81
10
1775
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1960's - present
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Binghamton University Music Department Tape Recordings
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Concerts ; Instrumental music ; Live sound recordings
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Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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1 audio disc
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47: 22
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Jazz mid-day concert featuring Camille Thurman saxophonist, flutist, vocalist, composer & educator, April 23, 2015
Subject
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Concerts
Instrumental music
Live sound recordings
Description
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Works by McCoy Tyner, Camille Thurman, Harry Warren, Al Dublin, Tad Dameron, Fats Waller.Held at 1:20 p.m., April 23, 2015, Osterhout Concer Theater.
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Thurman, Camille
Losito, Dino
Marino, Tony
Green, Darrell
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Binghamton University Libraries
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2015-4-23
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sound
-
https://omeka.binghamton.edu/omeka/files/original/f75d9db0ffcf58ceb616a74aa26389f5.pdf
b8e6cfd363389b5484de63368d566c96
PDF Text
Text
BING HAMTON
U N E N E R S I T Y
S T A T E UN
IVERSlTY O
F N
EW Y
O R K
D E P A R
z ede c
T M E N T
MASTER’S RECITAL
Kevi n Truax , tenor
Joh n Isenber g, piano
Saturday. April 2 5, 20 1 5
3:00 p.m.
Casadesus Recital Hall
�A Young Man’s Exhortation
89 PROG RAM C98
L
I attem pt from love’s sickness.
lf music be the food of love
Not all my torments
Die Schfine Mullerin Op. 2 5
Henry Purcell
(16591695)
Plens
11.
.
Das Wandern
Franz Schubert
(17971828)
Wohin.’
Halt!
Danksagung an den Bach
Am Feierahend
In 182 1 Wilhelm Muller published a volume of seventyseven poems that
included a cycle entitled, Die Schbne Millierin. Within two years Franz Schubert
( 1 797 1828) would go on to discover this poetry and publish his own musical setting
of the text in 1824. Sch u bert did not however set all twentyfive pieces; he left out
the lengthy prologue and epilogue and a few poems throughout to make a final set
of twenty songs. I have included parts of Muller’s prologue and epilogue in these
program notes because I find that they not only serve the drama of Die Schbne
Mallerin, but they also provide an appropriate setting and conclusion to the entirety
of this “Musical Exhortation.”
IIL
.W. A. Mozart
(17561791)
Per pieta, non ricercate.
~In remission—
Poéme d’un jour Op. 2 1........
Rencontrc
The newborn spring cascades over rugged rocks and flows down the valley, now a silvery
brook. The millwheel roars, the machinery whirs, ane can hardly hear the birds in the nearby
grove. So, should a song sound rough and plain, consider it due tn the natural setting.
However, my leading man will let you know what is most attractive about these wheels. l f 1
gave that away , it would spoil his play. 1 wish you farewell, enjoy yourselves, do!
From Die Schbne Mallenn. “The Poet as the Prologue,” W ilhelm Miiller
IV.
.
.
.
Gabriel Fauré
(18451924)
Toujours
Adieu
1.
The first exhortation will be through three pieces by Hen ry Purcell. (1659
1695) Purcell’s career is marked by a great range of successes in such areas as
anthems, songs, and music for early English opera and for the theatre. As a
composer during the English Restoration, he took part in the return of royal
patronage from the English Court towards musicians, and th e return of theatre to
London stages. During the latter pa rt of his life, Purcell wrote the incidental music
for over fifty plays and composed five operas, or Semioperas. “l attempt from love’s
sickness” comes from one these operas, Purcell’s last semi–opera, The Indian Queen,
li bretto by Joh n D ryden. It is a la ment of Queen Zem poalla for having t o give u p
her love for the General Montezuma. It is set scrophically into a french rondeau,
V.
O del mio amato hen
Amorosi miei gitrrni
VL
A Young Man’s Exhortation.. . .
Ditty
.
Stefano Donaudy
(1879192 5)
(or AABACAA)) and incorporates a simple melody with rhyming schemes and
matching cadences. In contrast. both “l f music be the food of love” and “Not all
my torments” are independent declamatory songs that are throughcomposed,
without repeating stanzas or verses. Both pieces have flowing melismatic vocal lines
and have more serious subject matters that would otherwise not be found in
individual strophic songs by Purcell.
II.
A
......Gerald Finzi
(19011956)
Her Temple
A Young Man’s Exhortation
Thu program u offered in partial fulfillment of the requirements for the
degree of Masters of Music in Opera.
