal's tight and fast moving libretto employed only the main sections of the comedy. In the opening scenes, therefore, we deal immediately with Falstaff's extraordinary love letters which both Mrs. Ford and Mrs. Page have just received. The two women compare letters, and discovering them to be alike plan revenge. The Tales of Hoffmann Crespel has just left his house in a rage because his nearly-deaf old servant Frautz misunderstood everything he said. Frautz then consoles himself with singing, although he knows his technique is wrong-and with dancing, although he lands on his well-polished floor. Così Fan Tutte An early revision of 'Cosi' stated that the theme of this opera was a satire on the highly praised fidelity of the female sex and an innocent playing with the ·sanctity of love. The action which leads up to the Finale of Act I concerns a wager between Don Alfonso, a cynical old philosopher and his two young officer friends, to witthat no women can be trusted. To try to prove his point, Don Alfonso concocts an elaborate scheme complete with deceit, disguises, poisonand miraculous recovery. The sisters, however, remain true to their sweethearts whom they believe have been ordered to wars. Early in Act II, after Despina derides their constancy, the sisters, especially Dorabella, weaken and decide a flirtation will do no harm. Dorabella will choose Guglielmo and Fiordiligi Ferrando. -Roberta Schlosser � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. 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If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 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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 1975-2-25 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Creator An entity primarily responsible for making the resource Osborne, James Carbery, Jon https://omeka.binghamton.edu/omeka/files/original/abc970ab1be8676d20d0044f80d66f34.pdf d889621d7108f8c47e94804c3cb1427d PDF Text Text BINGHAMTON U  N  I  V  E  R  S  I  T  Y State University of  New York d e e 7 D E P A R T M E N T "  An Evening of German Vocal Music Presented by the German Diction Class Timothy LeFebvre, instructor Williams James Lawson, piano !5 Wednesday, May 10, 2006 8:00 p.m. Casadesus Recital Hall �PROGRAM H t ,! a l from Die Schone Miillerin  Alexander Blitstein, tenor l Schubert (1797­1828) Nur wer die Sehnsucht k en nt ... ... ... ... ... ... ... ... ... ... ... Fra... nz.   Schubert (1797­1  8  28) Elizabeth Duhr, mezzo­soprano Standchen  Franz Schubert (1797­1828) Vitaliy Maystruk, baritone Heimliches L i c h e n . . Kathryn Boczar, mezzo­sopran o . Schu bert (1797­1828) Nimm sie hin denn, diese Lied er..................Ludwig van Bee thoven from An die ferne Geliebte  (1770­1827) Mark Kratz, tenor Kennst du das L an d. ... ... ... ... ... ... ... ... ... ... ... ... . van Beethoven (1770­1827) Jessica S. Barkley, soprano l l Widmung  Cari Begeal, mezzo­soprano Robert Schumann (181 0­1856) Wie Melodien zieht es mir ......... .....cceeeeuen............ Johannes Bra hms (1833­1897) Jana Kucera, soprano Brauner Bursche fiihrt zum Tan ze......................... Johannes Bra hms (1833­1897) Amy DeLeo, soprano   �Johannes Brahms ( l 8  3 3­1 897) Mary Aimoniotis, mezzo­soprano Von ewiger L1ebe  Die Mainacht  Katrina L. Cox, soprano Der Tod, das ist die kfihle Nacht  Julia Ebner, soprano Erin Lahm, soprano .  Ein Traum  Stefanie Sudduth, soprano Breit fiber mein Haupt  Nili Riemer, soprano Verschwiegene Liebe  Andrew Sudduth, baritone Auch kleine Dinge  Miriam A. Wright, soprano Der Kontrabandiste  Soon Young Park, baritone ~Intermission~ Johannes Brahms (1833­1897) Johannes Brahms (1 83 3­  l 897) (1833­1897) : Edvard Grieg (1 843 ­1907) Richard Strauss (1864­1949) Hugo Wolf (1 860­ 1903) Hugo Wolf (1860­1903) Robert Schumann (1810­1856) ! / �Coronach  Franz Schubert (1797­1828) Katrina L. Cox, Amy DeLeo, Jana Kucera Robert Schumann ( l 8  1   0­1 8 56  ) Stefanie Sudduth and Andrew Sudduth An den Abendstem  So wahr die Sonne scheinet.................................. Robert Schumann (1810­1856) Vitaliy Maystruk and Kathy Boczar Klange  Nili Riemer and Julia Ebner Johannes Brahms (1833­1897) Es rauschet das Wasser..........................................Johannes Brahms (1833­1897) Elizabeth Duhr and Soon Young Park Horch, der Wind klagt...........................................Johannes Brahms (1833­1897) Erin Lahm, Jessica S. Barkley, Mark Kratz, Soon Young Park (1809­1847) Jana Kucera and Cari Begeal Suleika und Hatem!  An des lust’gen Brunnens Rand  Felix Mendelssohn Alexander Blitstein and Erin Lahm Herbstlied  (1 809­1 847) Felix Mendelssohn (1809­1847) Miriam A. Wright and Mary Aimoniotis After the performance, please join us for a reception in Green Room �TRANSLATIONS Halt! I see a mill showing through the alders; Through the gushing and singing of the water Breaks the noise of the wheel. Welcome, welcome, sweet song of the mill! And the house, how comfortable it looks! And the windows, how they glitter! And the sun, how brightly it shines from heaven! O brooklet, dear brooklet, was this what was intended? Nur w er die  Sehnsucht  kenn t Only one who knows longing Knows what I suffer! Alone and cut off From all joy, I look into the firmament In that direction. Ah! he who loves and knows me Is far away. I am reeling, My entrails are burning. Only one who knows longing Knows what I suffer! Standchen Softly through the night my songs implore you, Come down into the still grove with me, beloved ; Slender treetops rustle and whisper in the moonlight, Fear not, sweet one, the betrayer ’s malicious eavesdropping. hear the nightingales calling? Ah! They are imploring you. With the sweet music of  their notes they implore you for me. They understand the bosom’s yearning, they know the pangs of love. They can touch every tender heart with their silvery tones. Let them move your heart also ; beloved, hear me! Trembling, I wait for you; come, give me bliss! Heimliches Lieben Oh you, when your lips touch mine, Then my desire will carry away my soul, I feel deep inside a nameless trembling, And my bosom heaves. My eyes are aflame; a glow spreads over my cheeks, My heart beats with an unknown longing, My mind wanders, intoxicated lips stammer, And can hardly compose itself. In such an hour my life hangs On yo ur swe et, rose­soft mouth, And in your trusted arms embrace I would almost give myself up. Oh, could my soul but not leave me And burn in your soul alone! Would that my lips, that burn with longing, Must not pa rt from  your lips! Could but my soul into kisses dissolve While my lips and heard are so firmly pressed to yours, A heart that may never openly Beat for me. i il J �Nimm sie hin, de nn diese L ieder Take, then, these songs, That I to you, beloved, sang, Sing them again in the evenings To the sweet sounds of the lute! When the red twilight then moves toward the calm, blue lake, And the last ray dies behind that hilltop; And you sing, what I have sung, What I, from my full heart, Artlessly have sounded, Only aware of its longings. For before these songs yields, What separates us so far, And a loving heart reaches For what a loving heart has consecrated. Kennst du  das L and Knowest thou where the lemon blossom grows, In foliage dark the orange golden glows, A gentle breeze blows from the azure sky, Still stands the myrtle, and the laurel, high? Dost know it well? ‘Tis there! ‘Tis there Would I with thee, oh my beloved, fare. I Knowest the house, its roof on columns fine? Its hall glows brightly and its chambers shine, And marble figures stand and gaze at me : What have they done, oh wretched child, to thee? Dost know it well? ‘Tis there! ‘Tis there Would I with thee, oh my protector, fare.  : Knowest the mountain with the misty shrouds? The mule is seeking passage through the clouds; In caverns dwells the dragons’ ancient brood; The cliff rocks plunge under the rushing flood! Dost know it well? ‘Tis there! ‘Tis there Leads our path! Oh father, let us fare. Widmung You my soul, you my heart, You my bliss, 0 you my pain, You the world in which I live, You are heaven, in which I float, O you my grave, into which I eternally cast my grie f You are rest, you are peace, You are bestowed upon me from heaven. That you love me makes me Worthy of you; Your gaze transfigures me Before you ; You raise me lovingly above myself My good spirit, my better selfl Wie Melodien zieht es mir Like melodies it softly pervades my senses Like spring flowers it blossoms And like a fragrance drifts away. But if the word comes and grasps it Then leads it before the eyes Like misty gray it fades and vanishes like a breath. And yet in the rhyme A secret fragrance is hidden That gently from its tranquil source Brings tears to the eyes. �Brauner Bursche fii hrt zum Tanze The bronzed young fellow leads to the dance His lovely blue­eyed maiden, Boldly clanking his spurs together. A Czardas melody begins. He caresses and kisses his sweet dove, Whirls her, leads her, shouts and springs about; Throws three shiny silver guilders On the cymbal to make it ring! Von ewiger Liebe Dark, how dark it is in the forest and field! Night has fallen; the world now is silent. Nowhere a light and nowhere smoke. Yes, now even the lark is silent. From yonder village there comes the young lad, Taking his beloved home. He leads her past the willow bushes, Talking so much, and of so many things: Iron and steel can be recast by the smith But who would transform our love? Iron and steel can melt; Our love, our love will have to last forever!” Die Mainacht When the silvery moon gleams through the copse, And pours his slumbering light over the grass, And the nightingale warbles, I wander sadly from bush to bush. Hidden by the foliage, a pair of doves Coos its delight near by; but I turn away, Seek deeper shadows, and weep a lonely tear. When, o smiling image, which like the light of morning Shines through my soul, shall I find you upon the earth? And the lonely tear trembles hotter down my cheek! As  fast as we  once came together.” Der Tod, das ist die kiihle Nacht Death, it is the cool night, Life is the sultry day. It grows dark already; I grow sleepy, The day has made me tired. Over my bed rises a tree, Within it sings the young nightingale; It sings of pure love. I hear it even in my dreams. Then says the maiden, the maiden says: “Our love shall never end! Steel is firm and iron is firm, Yet our love is firmer still. Botschaft Blow, little breeze, gently and lovingly about the cheeks of my beloved; play tenderly in her locks, “If you suffer shame and if you grieve, If you suffer disgrace before others because of me, Then our love shall be ended ever so fast As fast as we once came together; It shall go with the rain and go with the wind, do not hasten to fle e far away! I �If perhaps she is then to ask, how it stands with poor wretched me, tell her: “Unending were his sorrows, most serious his plight; But now he can hope wonderfully to come alive again for you, lovely one, are thinking of him!” Ein Traum I once dreamed a beautiful dream: a blond maiden loved me, it was in the green woodland glade, it was in the warm springtime : the buds were blooming, the brook was swelling, from the village far away church bells were chiming ­ we were completely filled with joy, engulfed in happiness. And more beautiful yet than that dream, it happened in reality: it was in the green woodland glade, it was in the warm springtime : the brook was swelling, the buds were blooming, church bells were chiming from the village ­ I held you tight, I held you long and now will never let you go! Nevermore! Nevermore! 1 so that into my soul, so brightly and clearly, will stream your eye’s light. I do not want the splendor of the sun above, nor the glittering crown of stars; I want only the night of your locks and the radiance of your gaze. Verschwiegene Liebe Over the treetops and the fields of grain, In the moonlight – who could guess them, Who hold them in check? Thoughts are in motion, The night is silent, Thoughts are unconfined. May only one guess who is thinking of her, In the rustling of the grove when no one else is awake. As the clouds that soar, my love is silent, and lovely as the night. Auch kleine Dinge Even little things can delight us, Even little things can be precious. Think how we gladly adorn ourselves with pearls; They are heavily paid for, and yet are small. Think how small is the olive’s fruit, And is nevertheless sought for its There reality became a dream, virtue. Think only on the rose, how small she is, And yet, smells so sweet, as you know. Breit fiber mein haupt Spread over my head your black hair,  , and incline to me your face, Der Kontrabandiste I am the smuggler, and know well how to inspire respect; I know how to defy everyone, O vernal woodland glade, you will live in me for all time! there the dream became reality! �and I fear no one. So let us be merry! Who shall buy my silk and tobacco? Truly, my pony is tired, I hurry, yes, hurry, otherwise the patrol will catch me, and then things will go very badly! Run, my merry horse, ah, my dear, good steed, you know well how to carry me! Coronach He is gone on the mountain, He is  lost t o the  forest, Like a summer ­ dried fountain, When our need was the sorest. The font reappearing From the raindrops shall borrow, But to us comes no cheering, To Duncan no morrow! The hand of the reaper Takes the ears that are hoary, But the voice of the weeper Wails manhood in glory. The autumn winds rushing Waft  the leaves that are serest, But our flower was in flushing When blighting was nearest. So wahr die Sonne scheinet As sunlight wakens flowers, as cloudlets give forth showers, As flame sends up its light, as springtime ’s hues are bright; So truly do I treasure a love that knows no measure, The love I bring to thee, the love thou bearest me. The sunlight may be shrouded, the heavens never clouded, The flame may cease to burn, and sprightime ne’er return But naught shall be o ’er casting our love forever lasting, The love thou bearest me, the love I bring to thee. Klange Flowers spring from the earth, light spills from the sun; love flows from the heart, and so does pain, which breaks it. And the flowers must wilt, and night follows day; and yearning follows the love that makes the heart so gloomy. Fleet foot on the correi, Sage counsel in cumber, Es rauschet das Wasser The water rushes and will not stay still; The stars pass merrily in the sky, The clouds advance merrily in the sky, And so Love rushes and wanders there. An den A bendstern Hover up in the sky, beautiful evening star. Each person gladly sees you in the The waters are rushing, the clouds dissolving; Yet the stars remain: they wander and drift. And so it happens as well with Love, the true: It sways and stirs but changes not. Red hand in the foray, How sound is thy slumber! Like the dew on the mountain, Like the foam on the river Like the bubble on the fountain, Thou art gone, and forever. bright throng. Go up, go not to the sky’s edge­ such a vestment does not adorn your brother. �Horch, de r Wind klagt Listen, the wind wails in the boughs sadly; Sweet love, we must part: good night! Oh, how gladly I would rest in your arms! But, the hour o f separation draws near, may God protect you. Dark is the night, no little star sheds any light; Sweet love, trust in God and do not weep! If loving God brings me back to you someday, we will remain united in love’s happiness forever. Gruss Wherever my steps may wander, Thro ’ woods and meadows fair, I gaze with deep emotion O’er hill and vale and ocean, Greeting thee everywhere, I from the garden gather Sweet flowers bright and fine, And into garlands wind them, ‘With pleasant thoughts I bind them, And greetings intertwine. To thee I dare not give them, E’en that might give thee pain, They soon again must perish, The love I may not cherish, Must in the heart remain. Suleika und Hatem! An  des lust ’gen Brunnens Ra nd Herbstlie d Oh how soon the dance of spring dies away, and turns  itsel f into  wint ertime. Oh how soon the silence of mourning Changes itself into cheerfulness. Soon the last sounds fly away, Soon the singers leave Soon the final green is lost They all are drawn homeward. Oh how soon the dance dies away, and pleasure longs for agony. Were your thoughts of love a dream? Sweet like the springtime and quickly drift away? One, only one will never falter, It is the core that never goes  awa y, Oh how soon the silence of mourning Changes itself into cheerfulness. Oh, so soon, oh so soon. [These translations are provided by the students, as part  of their preparation for this program. �Thursday, May 1 1  –  Mid­Day  Student  Recognition  Concert with faculty and student performers – 1:20 p.m. – Casadesus Recital Hall – free Thursday, May 1 1  – Har pur Chorale and Women ’s Chorus – 8:00 p.m. – Anderson Center Chamber Hall – free Thursday, May 11  – Antonio Vivaldi: Concerti “ Four Seasons” for violin – 10:00 p.m. – Casadesus Recital Hall – free Friday, May 12  – Flute Ensemble – 8:00 p.m. – Casadesus Recital Hall – free Saturday, May 1 3  – Indian Classical Music by vocalist Ashwini Bhide­Deshpande, accompanied by Vishwanath Shirod kar on tabla  and  Seema  Shirod kar  on  harmonium  –  7:00  p.m  – Watters Theater ­  $10  general  admission; $5  for students (co­ sponsored by IPAS) Wednesday, May 17 – Master ’s Recital : Jody Schum, piano – 8:00 p.m. – Casadesus Recital Hall – free � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 53:51 22:29 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204280">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204280</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource An evening of German vocal music, May 10, 2006 Recital Tape 2006-5-10 Description An account of the resource Works of Schubert, Beethoven, Schumann, Brahms, Grieg, Strauss, Wolf, Mendelssohn. Held at 8:00 p.m., May 10, 2006, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource LeFebvre, Timothy Lawson, William James Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2006-5-10 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 22db6b87-78d3-4a22-bbd3-7f33ecbfdb88 https://omeka.binghamton.edu/omeka/files/original/c5abb48f406737a8cc817c5b34e32824.pdf b87e0f46fa2ae420a83dff8628dd8b63 PDF Text Text BINGHAMTON U N I V E R S I T Y State University of  New York N x  “l  f  ­ ’ ’ wdec \  0 2 X  A Y   D E P A R T M E N T , f ; ,  L B INGHAMTON  UNIVERSITY MUSIC DEPARTMENT AND INDIAN P ERFORMIN G ARTS S OCIETY O F  B I N G H A M T O N PRESENT AN E VENING O F  H INDUSTA NI CLASSICAL MUSIC FEATURIN G: KAIVALYA K UMAR , VOCAL with Sham Kan e, tabla Ravindra Katoti, Harmoni um Wednesday October 31, 2007 7:00 p.m. Anderson Center Chamber Hall �PROGRAM singing will be extremely fast and virtuosic. The whole performance Note: In Indian Classical Music, the performer will announce the of khyal may last from 20­40 minutes depending on the inspiration of the artist. chance to choose pieces which reflect the mood of the event and the feelings of the artists. Nevertheless, the performance will follow this basic format: Most bada khyal bandish are set in tintal, a 16­beat cycle divided into 4 sets of 4 beats (4/4/4/4). Its notation in stressed (X=clap) and unstressed (O=wave) beats is: specific  program  at  the  time  o f  performance  t o  allow  them  the Khyal (Raga to be announced) I.  Alap II.  Bada Khyal usually in tintal III. Chota Khyal usually in ektal One or more ‘light’ classical pieces to conclude­ see below. Hindustani Classical Music The origins of Indian classical music can be traced to the Vedas, a set of four texts that comprise the foundation of the Hi ndu religion, and  were  passed  down  orally  until  around  1500  BC  when  they began to  be  written down. The texts comprise hymns, which not only aided memorization, but also provided the foundation of Indian music. In the first few centuries AD, the sage Bharata compiled a treatise on music, dance, and theatre that provided the theoretical foundations  for  future  directions  in  Indian  composition.  