In t he first five pieces of Die Schone Miillerin one is introd uced t o a you ng
miller who longs to wander the countryside. He will go on to discover a brook,
follow it downstream to a mill. and seek along with work, the affection of the
beautiful mill maid that lives there. The cycle begins with th e strophic song, “Das
Wandern,” and quickly moves to more throughcom posed settings that move the
drama forward. 1 would encourage you to listen to the “voice” of the piano
throughout these five pieces. The piano not only gives settings and backgrounds for
the overlying text, but provides its own characters that seem to converse with the
speaker, pushing him ever onward into his un requited love.
�111.
“Per pieta, non ricercate” is an aria written by Wolfgang Ama deus Mo za rt
(1 7561 791) for a Vienna performance of t he Italian opera. ll Cunnso Indisereto, (by
tenor,
Pasquale Anfossi) in 1 783. It was to serve as a substitute aria for the German
German
cepting a
c into ac
ese publi
he Vienn
ase t
e
o
johann Valentin Ada m betger, t
his
singer performing in an lralian Opera. (Mo zart also composed two arias for
not to
isterinlaw for the same production) Unfortunately, Adamberger chose
we
perform the replacement a ria, and in the reason provided by Mozart himself,
In a
Salieri.
get a glim pse into the infa mous rivalry between Mo zart and Antonio
was
letter to his fathe r, Mora rt expressed, “At a private rehearsal, before the rondo
atre
rg [the the
written out, Salieri wok Adamberger asde and said to him, t hat Count Rosenbe
not to
ised him
manager] was averse to his introducing an aria , so as his good friend he adv
; he
do so.” The performance seems to have not gone well for Mr. Adamherger
. He
rt refused
ut Moza
e aria, b
returned to Mozart to beg him to give him back th
continues in his l etter. “What was the result! ~ that he had no success; which, indeed, was
give
sure to be the case. Now he repents, but it is too late; for if he were to ask me now to
operas.”
my own
ne of
for it in o
d a place
asily fin
him the rondo I would not do to. I can very e
can
The aria, however, was not used in any of Mozart’s subsequent operas. and we
concert.
r in later
amberge
ed by Ad
perform
ve been
it may ha
only suspect that
IV.
W e arrive now at an exhortat ion by Gabriel Fa uré (184 51924) through
rles
his threepiece cycle, Poeme d’un jour (1878). The poetry is by the poet Cha
ent
a movem
France;
ement in
ian mov
Pamass
rt of the
o was pa
Grandmougin wh
social
which emphasi zed form over emotion, and transcendent imagery over
d up
commentary. Faure’s mus ic shares this sentiment; though emotions may en
rm and
to the fo
being the byproduct of such music and text, Faure shows devotion
ree
language, keeping the m usic void of overt passion and text painting. The th
creates a
ure
hem, Fa
linking t
poems were not originally w ritten as a cycle; by
urse
narrative of a young man’s hopeless and unsuccessful love affair through the co
own
t Faure’s
agine tha
e can im
day. On
of, what we can only conclude, is one single
tion
short engagement in 1877 to Marianne Via rdot played some role in t he forma
of this cycle.
V.
Th e re are several similarit ies betw een t h e tw o following pieces in this
i”
‘Italian Exhorcitinn'. Firstly, “O del mio amato ben” and “Amorosi miei giorn
naudy.
fano Do
both come from the 36 Arie di Stile Antico by the Italian com poser Ste
that
(187919 2 5) Donaudy published the group in 1918. containing songs
songs
of these
the style
encompa. his most wellknown musical outp ut. Though
are henromantic in nature, they incorporate popular forms found in older styles
dating back to the Renaissance. They also share a librettist in Stefano’s brother,
Alberto, who is credited for all 36 texts in the collec tion. Lastly, they share the same
llad
musical form and subject matter; a strophic setting of two verses each, and a ba
re the
ach whe
nts in e
y mome
are man
. There
e found)
of love (One lost and on
performe rs are perm itted to stretch t he timing, bringi ng our key words and phrases.
the
Through flord vocal lines, thick textures, and these moments of suspension,
ression.
its of exp
sh the lim
performers are encouraged to pu
VL
W e end the recital similarly to as we began it: in London, with yet another
d A
short~lived but prolific compose r, Gerald Finzi. (1 90 11956) Finzi compose
Young M an ’s Exharta rion betw een 1 9 2 6 a nd 1 92 9, creati ng a n intende d cycle o
ft e n
songs (though without narrative) using the texts from English poet, Thomas Hardy.
posed,
Hardy’s poetry was a favorite of Finzi; of the over sixty art songs F inzi com
“Her
“Ditty",
over half used his poetry. You will hear three selections from this set:
is set
about (h
Temple", and finally “A Young Man’s Exhortation” What is unique
is the lyric vocal lines juxtaposed by declamatory and sometimes recitativelike
sections. Finzi also utilizes subtle rhythmic diversions and word stress against the
meter to emphasize certain text and passages. The poetry is also uniquely thick and
h
full of imagery tha t seems to be filled wi th new meaning after each reading. Thoug
love
love or
cused on
been fo
day have
most of the Exhortations you have heard to
and
lost, we finally co me to a young m an who has endured these hours w ith love
has come to some conclusions about life. l n this moment h e reflects on whe re he
has been, where h e is going, and how he, and even we, should progress.