Bharata outlined the organization of rhythm and meter into cycles made up of groupings of beats now referred to as tala. Every composition is set to a particular tala cycle made  up of stressed and  unstressed beats. Knowledgeable audience members may externalize the tala by a system of claps (tali) representing the Strong beats, and waves (khali) representing the weak beats. The tala cycles for each of the pieces tonight have been notated below. Bharata also formulated the concept of raga, which is the melodic system underlying Hindustani music. Ragas consist of a scale, as well as a set of musical  rules governing choice and emphasis of pitches, melodic  motion, and ornamentation.  Ragas normally are associated  with  certain times of day  and/or  seasons of the  year. Bharata related each raga, to a specific rasa, or emotion. The eight rasa are love, humor, anger, compassion, valor, wonder, disgust, and fear. The term raga means ‘color’, and ragas are supposed to I  $ 2 9 8 y  &  g B l TEE R E   E e Nn L ­ I x ­ ­ ­ o ­ ­ ­ ] x ­ ­ ­ Most chota khyal bandish are in ektal, a 12 beat cycle divided into 6 sets of 2 beats (2/2/2/2/2/2). Its notation is: 1 X  2 l 3  4 1 5   1 a HERE  1 A ­  J X ­  J O   ­  1  X  ­  [  X  EEE & ‘Light’ Classical Pieces After  an  intense  performance  of  khyal,  both  performers  and audience  normally  wind  down  the  intense  emotional  level  by enjoying  one  or  more  light  classical  pieces.  These  allow  the performer  to  draw  on  popular  melodies  from  folk  and  religious sources, which do not have the same type of demanding structures as khyal. Some possible genres the artist might choose from include: Thumri, a genre of “light” classical music that evolved from songs performed  to  accompany  erotic  dances  by  courtesans  to  a  more serious style  that  came to  accompany the kathak  classical  dance during the period of about 1770­1870 A.D. Eventually in the court of Nawab Wajid Ali Shah of Lucknow (r. 1847­1856) thumri was elevated  to  a  court  genre  that  featured  female  singers  who entertained  male  audiences  in  a  manner similar  to  the Japanese Geisha. In  the early 20” century the courtesan tradition  fell  into disrepute, under the pressures of the British colonial regime as well as in the eyes of the largely Western­educated Indian middle­class. Thumri  singers  could  no  longer  support  themselves,  so  khyal performers took over the artistic singing of thumri. Th umri bandish �ABOUT THE MUSIC Khyal Khyal (‘imagination’)  is the most  frequently  performed  genre  of Hindustani vocal music. It was developed in the early decades of the 18™  century  by the  musician  Nyamat  Khan  in  the  court  of  the Mughal  Emperor  Muhammad  Shah (r.  1719­1748). Compared  to Dhrupad,  the  other  more  ancient  genre  of  vocal  music,  khyal features greater use of improvisation, including rapid melodic runs, known as tan, and this facet was perhaps responsible for its name, loosely  translated  as  ‘imagination’.  This  increased  use  of improvisation  is  believed  to  have  been  drawn  from  Muslim devotional  hymns  known  as  gawwali.  In  contemporary performance, the Khyal is considered the main event, and is ofien followed  by  some  “light”  classical  genres  such  as  Thumri  and Bhajan to wind the performance down. Khyal compositions, known as bandish, are made up of a few lines of text set to the melodic rules of the raga, and the metric rules of the tala. There are only two sections, the ascending (sthayi), where the melody ascends the scale, and the descending (antara), where the melodic motion descends the scale. From this minimal kernel of pre­composed  material,  the  artist  must  develop  the  piece  with extensive improvisation using both the syllables of the text, sol­fa type syllables (known as sargam), as well as pure vowel sounds. In this way, khyal may be cautiously compared to a Jazz composition, where a singer will sing the regular piece straight through and then use  scat­singing  to  improvise  before  returning  to  the  original composition. In  performance,  the  singer  usually  begins  with  an  alap,  an unmetered, introductory improvisation that is meant to introduce the notes and melodic rules of the raga. During this portion, which may last from 30 seconds up to 5 minutes, the tabla drummer does not play as it is in free rhythm. This is then followed with a bandish in slow­medium tempo known as bada khyal (‘big khyal’). The bada khyal  will  be in a tala cycle, highlighted  by the entrance of the drummer. Following this composition, without a pause, will  be a different bandish in a fast tempo and in a different tala, known as chota  khyal  (‘small  khyal ’).  By  the  end  of  the  chota  khyal  the tones is tuned to a specific note o f the raga, and thus contributes to and  complements the melody. The larger  drum, played  with the other hand, is called bayan and is made of metal. It has covers a lower range than the other drum. The playing technique for both drums involves extensive use of the fingers and palms in various configurations to create a wide variety of different sounds. On the bayan the heel of the hand is also used to apply pressure, in a sliding motion, so that the pitch is changed during the sound’s decay. Sham  Kane  has  accompanied  many  legendary  Indian  musicians including Ali  Akbar Khan, and has also worked in  fusion groups such as blues saxophonist John Handy’s group which included Ali Akbar Khan and L. Subramaniam. Ravindra Katoti­Harmoni um The harmonium is not a native Indian instrument, but was imported from Europe during the 1 9” century. It is a reed organ with hand pumped bellows. Although it is a relatively recent introduction, it has spread throughout the subcontinent. Today, it is used in virtually every musical genre except the south Indian classical music, which uses extensive microtonal notes that cannot be played on a fixed pitch  instrument.  While  the  keyboard  is  European,  the  Indian harmonium has added a number of extra drone reeds. Born in a family of music lovers in the year 1969, Ravindra started learning Hindustani classical Harmonium at the age of eight. Since then  he  has  been  the  disciple  of  Pandit  Rambhau  Bijapure,  a Harmonium exponent of our times. The blessings and guidance of his  Guru,  and  his  own  sincere  efforts  have  molded  him  into  a versatile  and  brilliant  Harmonium  player.  Ravindra  has  also established  himself as an able  accompanist  and  received  acclaim from  many  of  the  top  performing  vocalists,  organizers  and connoisseurs as well. He has several cassettes and CDs to his credit. He  has performed  throughout the country and  abroad,  both as a soloist and an accompanist. He has accompanied many of the top ranking vocalists of the country including Dr. Gangubai Hangal, Pt. Bhimsen Joshi, Pt. Jasaraj, and  Pt. Yashavantbua Joshi, Pt. Ajoy Chakraborty, Pt. Ganapati Bhat, Ustad Rashid Khan, Smt. Ashwini Bhide, Smt. Shubha Mudgal and Smt. Jayashree Patnekar. �Comin g Even ts Thursday,  Novem ber  1  –  Mid­Day  Concert  –  1 :20  p.m.  –  Casadesus Recital Hall – free Friday, Novem ber 2 ­­ M aster ’s Recital – Daniel Sofer, piano – 8:00 p.m. – Casadesus Recital Hall – free Saturday,  Novem ber 3 – C larinet Trio Recital – 8:00 p.m. – Casadesus Recital Hall – free Thursday,  Novem ber  8  ­  Mid­Day  Concert  –  1 :20  p.m.  –  Casadesus Recital Hall ­ free Thursday, Novem ber 8 – Binghamton Baroque  Ensem ble – 8:00 p.m. ­­ Casadesus Recital Hall – $9 general public; $7 faculty/staff/seniors; $1 for students Saturday,  Novem ber 10 – U niversity Chorus : Words and Music – 8:00 p.m. ­­ Anderson Center Concert Theater – free Thursday,  Novem ber  1 5 –  Jazz Mid­Day  Concert  with  bassist  Tony Marino – 1:20 p.m. – Osterhout Concert Theater – free Th ursday, N ovem ber 1 5 –  Har p ur Jazz M id­Day Co ncert with   bassist Tony Marino – 8:00 p.m. – Osterhout Concert Theater ­ $9 general public; $ 7 faculty/staff/seniors; free for students Friday, N ovem ber 1 6 – Viola  Plus!  Ro berta Cra wford Viola  Recital – 8:00  p.m.  –  Casadesus  Recital  Hall  ­  $9  general  public;  $7 faculty/staff/seniors; $1 for students Sunday, Novem ber 1 8 – Conce rto Competition Auditions – 7:00 p.m. – Casadesus Recital Hall – free Thursday, Novem ber 29 –  Mid­Day  Concert –  1 :20  p.m. – Casadesus Recital Hall – free Friday, Novem ber 30 –  Flute Stud io Recital –  10:30 a.m. – Casadesus Recital Hall – free Saturday,  Decem ber 1 – F lute Ensem ble Recital – 12 noon – Casadesus Recital Hall ­ free Saturday,  Decem ber 1  – Reunion Recital :  Aaron Nicholson, baritone and  Todd  Robinson,  bass­barit one  –  8:00  p.m.  –  Anderson  Center Chamber Hall ­ $15 general public; $13 faculty/staff/seniors; $7 students � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio cassettes 3 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 55:35 1:06:15 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196875">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196875</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource An evening of Hindustani classical music featuring Kaivalya Kumar, vocal, October 31, 2007 Recital Tape 10-31-2007 Description An account of the resource Held at 7:00 p.m., October 31, 2007, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Kane, Sham Katoti, Ravindra 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 2007-10-31 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 5e4ab33e-3bd1-4fcd-bf51-525b9ea27e34 https://omeka.binghamton.edu/omeka/files/original/b63bb07e575f9a3bb43d8fb48efc5b3b.pdf 6e853336cf1a4a5d81668dae453621e5 PDF Text Text L} ii) £ 3 ;   R R c BINGHAMTON Q  U  N  1  v  E  R  S I T  Y J ” 3‘1  ape   HS 3  r”­  3 State University of  New York Depart ment of Musi c presen t An Evening of #oft Latin  Jazz with the H ar pur J azz E nsem ble Micha el Car bone,  direc tor and guest artists J e ff  Leder er, saxop hone Chris  Wash burne , trom bone E ric Velez, conga Th ursday, N ovember 18, 2004 8 :00 p.m. Anderso n Center  Oster hout The ater �FIRST HALF Program selected  from the following: Woodchopper’s Ball ...................... Woody Herman, arr. Joe Bishop { Soul Vaccination......................Emilio Castillio and Stephen Kupka arr. Paul Lavender 1 i l ]1 l ­­Intermission­­ SECOND HALF   with  Chris Washburne, Jeff Lederer and Eric Velez Program selected from the following: Caravan............................... Duke Ellington, I rving Mills, Juan Tizol Manteca... Dizzy Gillespie, Walter Gil Fuller, Luciano P. Gonzalez M a u r l c i o   o .  