We are going to blow out our sun and stars – Now may you find your way home
ming
safely, and should you wish to dream a dainty dream, then think of millavheels and foa
water when you close your eyes and the long night begins, until your head begins to spin with
thinking of it; And he who holds a maiden by the hand, let him ask as he leaves [in a love
stancy.
tolten, and if she gives today what she has often refined, so think of the miller’s con
m an
esture fro
buming g
every
with
With every touch of your hands, with every kiss,
in
bliss with
nglasting
somow lo
his brief
return for
in
overflowing heart: may love give him
your hearu.’
From Die Schoner Mullerin, “The Poet’s Epilogue”, W ilhelm Muller
�Translations
I.
If music he the food of love
Text by : Hen ry Heavlngh nm
If music be the food of love,
Sing on till I am fill’d withjoy;
For then my list ’ning soul you
moveTo pleasures that can never
cloy.
Your eyes, your mien, your tongue
declare,
That you are music ev ’rywhere.
Pleasures invade both eye and ear,
So fierce the transports are, they
wound,
'
And all my senses feasted are;
Tho‘ yet the treat is only sound.
Sure I must perish by your charms,
Unless you save me in your arms.
I attempt from Love ’s sickness
Text by : John Dryden
I attempt from Love’s sickness to
fly in vain,
Since I am myselfmy own fever
and pain.
No more now fond heart, with
pride no more swell,
Thou canst not raise forces enough
to rebel.
For Love has more power and less
mercy than fate.
To make us seek ruin and love
those that hate.
11.
Die Schone Mllllerin, op. 2 5
(The Beautiful Miller Mold)
Das Wandern
(Wandering)
Wandering is the miller‘sjoy.
wandering!
He must be a bad miller,
that never thinks to wander,
wandering.
From water we have learned, from
water!
It does not have rest by day and
Down and always farther
And always the brook follows,
And always freshly rushing,
And always brighter the brook.
Is this then my path?
Oh brook, speak. where to?
You have with your rushing
Entirely intoxicated my mind.
7
What can I say ofthe rushing'.
That cannot be rushing:
It is singing perhaps of the
mermaids
deep below your water.
night,
Oet them sing, my friend, let it
journey, the water.
We see also from the wheels, the
wheels!
They do not like standing still.
All day they do not tire from
turning, the wheels!
And wander joyously onward!
They are going, yes, the mill
wheels
it is al ways concerned about the
The stones themselves, so heavy
they are, the stones!
They move with the merry dance
And want to go even faster, the
stones!
Oh wandering, my joy, oh
wandering!
Dear Master and Mistress,
let me go my way in peace and
wander.
Wohln?
(Where to?)
rush,
In every clear brook.
Halt!
(Stop!)
A mill I see looking
From the tree outward,
Through roaring and singing
To the miller maid!
Has she sent you?
Or have I gone mad?
I should like to know,
If she sent you.
Now however it might be,
I give my commitment:
what I seek, l have found,
however it may be.
For work I ask,
Now I have enough,
For my hands, for my heart,
Fully enough!
Am Feierabend
(On a Restful Evening)
If I had a thousand arms to move!
I could loudly guide the wheels!
I could glide through the trees!
I could move all the stones!
The the beautiful miller maid
Would realize my true feelings!
Ah, how weak my arm is!
What I ficw, what I ca rry,
What I cut, what I hit,
Breaks the sound of wheels.
E very other boy does as w ell as me.
Hey welcome, Hey welcome.
Sweet millsong!
And the house, how cozy!
And the windows, how clear!
And there I sit in the large group,
In the still, cool, restful hour,
And the sun, how bright
From the heavens it shines!
Hey little brook, dear brook,
Was this what you meant?
And the Master speaks to all:
Your work has pleased me;
And the lovely miller maid says
To all a good night.
III.
Per pieta, non ricercate
(for pity, do not seek)
For pity’s sake, do not seek
Text by: anon.
Not all my torments can your pity
I hear a brook rushing,
Probably from the rock spring,
Down to the valley it rushes
So fresh and wonderfully bright.
Yet to the grave I w ill my sorrows
1 do not know, how I feel this,
Nor, who gave me advice,
Your singing, your ringing,
Was this what you meant?
With my walking stick.
To the miller maid!
So it seems to be.
Yes, I feel such cruelty in me,
That not even I know how to
explain it!
Thinking of you; but then how?
For to go; but what do I gain
By doing this or that test,
I f do not find i
n that hope?
F r i a n d h a v a u n d a r c t a n d ?
A h h u e l m m m » ! a n d h u t h a d i c d a i
Not all m y torments
move,
Your scorn increases with my love.
bear:
I love tho’ I despair
I m ust go down
Danksagu ng an dem Bach
(Giving Thanks to the brook)
Was this what you meant,
my rushing friend?
The source o f m
y torment,
�Of my deadly fate,
I call only, oh God, death,
That comes to console me!
IV.
Poeme d ’un jour Op. 2 1
(Poem of a day)
text by Charles G rand mougin
Rencontre
(Meeting)
1 was sad and thoughtful when I
met you,
I feel less, today my persistent
torment;
Oh tell me, could you be the
woman I hoped for,
And the ideal dream I pursued in
vain?
Oh passing with sweet eyes, could
you be the friend
that brings happiness to the lonely
P031.
And will you shine on my
strengthened soul,
like the native sky on an exiled
heart?
Your wild sadness, is like my own,
It loves to see the sun set on the
sea!
Before its immensrty your ecstasy
is awakened,
And the charm of the evening to
your lovely soul is dear;.
A mysterious and sweet sympathy
Already attaches me to you like a
living bond;
And my soul trembles, by an
invading love,
And my heart cherishes you,
without knowing you well.
Toujours
(Always)
You ask of me to be silent,
To fl y far from you forever.
And for me to go off alone
Without remembering whom I
loved!
Sooner ask the stars
To fall into infin ity,
To the night to lose its veils,
To the day to lose its light!
Ask the immense sea
To dry i ts vast waves,
And when the winds are wild,
Ask it to calm its dark sobbing!
V.
O del miu a mato ben
(oh, of m y dea r beloved)
Oh, of my dear beloved, lost
enchantment!
You are far from my eyes
Who was to me glory and pride!
Now in the silent rooms
1 al ways seek and call her
But do not hope that my soul
will tear itself from sorrow,
And shed its flame
As the spring to its flowers.
With a full heart ofhope...
But I seek in vain, I call in vain!
And the weeping is dear to me,
the the weeping alone nourishes my
heart.
Adieu
(Goodbye)
How everything dies quickly, the
surrounding roses,
It seems to me that without her
sadness is everywhere.
Night seems to be the day;
To me the fire is cold.
meadow.
One sees, in this weak world,
to give myselfanother cure,
only one thought torments me:
But without her, what can I do?
To me life seems a vain thing
without my love.
flowers, Our hearts!
Lovcly were my days,
Who could ever forget,
Or that of all the things adorned,
That gave peace to my heart
And the fresh coats speckled in the
The long sighs, the loved ones, Go
up in smoke!
Change
More quickly than the crashing
waves, Our dreams,
More quickly than the frost on
To you, one believed in
faithfulness, Cruel one,
But alas! the longest loves are
short!
And I say on quitting your charms,
without tears,
Almost at the moment ofmy
confession, Goodbye!
If still sometimes I hope
And perfume to my thoughts?
To be able, as life advances,
No longer fear the anxieties
O fa life of deception,
Only with this hope:
That one of her looks is all my
spender.
And one of her smiles may be all
my treasure.
VL
A Young Man ’s Exhortation. Op.
1 4, Text by : Thomas H a rdy
Ditty
Beneath a knap where flown
Nestlings play,
Within walls of weathered stone
Far away From the files o f formal
houses,
By the bough the firstling browses,
Lives a Sweet: no merchants meet,
No man barters, no man sells
Where she dwells.
Upon that fabric fair ‘Here is shel’
Seems written everywhere Unto
me.
But to friends and nodding
neighbours,
Fellow wights in lot and labours,
Who descry the times as I,
No such lucid legend tells Where
she dwells.
Should I lapse to what I was Ere we
met;
(Such will not be, but because
Some forget
Let me feign it) none would
notice
That where she I know by rote i s
Spread a strange and withering
change,
Like a drying of the wells Where
she dwells.