s e T  R I E d  e t e r ............Tito Puente verre... Tito Puente veeeeeeeenn..  Wayne  Shorter, arr. Jeff  Lederer HARPUR JA ZZ ENSEMB LE Chick Corea, arr. Paul Jennings Caught A Touch of Your Love...........C. Bikhardt, J. Keller, J. Best Oye Como Va Speak No Evil Charles Mingus, arr. Sy Johnson Please Send Me Someone to Love............................ P ercy Mayfield Spain  vevreeennn...Chris  Washburne Ran Kan Kan Everyday (I Have the Blues).......................................Peter Chatman Goodbye Pork Pie Hat  Nuyorican Sun Saxophones Mike Casey, 1%  alto David Faranda, 2™  alto Ben Wood, 1* tenor Mike Marchisotto, 2™  tenor Michael Irani, baritone sax Bass Talitha Phillips T rumpets Paul Persichette Alex Rubic Garret Clark Glen Widjeskog Chris Magee Percussion Matt Green Aaron Fumarola T rom bones Sean Kassof Reese Taylor Jamie Cepler Samuel Boyer Cara Rohrer  bass trombone Clarinet Karen Zimmer Piano David Katcher Guitar Darren Klein Jamie Harris Flute Suzanne K ivel Vocalists Emily Resniek Rhonda Plunkett Carbone Angel Reynoso �About the Performe rs MICHAEL J .  CARBONE, conductor, is  a  native of Utica, New York.   He moved to the Binghamton area in 1981 and is an instrumental music teacher in the Johnson City School district where he is Director of Concert Band and Jazz Ensemble  at the middle school.  He  joined the Binghamton University music faculty  in  1997 and serves as  the  Director of the Jazz Studies Program and Director of the Harpur Jazz Ensemble.  He holds a B.M.E. from the Crane School of Music and a M.M. from Binghamton University.  Carbone has performed with many well­known artists including Al Marino, Natalie Cole, Tommy Tune, Mel Torme, The Jimmy Dorsey Orchestra, Danny D’Imperio ’s Big Band, Bloviation, the Central New York Jazz Orchestra, and The Temptations. JEFF LEDERER, born in 1 962, is a saxophonist and composer who has been living in New York City for 15 years, pursuing activities as a performer, teacher and  arranger/composer.  Born  in  Los  Angeles,  he  attended  Oberlin  College, studying comparative religion, and earned the Master of Music degree from Western  Michigan  University,  where  he  studied  composition  with  Ramon Zupko.  As  a  saxophonist,  he  tours  internationally  and  records  with  Matt Wilson’s jazz quartet, which again won this year’s Downbeat Poll for one of the best Acoustic Jazz Groups of the Year. He also tours with Salsa artist Jimmy Bosch. As a freelance musician, Lederer also has performed with the Mingus Big Band and  Latin music legend Tito Puente. Together with vocalist  Mary LaRose, he  has produced  four recordings for various  record label, including Gunther Schuller’s GM Records.  In 2003, his re­imagining of Vivaldi’s Four Seasons,  Los  Sazones­scored  for  chamber  orchestra  and  Salsa  band,  was premiered  by the Chicago Symphony  Orchestra at the  Ravinia  Festival. The concert was repeated in  2004 at Ravinia’s 100th anniversary celebration and performances with major American orchestras are scheduled for next season. Reviewing the premiere, The Chicago Tribune wrote, “Lederer has created a forum in which both the classical and jazz units could collaborate and exchange ideas­yet  without  compromising  or  demeaning  either  musical  language.” Lederer continues to work in areas that cross stylistic boundaries and artistic traditions.  In the fall of 2004, a new work for chorus, winds and percussion by the group VocalEssence in  Minneapolis will  be  premiered. Lederer also will launch his own new group, Shakers n’ Bakers. The group will perform his music inspired by the ecstatic musical practices of the Shaker religious sect. He is also transcribing Central African vocal music for use in school music programs. 1 l CHRIS WASHBURNE  is  a  musician  whose  musical  activities  cross many styles and cultural borders. F rom early in his career, he refused to be pigeon­ holed as just a jazz or classical player, but instead has  continually pursued a diverse path. Washbume  is freelancing as a studio musician and performing trombone, bass trombone, tuba, didjeridu, and percussion with various classical, jazz, rock, and Latin groups in New York City. He also tours extensively with various  groups and  has  concertized  throughout  the  North  America,  Europe, Asian, Africa, South America, Central America, and the Caribbean.  Washburne has performed with Tito Puen te, Eddie Palmieri, Mark Ant hony, Gloria Estefan, 1 1 Celine  Dion,  Celia  Cruz,  Muhal  Richard  Abrams,  Ruben  Blades,  Roscoe Mitchell, Grady Tate, Jaki Byard, Duke Ellington Orchestra, Danilo Caymmi, Daniel  Ponce, Ran Blake, Arturo Sandoval, Hilton  Ruiz,  Lawrence  “Butch” Morris, Anthony Braxton, John Cale, Baba Olatunje, Candido, Freddie Cole, Leslie  Uggams,  Maria  Schneider  Big  Band,  Chico  O’Farrill  Dicapo  Opera Company, Bang on a Can  All­stars, American Microtonal  Festival Chamber Orchestra, RMM Allstar Salsa Band, Regis Philbin, and the Dinosaur Annex, under the direction of Gunther Schuller. He is a regular performing member with the Boston Art Quartet, Manhattan Chamber Orchestra, SEM Ensemble, Sun Spits Cherries, Walter Thompson Big Band, Marie McAuliffe’s Ark Sextet, Dadadah, The Last of the International Playboys, and leader of S.Y.O.T.O.S., a Latin jazz group that features his original compositions.  He can be heard on the S.Y.O.T.O.S. releases, Bobby Sanabria’s Grammy nominated Big Band record “Live and in Clave,” the BAQ’s debut CD “The Fax” and Ray Vega’s self­titled CD, all of which feature his original compositions. He also can be heard on the recordings of David Byrne, Tito Puente, Eddie Palmieri, The Barrio Boyz, Oscar D’Leon,  Louie  Ramirez,  Manhattan  Chamber  Orchestra,  Bang  on  A  Can Allstars, Brian Lynch, Orlando Watusi y su cartel de la salsa, Nerissa, Raulin Rosendo, Danny Rojo, Yorman D’Leon, among many others. He received his Bachelor  of  Music  degree  in  classical  trombone  performance  from  the University of Wisconsin, where he studied with William Richardson, Richard Davis, and Les Thimmeg. In 1988, he completed a Master of Music degree from the New England Conservatory in Third Stream Studies, where he studied with John Swallow, Ran Blake, and Bob Moses. He was the winner of the 1988 New England Conservatory Graduation Concerto Competition. In 1985, he spent two months living in Zambia studying the traditional music of that region. In 1993, he  received  a  Mellon  Fellowship  to  travel  to  and  explore  the  rich  musical traditions of Cuba. In 1996, he received a Sinfonia Foundation grant to assist in the  research  for  his  dissertation.  In  1999,  he  received  his  Ph.D.  in Ethnomusicology  from  Columbia  University.  He  has  commissioned  and premiered more than 20 contemporary compositions for trombone. He holds a teaching position in the Jazz Department at the New School for Social Research and is an assistant professor at Columbia University. �ERIC  VELEZ  is  a  Nuyorican  who  was  born  and  raised  in  the  Bronx. He learned how to play at the age of three with the help of his brother Jose Jusino  and  watching  the  “Rumberito  All  Stars,”  which  include  his  brother, Bobby Allende, Tito Allende and Marc Quinones. His first gig was performing with  Groupo  Fascinacion  at the  age  of  15.  During the  next  two years,  he performed with  Pete  “El Conde”  Rodriquez, Ismael  Mirande, Cheo Felicano, Johnny Rivera. At  17, Velez played  with  Eddie Palmieri, which featured the singing of La India. In  1993, Velez joined the Mark  Anthony band and also made  his  first  recording  with  Anthony  for  the  music sound  track  “Carlito’s Way.”  He  played  with  Willie  Colon  for  three  years.  In  1996, Velez joined Isidiro Infante and La Elite, where he recorded with Oscar Deleon, Jose Alberto, Isidiro Infante, Eddie Palmieri with Nuyorican Soul. He also traveled with the RMM band, which featured Celia Cruz and Tito Puente. In 1997, Velez rejoined Mark Anthony and joined DLG, with whom he traveled throughout the U.S. Europe, South and Central America, and Japan. He also worked with producer Serjio  George  and  recorded  with  Charlie  Cruz,  Charlie  Cardona,  and  Luis Damon with Olga  Tannon.  In  1999, Velez  recorded  with  Celia Cruz on  the Grammy nominated album “Mi Vida Es Cantar.” Also in 1998, Velez performed for President Bill Clinton with Mark Anthony. Since 2000, Velez has performed with Anthony on two tours and in the 2000 Grammy, Mad TV Latin Grammy, Jay Leno Show, HBO special with Mark Anthony, 2001 VHI Divas Show and Rockefeller Christmas Tree Special. Velez works with La  India, Jimmy Bosch and is finishing a project with his brother. rl l . o = �Coming Eve nts F riday,  November  1 9  –  Charles  Ives  Remem bered  Preview  – Documentary and comments by Paul Goldstaub  8:00 p.m. – Casadesus Recital Hall – free Sunday, Nove mber 2 1 – Charles Ives Remembere d – An afternoon of song and cham ber music – 3:00 p.m. – Anderson Center Chamber Hall ­ $15 general public; $13 faculty/staff/seniors; $7 students Th ursday,  December  2  –  Mid­Day  Concert  with  faculty  and  student performers – 1 :20 p.m. – Casadesus Recital Hall – free for students Th ursday, Decem ber 2 – Studen t Performance  of Elizabethan  Mad rigal Dinner ~ 6:30 p.m. – Mandela Room of University Union – $16 F riday, Decemb er 3  –  Flute Studio R ecital –  10:30  a.m.  –  Fine  Arts Room 1 1 1 – free F riday,  December  3  –  Elizabethan  Mad rigal  Dinner  ~  6:30  p.m.  – Mandela Room of the University Union ­ $35 Saturd ay, December  4  ­  Elizabethan  Mad rigal Dinner – 6:30  p.m.  – Mandela Room of the University Union ­ $35 Sunday, Decem ber 5 – Ho­Ho Holidays!  University Wind Ensemble – 1:00 p.m. – Oakdale Mall – free Tuesday, Dece mber 7 ­­ Univ ersity Percussi on Ensemble – 8:00 p.m. – Anderson Center Chamber Hall – free Thursday,  December  9  –  Holiday  Mid­Day  Concert  –  1:20  p.m.  – Casadesus Recital Hall – free Th ursday,  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 Sunday, Dece mber  1 2 ­­  Maste r ’s Recital  –  Am ber Alarcon,  mezzo­ soprano – 7 :30 p.m. – Casadesus Recital Hall ­ free i i � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 45:39 56:48 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE252032&amp;change_lng=en&amp;select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE252032&amp;change_lng=en&amp;select_viewer=metsViewer</a> PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource An evening of hot Latin jazz, November 18, 2004 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2004-11-18 Description An account of the resource Works of Herman, Chatman, Mingus, Mayfield, Corea, Bickhardt, Castillio, Ellington, Gillespie, Lederer, Washburne, Puente, Shorter. Held at 8:00 p.m., November 18, 2004, Anderson Center Osterhout Theater. Creator An entity primarily responsible for making the resource Carbone, Michael Lederer, Jeff Washburne, Chris Velez, Eric 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 11/18/2004 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/1d2c0a16a995f38a3aa9f9982db68c2a.pdf 019f046b434504c87ce331c888af24bf PDF Text Text BINGHAMTON U N I V E R S I T Y State University of  New York ’ DNIv ARC  ea  > ­*\ ’ \ ­ \  s i D  E  P  A  H  T  M  E , N  T S l \=   AN  EVENING OF INDIAN CLASSICAL MUSIC Ashwini Bhide­Deshpande, vocal Vishwanath Shirod kar, tabla Seema Shirodkar, harmonium fi i i I l i Saturday, May 13, 2006 7:00 p.m. Watters Theater �PRO GRA M Khyal in Rag Puriya Dhanashri I.  Alap II.  Bada Khyal in tintal III. Chota Khyal in ektal Thumri in Rag Kafi I.  “Mitawal  mane  nahe ” (‘My love  you  are  not  listening to me’) in tintal Song for Holi Festival in Rag Maand I.  “Ita  lagara mose  khalo nahori”  (‘Please do  not  spray the colored Holi paint on me! ’) in dipchandi tal Jhoola song in Rag Pilu I.  “Re Jhule ki Radha pyari” (‘My lovely Radha’) in dadra tal Bhajan in Rag Bhairavi I.  “Mai kahee sama jhawa jabad juga andha ” (‘How  can  I explain it to a world of blind people?’) in keherwa tal Composed by Saint Kabir Hind ustan i Classical Music The origins of Indian classical music can be traced to the Vedas, a set o f four texts that com prise  the foundation  o f the Hind u reli gion, and  were passed  down orally  until  around  1500  B.C.  when they began to be written  down. The texts comprise hymns, which  not only aided memorization, but also provided the foundation of Indian music. In the first few centuries A.D., the sage Bharata compiled a treatise on music, dance, and theatre that provided the  theoretical foundations for future directions in Indian composition. Bharata outlined the organization of rhythm and meter into cycles made  up  of  groupings  of  beats  now  referred  to  as  tala.  Every composition is set to a particular tala cycle made up of stressed and unstressed  beats.  Knowledgeable  audience  members  may externalize  the  tala  by  a  system  of  claps  (tali)  representing  the strong beats, and waves (khali) representing  the weak beats.  The tala cycles for each o f the pieces tonight have been notated below. �Bharata also formulated the concept of raga, which is the melodic system  underlying Hindustani music. Ragas consist of a scale, as well as a  set of musical  rules governing choice and emphasis of pitches, melodic  motion, and  ornamentation.  Ragas normally are associated  with  certain  times of day and/or  seasons of the  year. Bharata related each raga, to a specific rasa, or emotion. The eight rasa are  love, humor, anger,  compassion, valor, wonder, disgust, and fear. The term raga means  ‘color’, and ragas are  supposed to color the mind and stimulate listeners to emotional response. After the writings of Bharata, wandering monks began composing sacred hymns, known as Bhaj ans, in the raga and tala cycles formulized by Bharata, which provide the source for many contemporary Indian classical compositions. V From this  common historical  origin, classical  music in  India has gradually  become  divided  geographically  into  Northern (Hindustani)  and  Southern  (Karnatik)  traditions  since  the  13” century  A.D. The  source  of  this division was the  occupation  of Northern  India  by  successive  waves  of  Muslim  conquerors including  Persian,  Turkish,  Arab,  and  Central  Asian  peoples. During the successive reigns of these Muslim dynasties, Northern India  came  to  adopt  and  adapt  several  instruments,  styles,  and techniques  from  Persian  and  Arabic  music.  Hindustani  classical music, as we know it today, took shape in the 1 6” century A.D. in the courts of the  Mughal em perors as  Hindu musicians began to seek employment as court musicians. At the Mughal courts Hindu musicians mixed with Persian musicians, and they began to develop a hybrid of both musical traditions. They also began to intermarry, and  many  contemporary  Hindustani  musicians  have  Persian surnames. Through  time,  certain  families  of  court  composers  established gharana,  or  stylistic  schools  of  performance  and  interpretation. Eventually these schools took on talented students from outside the family,  spreading  the  influence  of these  previously  local  styles. ‘During the British colonization of India (1850­1947), many of the courts were dissolved and musicians shifted their performances to the concert stage, where they can now be enjoyed by all. EF) �ABOUT THE MUSIC Khyal in Rag Puriva Dhanashri Khyal  (‘imagination’)  is  the  most  frequently  performed  genre  of Hindustani vocal music. It was developed in the early decades of the 18™  century  by  the  musician  Nyamat  Khan  in  the  court  of the Mughal  Emperor  Muhammad  Shah (r.  1719­1748).  Compared  to Dhrupad,  the  other  more  ancient  genre  of  vocal  music,  khyal features greater use of improvisation, including rapid melodic runs, known as tan, and this facet was perhaps responsible for its name, loosely  translated  as  ‘imagination’.  This  increased  use  of improvisation  is  believed  to  have  been  drawn  from  Muslim devotional  hymns  known  as  gawwali.  In  contemporary performance, the Khyal is considered the main event, and is often followed  by  some  “light”  classical  genres  such  as  Thumri  and Bhajan to wind the performance down. Khyal compositions, known as bandish, are made up of a few lines of text set to the melodic rules of the raga, and the metric rules of the tala. There are only two sections, the ascending (sthayi), where the melody ascends the scale, and the descending (antara), where the melodic motion descends the scale. From this minimal kernel of pre­composed  material,  the  artist  must  develop  the  piece  with extensive improvisation using both the syllables of the text, sol­fa type syllables (known as sargam), as well as pure vowel sounds. In this way khyal may be cautiously compared to a Jazz composition where a singer will sing the regular piece straight through and then use  scat­singing  to  improvise  before  returning  to  the  original composition. In  performance,  the  singer  usually  begins  with  an  alap,  an unmetered, introductory improvisation that is m eant to introduce the notes and melodic rules of the raga. During this portion, which may last from 30 seconds up to 5 minutes, the tabla drummer does not play as it is in free rhythm. This is then followed with a bandish in slow­medium tempo known as bada khyal (‘big khyal ’). The bada khyal  will  be  in a tala cycle, highlighted  by the  entrance  of the drummer. _ �Following  this composition,  without a pause, will  be  a different bandish in a fast tempo and in a different tala, known as chota khyal (‘small khyal ’). By the end of the chota khyal the singing will be extremely fast and virtuosic. The whole performance of khyal may last from 20­4 0 minutes depending on the inspiration of the artist. Rag Puriya Dhanashri is an evening raga normally performed after sunset.  It  is  a  combination  of  two  earlier  ragas  Puriya  and Dhanashri that became very popular in the 20™  century. The scale normally avoids the tonic (C) in the ascent and may be notated as: Ascent  Z  E h or a    12  wv Descent  or o o   l h e y I  aa Y b \ l 10d 1 o z   E e  e a The bada khyal is in tintal, a 16­beat cycle divided into 4 sets of 4 beats (4/4/4/4). Its notation in stressed (X=clap) and unstressed (O=wave) beats is: 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 1 5 1 6 x ­ ­ ­ x ­ ­ ­ o ­ ­ ­ x ­ ­ ­ The chota khyal is in ektal, a 12 beat cycle divided into 6 sets of 2 beats (2/2/2/2/2/2). Its notation is: 1 x 2 ­ 3 7 o 4 ­ 5 x 6 ­ 7 8 o 9 ­ 1 0 x 1 ­ 1 x 1 2 ­ [ l �Thumr i in Ra g Kafi Thumri is a genre of “light” classical music that evolved from songs perform ed  to  accomp any  erotic  dances   by  courtesans  to  a  more A Y t l serious style  that  came  to  accompany the  kathak  classical  dance during the period of about 1 770­1870 A.D. Eventually in the court of Nawab Wajid Ali  Shah of Lucknow (r. 1847­1856) thumri was elevated  to  a  court  genre  that  featured  female  singers  who entertained  male  audiences  in  a  manner  similar  to  the  Japanese Geisha. In  the early 2 0 century   , the courtesan tradition fell  into disrepute, under the pressures of the British colonial regime as well as in the eyes of the largely Westem­educated Indian middle­class. Thumri  singers  could  no  longer  support  themselves,  so  khyal performers took over the artistic singing of thumri. Now thumri has become part of the classical concert repertory, where it  is used to wind down both performers and audience after a lengthy rendition of khyal. Thurmri is considered “light ” music because its compositions and improvisations can bend and even break  the melodic rules of its raga. Thumri bandish are usually lively and quick paced, with texts that emphasize romantic love, including the pangs of longing, the desperation of separation, or unrequited love. Thumri compositions also feature improvisation by the vocalist, and may also allow the tabla drummer and harmonium player space to improvise. Rag Kafi uses a scale similar to the Western dorian mode, with one important difference: the third and the seventh may also be played natural. Effectively, this means the artists m ay sing  combinations in both ionian and dorian modes. 2  Ascent   3  l f ~¢   o= o®  a y   0  a e a   Descent 1 9 .  