Her Temple
Dear, think not that they will forget
you
If craftsmanly art should be mine
i will build up a temple, and set
you
Therein as its shrine.
They may say : ‘Why a woman such
honour?”
Be told, “O, so sweet was her
fame,
That a man heaped this splendour
upon her;
None now knows his name.
A Young Man ’s Exhortation
Call off your eyes from care
By some determined deftness; put
forth joys
Dear as excess without the core that
cloys,
�And charm Life’s lourings fair.
Exalt and crown the hour
That girdles us, and fill it with glee,
Blind glee, excelling aught could
ever be,
Were heedfulness in power.
Send up such touching strains
That limitless recruits from Fancy’s
pack
Shall rush upon your tongue, and
tender back
All that your soul contains.
For what do we know best?
That a fresh loveleaf crumpled
soon will dry,
And that men moment after
moment die,
Of all scope dispossest.
If I have seen one thing
It is the passing preciousness of
dreams;
That aspects are within us;
and who seems Most kingly is the
King.
ABOUT T H E PERFORMERS
Tenor Kevin Truax. a narive of Pennsylvania, is currently completing his Master of
Music in Opera degree at Binghamton University and received his Bachelors of
Music in Vocal Performanc at Susquehanna University. He has appeared on stage
with TriCities Opera in the roles of El Remendado in Carmen, Don Ottnvio in Don
Giovanni, and Alfred in Die Flederma us. As pa rt of the Bingha mton University
Opera Studio, he has performed the roles of the Witch in Hansel and Gretel,
Bardolfo in Falstaff, Ferrando in Cosi fan tune, and Giles Corey/Judge Danforth in
. The Crucible. Kevin has served locally as a soloist with the SUNY Broome Chorus
and Orchestra in their performance of Handel’s Ode for St. Cecilia’s Day. He has
also been featured as a soloist with the Binghamton University Chorus and
Orchestra in their performances of Bach’s Christmas Oratorio, Haydn’s Mass in Time
. of War, and in their upcoming performance of Mendelssohn’s Lobgesang. He is a
student of Professor Thomas Goodheart.
John Isenberg, a native of Endicott, NY. holds Bachelor of Arts degrees in Music
and Italian, as well as a Master’s Degree in Italian Literature from Binghamton
University. He performs many different musical genres ranging from Opera and
Musical Theater to traditional Scottish and various styles of sacred music. From
20012012, John worked for the TriCities Opera in Binghamton, NY. first as
Accompanist, then additionally as Education Outreach Coordinator and Chorus
Master. During that time, he accompanied over 500 outreach performances in
schools throughout New York State and northern Pennsylvania. He has performed
for WSKG public radio broadcasts of opera preview performances including
Puccini ’s Madama Butterfly, Verdi’s L a tmvmra and Mozart’s The Magic Flute. A n
active church musician since childhood, John is currently the Organist/Pianist and
Choir Director at Sarah Jane Johnson Methodist Church in Johnson City. He has
served as Pianist/Choir Director for the high holy days of Rosh Hashanah at
Temple Concord in Binghamton. For the past two summers, John has also
participated in the Songe d'été Music Festival in Lamhron, Quebec (Canada).
�B i ng ham to n Un ivers i t y M us ic D e part men t ’s
vents
Com i ng E
6 & M 6 M b fi fi é fl fi i w é fl 6 é fl fi é fl
Saturday, Apri l 2 5 J unior Recital: Rachel Young – 7:30 p.m. – " asadesus Recital Hall
free
Sunday, April 2 6 University Win d Symphony: Once U pon a Time 3 p.m.
Anderson Center Chamber Hall $7 general public; $5 flaculty/stati/scniors/alumni; free
for students
. Tuesday, April 28 – Percussion Ensemble 7:30 p.m. Anderson Center Chamber Hall
$7 general public; $5 aculty/staff/seniors/alumni; free for students
Thursday, Apr il 30 MidDay Concert 1 :20 p.m. Casadesus Rec ital Hall free
Thursday, Apr il 30 Piano Ensemble 7 :30 p.m. Casadesus Rec ital Hall free
Friday, May 1 Fl ute Studio and Fl ute Cha m ber Concert 10:1 5 a.m. Ca desus Recital
Hall free
Friday. May 1 Brass Recital 4 p.m. Casadesus Rec ital Hall free
Saturday, May 2 Senior R ecital : D aniel Malinovsky. piano 12 noon Casadesus Recital
Hall frcc
Saturday, May 2 Master’s Recital : Jenny Gac, soprano 3 p.m. Casadesus Rec ital Hall
frec
Sunday, May 3 U n iversity C horus a nd Sy m phony Orchest ra: Mendelssoh n’s
“Lobgesang” 3 p.m. Ostcrhout Concert Theater $7 general public; $5 faculty
/staff/seniors/alumni; free for students
Sunday, May 3 Joint Recital: J unior Max Rydqvist, baritone and Senior Ricky N a n.
tenor– 7 : 30 p.m. Casadesus Rec ital Hall – free
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For tickets or to be added to our email list, visit anderson.bmglmmtort edu or call (607) 777AR TS.
For a complete lis t of our concerts call (607 ) 7772592, visit music.binghamton.edu or become a fan
on Facebook.
lfyou were inspired by this performance, consider support ing the
Department of Music with a financial gift. Your support helps to
u
—
continue the work of students, faculty. and guest artists and their
— E
[m u]
contributions to our community. Please make your donation payable
to the Binghamton University Music Department, and send your
check to BU Music Department, P.O. Box 6000 53. Binghamton,
El:
NY 13902***
�
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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Master's recital with Kevin Truax, tenor, and John Isenberg, piano, April 25, 2015
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works by Purcell, Schubert, Mozart, Faure, Donaudy, Finzi. Held at 3:00 p.m., April 25, 2015, Casadesus Recital Hall.
Creator
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Truax, Kevin
Isenberg, John
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Binghamton University Libraries
Date
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2015-4-25
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In copyright
Type
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sound
-
https://omeka.binghamton.edu/omeka/files/original/c9b9383957ef038d1d7bbd08b37dc9a4.pdf
b0215f5e458982541ec3735b198df4c6
PDF Text
Text
BINGHA MTON
U N I V E R S 1 T Y
STA TE U N I V E R S I Y Y OF NEW Y O R K
D E P A R T M E N T
JUNIOR RECITAL
RACHEL B. YOUNG, SOPRANO
ELEANOR KRASNER, VIOLIN
JOHN ISENBERG, PIANO
Sa tur day , A p r i l 2 5, 2015
7:30 p. m.
Casadesus R ecital Hall
�iaoPROGRAMies
Freschi luoghi, prati aulenti.
O del mio amato ben
Spirate pur, spirate
An die Musik.
Friihlingsglaube
TR AN S L A T IO N S
Stefano Donaudy
(18791925)
II.
Franz Schubert
(17971828)
Clair de lune .
Gabriel Fauré
(l845l924)
Chanson d’amour
lll.
NINTERMISSIOMLK
. Max Bruch
(18381920)
V.
Larghetto
Rondo
Ludwig van Beethoven
(17701827)
O del mio amato ben
Oh lost enchantment of my
dearly beloved,
You are far from my eyes,
Who was my glory pride.
Now through silent rooms
1 always seek and call him with a
hopeful heart.
But I seek in vain, I call in vain.
And the weeping is now dear to
me.
With weeping alone I nourish
my heart.
Also do not be deceived by such
brief prosperity.
It seems to me without him,
there is sadness everywhere.
Day seems like night, fire seems
cold to me.
lf at times I find hope of being
cured,
One thought alone torments me.
But without him, what do l do?
To me, life seems a vain thing
without my beloved.
I want, one day, to be reflected
with him in your clearness.
When at last he will show he
understands my languishing.
And you also, clear brooks,
Spirate pur, spirate
Breathe, still breathe around my
beloved. little breezes.
And find out if he holds me in
his heart.
And you also. clear brooks,
which are already running to the
sea,
Do not be miserly with your
waters in the late season of the
year.
1V.
Violin Concerto in D major, Op. 61
I want one day to roam with him
among such green sweetness.
When at last he will show he
understands my languishing.
Cool places, fragrant meadows,
remain always in flower.
Let not one season take away
from you such magical splendor.
Aria of Despina..
Wolfgang Amadeus Mozart
“ln uomini, in soldati?” from Casi fan tutte
(17561791)
Kol Nidrei, Op. 47
l. Freschi luoghi
Cool places, fragrant meadows,
remain always in flower.
Let not summer till you,
Let not autumn carry you away.
Let not the dead season take
away such magical splendor.
which are already running to the
sea,
Do not be deceived by such brief
prosperity.
Find out, blessed breezes.
Breezes s light and blessed.
�II. An die Musik
You noble art, in these gray
hours,
When life’s wild sphere has
ensnared me,
Have you my heart to warmly
kindle with love?
Have me transported into a
better world.
Often has a sigh flowed from
your harp.
A sweet, heavenly chord from
you.
Better skies have been opened
up for me.
You noble art, I thank you for
that.
You noble art, I thank you.