l  ’  w  a J  Il w ‘ o �  aand Song for Holi Festival in Rag M Songs  for  the  Holi  festival  represent  another  genre  of  “light” classical music that  has come out of folk  music into the  concert repertory. The Holi festival is the known as the Spring Festival of Colors, and normally occurs in March.  The night before the full moon, every village lights a bonfire to burn the residual dried leaves and twigs of winter. This bonfire is the commemoration of a Hindu legend where the demoness Holika was burnt to death ensuring the victory of good over evil. The following morning the community squirts colored water and smears colored powders over each other, giving us the title of this song, which asks that the singer be spared from this part of the festivities! The festival of Holi is also closely associated with Lord Krishna, who in his young age  played and frolicked with his band of cowherds and maidens (the Gopis). Lord Krishna played Holi with so much gusto that even today the songs sung during Holi are full of the pranks that he played on the Gopis, especially his childhood sweetheart Radha, who incidentally forms the subject o f the next piece. Rag Maand is an evening rag typically played from 6­9 p.m., and uses a scale similar to the Western major scale, however it avoids c descent pattern :   the 2 ” (D) in the ascent, and has a characteristi €  =  Descent Ascent  ‘ d ’   4  F l   > . & o = o a   2  _ »a    i e '  “ r o  Dipchandi tal is a 14­beat cycle divided into alternate sections of three and four beats (3/4/3/4). It is notated: 1 2 3 4 5 6 7 8 9 1 0 1 1 1 Y 2 1 3 1 4 F �Krishna and Radha sitting in the Jhoola =  2 3 – 7 7 i  i l    .­  wo , i ’  " 1  p­‘m‘   o a t R  E S . i”  5  5gm5  ,  ;  .   ’4V  So  @~]  r i  4  .  . ' ”5“  I    fo 2 8 g l ]   swing that has become an i mportant '    Jhoola song in Rag Pilu   Jhoola  songs  form  part  of  a  larger genre  of  “light”  classical  pieces known as dadra, because they all use the  dadra  tala  cycle.  Jhoola  is  a icon in northern India because of its association  with  the  romantic  love ,  ,    __   MM between  Lord  Krishna  and  his firm " A N   _  favorite  Gopi  Radha.  In  northern .  i  i  “4­ . India Jhoola songs are typically sung l  &  ~   nB UBER!  by  women  during  the  monsoon Whmnd  m  g © ”i­  f '  ‘  season (August), which  falls during ­  t h e holy month of Shraavan. D   uring this month constant offerings are made to the various Hindu deities, including Lord Krishna. A Jhoola usually has a happier mood and evokes the joyfulness of wet, green earth, when girls in rural areas sit swinging on wooden planks tied with ropes to trees. The musical phrasing in a Jhoola must also convey the swaying movement of a swing. 3 4   Rag Pilu is a highly imaginative and complex raga that uses both the natural  and flatted 3 ”  and 7", much like  Rag Kafi, above. It is commonly  used  in folk and light­classical  genres. It  is normally sung in the early evening from 3­6 p.m. 2  Ascent  or  ev  p– t 4   ©  ANS,  l ; —  T /  Descent  1  Q)  ‘   > 1 or  E =  a or l  1  r E   or =  o  1 0 J a v  e   T 1 ®  0x J ®  V o vv    ‘O­  m — _   l 4 V o >  > Dadra tal is a 6­beat cycle divided into two sets of three beats (3/3) and is notated: 1 2 3 4 5 6 x ­ ­ o ­ ­ �Bhajan in Rag Bhairavi The  final  piece  of the  evening is a  Bhajan, which is a genre of devotional hymns to the  Hindu deities. Bhajans express religious love for the divine, and are an important component of the Bhakti, or devotional movement Hinduism. The singing of Bhajans is meant to connect human beings with the divine, in the same manner that romantic  love  connects  husband  and  wife.  This  Bhajan  was composed  by  a  famous  Hindu  saint  named  Kabir  (1440­1518). Kabir was an Indian mystic who preached an ideal of seeing all of humanity as one. He was known to be a weaver and later became famed for scorning religious affiliation. His philosophies and ideas of loving devotion to God are expressed in metaphor and language, using vernacular Hindi. Rag Bhairavi is one of the most well­known and loved ragas, and is often used as it is here to conclude a performance.  Traditionally, Bhairavi is a morning raga, but it is now often used at any tim e of day or night. Bhairavi is suited for the expression of romantic or devotional  love  and  admiration,  and  is  used  to  compose  both Bhajans  and  Thumri.  There  is  considerable  flexibility  in  the performance rules of Bhairavi, and artists often introduce shades of other ragas according to their skill and imagination. Its basic scale, however, is as follows: 2  Ascent  or  or  ­ = Soe  eT  a ~~¢    Spe rI =  orm r o   a 7  Ta — l o­V Zee Descent [)  I e  o  » a l l a  Keherwa tal is an 8­beat cycle divided into two sets of 4 beats (4/4) notated as: 1 1 2 1 3 4 5 ]  6 ] 7 ] 8 x ­ ­ ­ o ­ ­ ­ –Notes by James Burns �ABOUT THE P ERFOR MERS Ashwini Bhide­D eshpand e (vocal) Amongst   the  vocalists  of  the  younger  generatio n  of the  Jaipur­ Atrauli tradition of Khyal singing, Ashwini Bhide­Deshpande is an artiste of great caliber.  She  has  been performing  in  a number of prestigious music conferences in India for over fifteen years and has had successful concert tours of Europe as well as of North American continent. Ashwini began her training at the age of five under the guidance of Pandit  Narayanrao  Datar.  After  graduating  with  a  “sangeet visharad”  from  Gandharva  Mahavidyalaya,  she  started  receiving guidance  and meticulous attention  from  her mother, Smt.  Manik Bhide, a great Khyal singer herself. Ashwini has inherited all that was best in her mother’s style and was able to add to her repertoire with  great  sensitivity  and  intellect.  Presently  she  is  receiving guidance from Pandit Ratnakar Pai, a veteran of the Jaipur gharana. Systematic  exposition  of  the  Rag  structure,  brilliant  phrasing, variety o f tan patterns, ease and grace in all of the three octaves mark her singing. She does not merely present the  grammar of a Rag, but can build it up into an aesthetically pleasing experience. A resident of Mumbai, Ashwini is a graduate in Microbiology and also holds a Ph.D. degree in Biochemistry. Vishwanath Shir od kar (tabla) The art  of accompaniment on tabla in Indian classical music is a very subtle and a difficult one. Many try  it, but only a very few become successful in it and are recognized for how they embellish the perfo rmance o f the main artiste . When it comes  to providing accompaniment  to  a  classical  vocalist,  the  job  of  a  tabla accompanist is even more difficult. Vishwanath Shirodkar is one of those few who exemplifies these qualities. His knowledge of vocal music  gives  him  an  added  advantage  and  has  therefore  been recognized  as  one  of  the  best  accompanists  of  the  younger generation. �He was initiated into tabla by Shree Suryakant Naik, and later on he received training from Pandit Vaibhav Nageshkar. At present, he is receiving advanced training from Pandit Suresh Talwalkar, who is one  of  the  most  revered  teachers  of  tabla.  Vishwanath  has accompanied many well  known vocalists as well as instrumental musicians. These include Padma Talwalkar, Rashid Khan, Ashwini Bhide­Deshpande,  C.  R.  Vyas,  Shobha  Gurtu,  Malini  Rajurkar, Shubha  Mudgal,  Veena  Sahasrabuddhe,  Rakesh  Chaurasia,  Brij Narayan, N. Rajam, Ulhas Bapat and Zarin Daruwala. ! l Vishwanath is a graduate in engineering but devotes all of his time to classical music. He has toured the United States, Canada, South America, the Middle East and has performed in all major cities of India. Seema Shirodkar (harmonium) Beginning at a very early age, Seema had an acute interest in music, and started her initial training under the guidance of Shree Umesh Ansulkar.  Over  the  next  several  years  she  received  extensive training  under  the  able  guidance  of  Pandit  Tulsidas  Borkar, recognized by many has a complete teacher. She also benefited from her association with the Late Shree Vishwanath Pendharkar, one of the most gifted and versatile teachers and performers. It was Pandit Borkar  who  groomed  her  as  an  accompanist  and  it  was  Shree Pendharkar  who taught  her  the  fine  points  of a  solo  performer. Seema has accompanied vocalists that include Kishori  Amonkar, Veena  Sahasrabuddhe,  Rashid  Khan,  Padma  Talwalkar,  Arati Ankalikar­Tikekar, Ashwini Bhide­Deshpande, C, R. Vyas, Shubha Mudgal, Rajan and Saj an Misra, Sanjeev Abhyankar and Prabhakar Karekar. Seema is a graduate of the S.N.D.T. University and is on the faculty of the Gandharva Mahavidyalaya, in Mumbai. Seema has gone on concert tours of the United States, Europe, the United Kingdom, Canada and the several countries of the Middle East. 1 i � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:19:56 42:22 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204290">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204290</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource An evening of Indian classical music, May 13, 2006 Recital Tape 2006-5-13 Description An account of the resource Held at 7:00 p.m., May 13, 2006, Watters Theater. Creator An entity primarily responsible for making the resource Bhide-Deshpande, Ashwini Shirodkar, Vishwanath Shirodkar, Seema 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 2006-5-13 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID a989b096-9823-4a10-940b-486cb19ad171 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 32:41 35:53 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59312 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59312"> Anita Carlton Recital</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Anita Carlton Recital Description An account of the resource Held at 8:15 pm, Nov. 22, 1968, Music Recital Hall. Works of Bach, Beethoven, Debussy, and Liszt. Creator An entity primarily responsible for making the resource Carlton, Anita 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 1968-11-22 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Bach, Johann Sebastian, 1685-1750 Beethoven, Ludwig van, 1770-1827 Debussy, Claude, 1862-1918 Liszt, Franz, 1811-1886 State University of New York at Binghamton. Department of Music. Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020095554 39091020095604 https://omeka.binghamton.edu/omeka/files/original/af1905a046d71ac35ad09e398de67e32.pdf dc0fe90470d1b0a59497e738231d74c5 PDF Text Text STATE UNIV ERSITY OF N E W YORK  AT BIN GHAMTON HARPUR COLLEGE THE DEPARTMENT  OF  MUSIC ANITA CARLTON, PI ANIST >  April 5, 1968  Music Recital Hall  8 :15 p.m. PROGRAM Papillons, opus 2  H w i ' fl ­   i ­ h f ‘ v   Berceuse, opus 57  Chopin Scherzo, opus 39  Chopin Z  INFE  ,  ,  Schumann i ,'Vf)/  )F  ‘ J , In t ermission Preludes . 2éme livre  Brouillards Feuilles  mortes La Puerta del Vino “Les Fées sont d’ exquises danseuses” Bruyeres General Lavine ­ eccentr ic La terrasse des audiences du clair de lune Ondine Hommage a S. Pickwick Esq. P.P.M.P.C. Canope Les tierces alternées Feux d’a rtifice Debussy Ushering courtesy of A lpha Phi Omega and Gamma Sigma Sig ma A  RECEPTION  honoring  Miss  Carlton  will be held in the G reen Roo m Lounge  adjacent  to  the Recital Hall i mmediately following the concert. All are cordially invited to attend. �FUTURE  MUSICAL  EVENTS APRIL  7 . Sunday, 8:1  The College Theater No charge CHORAL  CONCERT Homecoming  presentation of  the  1968 Spring Tour concert by the Harpur College Choir and Men’s Glee C lub, featuring a variety of sac red and secular music.  Ensembles are con­ ducted by David Buttolph and Dennis Williams . APRIL  10 Wednesday, 12:15 p.m. Music Recital Hall No charge NOON  RECITAL Student  performers  Donna  Hallen,  piano;  Diane  Berde, piano;  Russell  Fuller,  baritone ;  Grace  Martin,  soprano; Woodwind quartet:  Weiner, Marcus, Crane.Wethe rby. APRIL  15 Monday, 8 :15 Music Recital pHall No charge LECTURE :  MARC  PINCHERLE “Conquest of Snobbism?” Mr. Pincherle  is a noted French musicologist whose special interest is the violin and its m usic. APRIL  17 Wednesday,  2  1 5 Music Recital]  Hall NOON  RECITAL Laura Masin, ha  ichord Program includes works by Bach, Scarlatti and Rameau. APRIL  17 Wednesday, 8.1 5er m. The College’l‘  ter Admission:  $2. 50 public, .50 faculty, .25 students THE  NEW  YORK  WOODWIND  QUINTET No charge Samuel  Baron,  flute ; Ronald Roseman, oboe ; David Glazer, clarinet, Arthu r Weisberg. bassoon ; Ralph F roelich, French horn.  Fifth recital of the Spring 196 8 Chamber Mus ic Series. featuring a  premiere of  Matrix , a new work by Karl Korte. APRIL  2115 Sun d a y , 8 The College Theater THE  COLLEGE  ORCHESTRA Program:  Bach, Brandenburg Concerto N o.  4; Haydn, Lon­ Symphony;  Beethoven,  Prometheus  Overture;  also,  a special massed choir will  join the orchestra fora perfor m­ ance of the Faure Requiem.  Conducted by David Buttolph. L 2 APRIL  Wednesday, 12. 15 p.m Music RecitalHa  ll No charge CHRISTINE  LINDSAY,  HARPSICHORD,  AND  K A R E N LOVEJOY,  SOPRANO “Songs from the Baroque” including compositions by A. Scar­ latti and Monteverdi.  Part of the Noon Recital Series. THE  GUARNERI  STRING  QUARTET APRIL  24 Wednesday, 8 :15 p.m. The College Theater Admission:  $2.50 public, .50 faculty, .25 students Arnold Steinhardt, violin ; John Dalley, v iolin ; Michael Tree, viola;  David  Soyer,  cello.  Sixth  recital of the Spring 1968 mber Music Se ries. APRIL  28 Sunday, 3 00  p.m. Music Recital Hall JOHN  METZ,  PIANIST Faculty  member  at Syracuse University.  Program : Scar­ latti,  selected sonatas ;eMend lssohn  Variations Serieuses; and  C an t e y o d j a y a : Messiaen,  Cloches  d’angoisse  thoven, Sonata in C Minor, Op.  111. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 30:17 27:23 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63058 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63058"> Anita Carlton Recital</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Anita Carlton Recital, April 5, 1968 Subject The topic of the resource Concerts Description An account of the resource Held at 8:15 pm, April 5, 1968, Music Recital Hall. Works of Schumann, Chopin, and Debussy. Creator An entity primarily responsible for making the resource Carlton, Anita 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 1968-04-05 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Schumann, Robert, 1810-1856 Chopin, Frédéric, 1810-1849 Debussy, Claude, 1862-1918 State University of New York at Binghamton. Department of Music. Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context Anita Carlton_1968-4-5.pdf https://omeka.binghamton.edu/omeka/files/original/6d7130568f34be7c4f6501554e7f8874.jpg 6dd685b21d9f2cc0fef665919b05cdef https://omeka.binghamton.edu/omeka/files/original/adce143781c48a8a24fdea2bd1951a47.jpg 9262aa61fb200d488257a42d9d661d1f https://omeka.binghamton.edu/omeka/files/original/54c673bf919cca226c3d146ed2a4e2b5.jpg 76188405c5b613b04c041c8e75639c6a https://omeka.binghamton.edu/omeka/files/original/393053f881f24411300e118e341c12d3.jpg 97dd4e65551a3f649793810b5a72195c https://omeka.binghamton.edu/omeka/files/original/50b2b92778a27e56e90b1b9e089012c0.jpg 1cc7291fd1398b67f61ae08d1cccb4ff https://omeka.binghamton.edu/omeka/files/original/f09098beea05df794945e9ee89bfd42d.jpg f2c2d7e2476312d7a8e3a3dc50c0009b https://omeka.binghamton.edu/omeka/files/original/638fd804554e7ec8489f2a09c880224e.jpg c7daa67f2f654f8073e3347d26685167 https://omeka.binghamton.edu/omeka/files/original/a3eab9ce24ca6ac5ce1f39f66e8a0aa0.jpg ad955b53882b6b97b412b46ed8279f4e https://omeka.binghamton.edu/omeka/files/original/282151f342a4b1e01f0afccef2bdb1d2.jpg 525c406622a1595307569b5767d78f8a https://omeka.binghamton.edu/omeka/files/original/273abe1368538949dfd590f72b9617b9.jpg a9b332a1554f7adf75542690fbc853fa 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 Reinhardt Promptbooks Description An account of the resource <strong><em>Who is Max Reinhardt?</em></strong> <br />The celebrated <span>Austrian t</span>heater director <a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/">Max Reinhardt</a>, recognized in America primarily for his elaborate productions of Shakespeare’s A Midsummer Night’s Dream, Franz Werfel’s The Eternal Road, and Karl Vollmoeller’s The Miracle, was born in 1873 at Baden near Vienna, Austria and died in New York City in 1943. Reinhardt’s illustrious career takes on added significance because it coincides with a major shift in the evolution of the modern theater: the ascendancy of the director as the key figure in theatrical production. Reinhardt’s reputation in international theater history is secured by the leading role he played in this transformation, as well as by his innovative use of new theater technology and endless experimentation with theater spaces and locales, which together redefined traditional relationships between actor and audience toward a new participatory theater. <br /><br /><em><strong>What is a prompt book?</strong></em> <br />The prompt book is a master copy of the production script and contains a wealth of instructions and information alongside the basic text of the play. As well as the actors’ lines, you will often see cues for music, movement, light, and many other aspects of stage business. It may also contain sketches of how a piece of staging is supposed to look, or which costume a character should wear in a scene. <br /><br /><em><strong>Why are his important?</strong></em> <br />Reinhardt’s directorial prompt books reflect the ways in which he made plays by major playwrights, including Ibsen, Shakespeare and Wilder, his own. The prompt books contain notations denoting changes in the script, actor moves and technical cues, instructions on how sound, props and scenery were used, and stage drawings. They help us to reconstruct Reinhardt’s techniques and directions in productions. <br /><br /><em><strong>Acknowledgements</strong></em> <br />Thank you to the Gladys Kriebel Delmas Foundation who generously provided the funding to make this extraordinary project possible. Thank you also to the following individuals who helped make this project successful: Binghamton University Libraries’ Staff: Benjamin Coury, Nicholas Eggleston, Jean Green, Blythe Roveland-Brenton, Erin Rushton, David Schuster, Rachel Turner, Brandy Wrighter; Binghamton University Students: Madelynn Cullings, Kashawn Hernandez, Aanyah Jhonson-Whyte, Marisa Joseph, Bethany Maloney, Ashleigh Marie Sherman, Thomas Tegtmeier, Joseph Vitale. Relation A related resource <p><a href="https://omeka.binghamton.edu/omeka/items/show/2877">Full Display and German Transcription of Max Reinhardt's</a><em><a href="https://omeka.binghamton.edu/omeka/items/show/2877"> Reigen Promptbook</a><br /></em><br /><a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/"><span>Max Reinhardt Archives and Library</span></a><br /><br /><a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,reinhardt&amp;tab=DigitalCollections&amp;search_scope=DigitalCollections&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;offset=0">Max Reinhardt Collection Photographs</a></p> <p></p> <p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-timeline">The Life and Times of Theater Director Max Reinhardt</a></p> <p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-theaters">The Theaters of Max Reinhardt</a></p> Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Jean Green,&nbsp;<br /><br />Binghamton University Students: <br />Madelynn Cullings<br />Kashawn Hernandez<br />Aanyah Jhonson-Whyte<br />Marisa Joseph<br />Bethany Maloney<br />Ashleigh Marie Sherman<br />Thomas Tegtmeier<br />Joseph Vitale Promptbook Description Hardcover promptbook, aged but in good condition. All text in German. Markings in black pencil. Includes stage sketches and cast list. Notes throughout on dialogue and in margins. Black pencil used for all notations. Collection Max Reinhardt Promptbooks Dimensions Physical dimensions of item 24.75cm x 20cm Earlier version Earlier version (dcterms:isVersion Of) Antigone Notes Located in Binghamton University Libraries Special Collections PT2635.E548P75 v.36 Production(s) March 1919, Berlin (Deutsches Theater) -Supporting materials: Box 11 Folder 8: Photographs; unknown direction/other professional photographs; possible supporting materials (theater and year uncertain) Box 13A Folder 16: Else Heims roles (theater and year