Frfihlingsglaube
The gentle winds are awakened,
They murmur and waft day and
night,
They create in every corner.
Oh fresh scent, oh new sound!
Now poor heart, fear not!
Now everything, everything must
change.
The world becomes more
beautiful with each day,
One does not know what may
yet happen.
The blooming does not want to
end.
The farthest, deepest valley
blooms.
Now, poor heart, forget the pain!
Now everything, everything must
change.
Clair de lune
Your soul is a chosen landscape
charmed by masks and
bergamasks,
Sad beneath their fanciful
disguises.
While singing in a minor mode,
of love the conqueror and of
favorable life,
They do not seem to believe in
their happiness
and their song mingles with the
moonlight.
Oh calm moonlight, sad and
beautiful,
which makes the birds dream in
the trees.
And makes the fountains sob
with ecstasy,
The tall, slim fountains among
the marble statues.
Chanson d’amour
I love your eyes, I love your
forehead.
Oh my rebellious, oh my fierce
one.
I love your eyes, I love your
mouth
On which my kisses will tire
themselves out.
I love your voice, I love the
strange gracefulness of all that
you say.
Oh my rebel, oh my dear angel,
my hell and my paradise.
1 love your eyes, I love your
forehead.
Oh my rebellious, oh my fierce
one.
[ love your eyes, I love your
mouth
On which my kisses will tire
themselves out.
I love all that makes you
beautiful, from your feet to your
hair.
Oh you to whom my hopeful
pleas ascend, oh my fierce one,
oh my rebel.
1 love your eyes, I love your
forehead.
Oh my rebellious, oh my fierce
one.
1 love your eyes, I love your
mouth
On which my kisses will tire
themselves out.
III. Aria of Despina, “I n
uomini?
7 In soldiers?
7 You hope
In men.
for faithfulness?
Don’t let anyone hear you, for
pity’s sake!
C ut from the same cloth, every
one of them,
The leaves, furniture, and fickle
breezes are more stable than
men!
False tears, deceptive looks,
Misleading voices, charming lies
are their primary qualities!
In that we dislike their pleasure,
Then they despise us, and deny
us affection.
I t is pointless to ask the
barbarians for pity!
Let us females, pay them back
with equal money.
This evil, indiscreet race.
Let us love for convenience, for
vanity!
�ABOUT T HE P E R F O R M E R S
Rachel Young, soprano, is a third year undergraduate voice student
of Professor Mary Burgess in pursuit of her Bachelor’s degree in vocal
performance at Binghamton University. At BU, Ms. Young had
performed the roles of Gretel in Engelbert Humperdinck’s “Hansel
and Gretel” as well as scenes from Verdi’s “Falstaff” as Nannetta,
scenes from Mozart’s “Cosi fan tutte", “Le nozze di Figaro", and
Donizetti’s “L’Elisir d’Amore". Ms. Young recently performed the role
of Kaylee in Michael Ching’s opera “Speed Dating, Tonight!” with Tri
Cities Opera company. Additionally with TCO, she sang in the
chorus of “Carmen” and “Faust". She thanks her friends and family
for their unending support and love.
Ellie Krasner is a junior at Binghamton University pursuing degrees
in both English literature and music. Having played violin for 1 5
years, Ellie previously studied with Dr. Lee Wilkins and Wilfredo
Deglans in Rochester, and is currently studying with Janey
Choi. Before coming to Binghamton, Ellie received her diploma in
advanced studies of violin through the Eastman Community Music
School, and was a member of the Rochester Philharmonic Youth
Orchestra for four years. ln addition, she completed all levels of
NYSSMA auditions and participated in numerous AllCounty and
Area AllState festivals beginning in elementary school. Last summer,
Ellie attended the Eastern Music Festival in North Carolina, a five
week intensive training program for advanced music students. She
frequently performs in more casual settings as well, such as nursing
homes and churches throughout Rochester and Binghamton. Ellie
has taken part in BU’s Chamber Music Program for two years, and
has led the Symphony Orchest as Concertmistress. She is currently
memher of Mu Phi Epsilon, Binghamton’s coed music fraternity.
Ellie attributes much of her vitality and happiness to her passion for
violin.