uncertain) Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Antigone : Tragödie in 5 Akten [promptbook] Subject The topic of the resource Hasenclever, Walter, 1890-1940 Promptbooks Stage directions Deutsches Theater zu Berlin -- Germany Creator An entity primarily responsible for making the resource Hasenclever, Walter, 1890-1940 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 1900s Contributor An entity responsible for making contributions to the resource Reinhardt, Max, 1873-1943 Language A language of the resource German Identifier An unambiguous reference to the resource within a given context R 3141 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Deutsches Theater zu Berlin Rights Information about rights held in and over the resource Copyright undetermined. This image is provided for educational and research purposes only as is stipulated by U.S. and international copyright law. For more information, please contact speccoll@binghamton.edu. https://omeka.binghamton.edu/omeka/files/original/4eb857e33924504c1656371b6c63ca87.pdf 4ff6ee066dcce87fbfc0010f9e88ccae PDF Text Text LIN i . e BINGHAMTON  ,\ s‘ t ,  \ \ H O N yop  >)  :  I V E R S I T Y State University of  New York Department of Music ‘Around the Horn’ University Symphony Orchestra Timothy Perry, Director and French Horn Soloists Emie Epelman G reg Cecere  Patrick Lokken Alfred Jacobsen  Sa turday, M a rch 5, 2005 8 :00 p. m . O s t er h o n t  C on c ert  T h e a t e r �The Binghamton University Department o f M   usic presents ‘Around the Horn’ with  the 1  l  University Symphony Orchestra Timothy Perry, Director And French Horn Soloists Greg Cecere  Alfred Jacobsen  Ernie Epelman Patrick Lokken 8 :00 P.M.  Osterhout Concert Theater  Saturday, March 5, 2005 Anderson  Center for the Arts Program I. Prelude to /'Aprés­midi d’un Faune  (The afternoon of a faun)  Konzertst iick in F Major. Op. 86  for Four Horns and Orchestra  Claude Debussy ( 1 862­ 191 8) Robert Schumann ( 18 10­ 1856 ) Le b h a fi ­  Romanze– Sehr l e b h a fi Soloists Mr. Cecre, Ms. Epelman, Mr. Jacobsen, Mr. Lokken “~ I n lerm ission—F ifteen minutes EL] i  l 5  ' Symphony No. 2 in D Major, Op. 36........... Ludwig van Beetho ven Adagio molto­­Allegro con brio  ( 1 770­1827) Larghctto Scherzo &  Trio ( A llegro) A llegro molto a The University Symphony and University Chorus w ill present their Spring concert on Saturday. A pril 1 6 " ,  p erforming the Coronation Scene from Mussorgsk y ’s opera Boris Godonov and the secular cantata The Fir st Walpurgis­Night by Felix Mendelssohn. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:08:26 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243842&amp;change_lng=en" title="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243842&amp;change_lng=en">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243842&amp;change_lng=en</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Around the horn, March 5, 2005 Description An account of the resource Works of Debussy, Schumann, Beethoven. Held at 8:00 p.m., March 5, 2005, Osterhout Concert Theater. Creator An entity primarily responsible for making the resource Perry, Timothy Cecere, Greg Epelman, Emie Jacobsen, Alfred Lokken, Patrick 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 2005-3-5 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/aef493fe323358c6207e159642a2ee62.jpg 52640e37b45092dc68de84455ceda7a4 https://omeka.binghamton.edu/omeka/files/original/8db3dd2df31718a5a47e8f2b63b67685.jpg 61473372193f3323d59ab0d391362623 https://omeka.binghamton.edu/omeka/files/original/1cd3b695bf491fd6ab43144bb9d87639.jpg ef71a69f89d2268224c4b3593d23fc3e https://omeka.binghamton.edu/omeka/files/original/0f67d365aa18892809913bf8fe378104.jpg 46ada75e922043e9f8fc18c7b326207b https://omeka.binghamton.edu/omeka/files/original/4ada13281e7badc318697fab8fcbd197.jpg 196ba95c316a54b253bee3b539ed38a8 https://omeka.binghamton.edu/omeka/files/original/0a7fec88d37e006527ff4b5479f137d5.jpg 658f1632187f615d7365d36601110145 https://omeka.binghamton.edu/omeka/files/original/3eb3a5e181faf772ebaed5ad6d282070.jpg bd7e3ae4b4adf73e9398d1bff1eaedfc https://omeka.binghamton.edu/omeka/files/original/06374b41e1d05b01ed38873aea3a06c5.jpg 37f2af079e6398deb93f83bcdb73adb4 https://omeka.binghamton.edu/omeka/files/original/c940a124ce7e537017fcc00de595d04a.jpg 41259ee632c4f65743b95de95fbc89af https://omeka.binghamton.edu/omeka/files/original/5038818a3ee90e1a97a99e195ad000c4.jpg 6a0bc93abe7122eec0f94656374785d9 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 Reinhardt Promptbooks Description An account of the resource <strong><em>Who is Max Reinhardt?</em></strong> <br />The celebrated <span>Austrian t</span>heater director <a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/">Max Reinhardt</a>, recognized in America primarily for his elaborate productions of Shakespeare’s A Midsummer Night’s Dream, Franz Werfel’s The Eternal Road, and Karl Vollmoeller’s The Miracle, was born in 1873 at Baden near Vienna, Austria and died in New York City in 1943. Reinhardt’s illustrious career takes on added significance because it coincides with a major shift in the evolution of the modern theater: the ascendancy of the director as the key figure in theatrical production. Reinhardt’s reputation in international theater history is secured by the leading role he played in this transformation, as well as by his innovative use of new theater technology and endless experimentation with theater spaces and locales, which together redefined traditional relationships between actor and audience toward a new participatory theater. <br /><br /><em><strong>What is a prompt book?</strong></em> <br />The prompt book is a master copy of the production script and contains a wealth of instructions and information alongside the basic text of the play. As well as the actors’ lines, you will often see cues for music, movement, light, and many other aspects of stage business. It may also contain sketches of how a piece of staging is supposed to look, or which costume a character should wear in a scene. <br /><br /><em><strong>Why are his important?</strong></em> <br />Reinhardt’s directorial prompt books reflect the ways in which he made plays by major playwrights, including Ibsen, Shakespeare and Wilder, his own. The prompt books contain notations denoting changes in the script, actor moves and technical cues, instructions on how sound, props and scenery were used, and stage drawings. They help us to reconstruct Reinhardt’s techniques and directions in productions. <br /><br /><em><strong>Acknowledgements</strong></em> <br />Thank you to the Gladys Kriebel Delmas Foundation who generously provided the funding to make this extraordinary project possible. Thank you also to the following individuals who helped make this project successful: Binghamton University Libraries’ Staff: Benjamin Coury, Nicholas Eggleston, Jean Green, Blythe Roveland-Brenton, Erin Rushton, David Schuster, Rachel Turner, Brandy Wrighter; Binghamton University Students: Madelynn Cullings, Kashawn Hernandez, Aanyah Jhonson-Whyte, Marisa Joseph, Bethany Maloney, Ashleigh Marie Sherman, Thomas Tegtmeier, Joseph Vitale. Relation A related resource <p><a href="https://omeka.binghamton.edu/omeka/items/show/2877">Full Display and German Transcription of Max Reinhardt's</a><em><a href="https://omeka.binghamton.edu/omeka/items/show/2877"> Reigen Promptbook</a><br /></em><br /><a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/"><span>Max Reinhardt Archives and Library</span></a><br /><br /><a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,reinhardt&amp;tab=DigitalCollections&amp;search_scope=DigitalCollections&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;offset=0">Max Reinhardt Collection Photographs</a></p> <p></p> <p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-timeline">The Life and Times of Theater Director Max Reinhardt</a></p> <p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-theaters">The Theaters of Max Reinhardt</a></p> Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Jean Green,&nbsp;<br /><br />Binghamton University Students: <br />Madelynn Cullings<br />Kashawn Hernandez<br />Aanyah Jhonson-Whyte<br />Marisa Joseph<br />Bethany Maloney<br />Ashleigh Marie Sherman<br />Thomas Tegtmeier<br />Joseph Vitale Promptbook Description Markings in black pencil, blue pencil, red pencil, purple pen, pink pencil, and blue pen. Markings are not extensive throughout promptbook. Almost no stage directions or sketches found. Most marks are underlines, crossouts, highlights, etc. Includes supplement: Four pages with lyrics for "Brautlied,” no written markings; Sixteen note sheets with various extensive written notes dealing with a wide range of topics (music, technical directions, general notes, page-note key, etc.). This may be why there is lack of written notes in promptbook itself. Collection Max Reinhardt Promptbooks Dimensions Physical dimensions of item 28.5cm x 21.5cm Earlier version Earlier version (dcterms:isVersion Of) Artisan Notes Located in Binghamton University Libraries Special Collections PT2635.E548 P75 v.146 Production(s) May 1928, Berlin June 9, 1928, Berlin -Supporting materials (for all Berlin productions): Box 8 Folder 48: Photographs Box 14 Folder 58: Programs; plays November 10, 1928, Vienna Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artisen [promptbook] Subject The topic of the resource Watters, George Manker, 1892-1943. Artisten Promptbooks Stage directions Creator An entity primarily responsible for making the resource Watters, George Manker, 1892-1943 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 1900s Contributor An entity responsible for making contributions to the resource Reinhardt, Max, 1873-1943 Language A language of the resource German Identifier An unambiguous reference to the resource within a given context R 3242 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Deutsches Theater zu Berlin Rights Information about rights held in and over the resource Copyright undetermined. This image is provided for educational and research purposes only as is stipulated by U.S. and international copyright law. For more information, please contact speccoll@binghamton.edu.