John Isenberg, a native of Endicott, NY, holds Bachelor of Arts
degrees in Music and Italian, as well as a Master’s Degree in Italian
Literature from Binghamton University. He performs many different
musical genres ranging from Opera and Musical Theater to
traditional Scottish and various styles of sacred music. From 2001
20 1 2, John worked for the TriCities Opera in Binghamton, NY. first
as Accompanist, then additionally as Education Outreach
Coordinator and Chorus Master. During that time, he accompanied
over 500 outreach performances in schools throughout New York
State and northern Pennsylvania. He has performed for WSKG
public radio broadcasts of opera preview performances including
Puccini’s Madama Butterfly, Verdi s La traviata and Mozart’s The Magic
Flute. An active church musician since childhood, John is currently
the Organist/Pianist and Choir Director at Sarah Jane Johnson
Methodist Church in Johnson City. He has served as Pianist/Choir
Director for the high holy days of Rosh Hashanah at Temple
Concord in Binghamton. For the past two summers, John has also
participated in the Songe d’été Music Festival in Lambton, Quebec
(Canada).
�B i ngba
m t o n Un ivers i ty M us i c D e pa r t m e nt ’s
Co m i n g Eve n ts
6 b 6 b 6 b 6 6 ‘ 6 6 ’ 6 é ’ 6 é ’ 6 é ’ 6 6 ‘
Sunday, Ap ril 2 6 – U niversity W ind Sym phony: On ce U pon a Time 3
p.m. Anderson Center Chamber Hall $7 general public ; $5
faculty/staff/seniors/alumni ; free for students
Tuesday, A pril 28 – Pe rc ussion Ensemble 7:30 p.m. Anderson
Center Chamber Hall $7 general public ; $5 aculty/staff/seniors/alumni;
free for students
Th ursday, Ap ril 30 – Mi dDay Con cert 1:20 p.m. Casadesus Recital
Hall free
Th ursday, Ap ril 30 – Pia no Ensemble 7:30 p.m. Casadesus Recital
Hall free
Friday, Ma y 1 Flute Studio and Flute Chamber Concert 10: I5 a.m.
Casadesus Recital Hall free
Friday, May 1 – Brass Recital 4 p.m. Casadesus Recital Hall free
Saturday, M ay 2 – Senior Recital: Daniel Ma linovsky, p iano – 12 n oon –
Casadesus Recital Hall free
Sunday, May 3 – U niversity Chorus and Sym phony Orchestra :
Mendelssoh n’s “Lobgesang” 3:00 p.m . Osterhout Concert Thea ter $7
general public ; $5 faculty/staff/seniors/alumni ; free for students
fiééflfibfiéflfiéflééflééflefiwmwwb
For tickets or to be added to our email list. visit anderson.binghamton.edu or call (60 7) 7 7 7ARTS.
For a complete list ofour concerts call (607) 7772592, visit music.binghamton.edu or become a fan
on Facebook.
I f you were inspired by this pt’rforniance. consider supporti ng the
—
M
Department of Music u’i(h a financial gift. Your support helps to
=
continue the work ofs tuderits, faculty , and guest artists and their
contrilmtions to our community. Please make your donation payable
to the Binghamton University Music Department, and send your
[ = ]
check to B U M us ic Department, P.O. Box 6000sss, Binghamt on,
NY 13902***
�
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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Junior recital with Rachel B. Young, Eleanor Krasner, and John Isenberg, April 25, 2015
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works by Donauy, Schubert, Frure, Mozart, Bruch, Beethoven. Held at 7:30 p.m., April 25, 2015, Casadesus Recital Hall.
Creator
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Young, Rachel B.
Krasner, Eleanor
Isenberg, John
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Binghamton University Libraries
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2015-4-25
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sound
-
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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Piano ensemble from the studios of Jinah Lee and Michael Salmirs, April 30, 2015
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works by Schubert, Mozart, Faure, Saint-Saëns, Piazzolla. Held at 7:30 p.m., April 30, 2015, Casadesus Recital Hall.
Creator
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Lee, Jinah
Salmirs, Michael
Chen, Shana
Jung, Yujung
Lee, Yuseong
Kim, Soohyun
Yim, Olivia
Kim, Eunice
Su, Vicky
Bogdanove, Grace
Jae Cho,Hwi
Malinovsky, Daniel
Fan, Christine
Bangug, Samantha
Calhoun, Benjamin
Tao, Annie
Talukdar, Natasha.
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Binghamton University Libraries
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2015-4-30
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In copyright
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sound
-
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3574a8464be1914c623647509e68b77a
PDF Text
Text
BINGHAMTON
U N I V E R S I T Y
S T A TE U N I V E R S I T Y O F N E W Y O R K
D E P A R T M E N T
SENIOR R ECITAL
D A N I VIALINOVSKY, P I A N O
Bits and Pieces
Saturday, May 2, 201 5
12 p.m.
Casadesus Recital Hall
�# PROGRAM 3
Fantasiestilicke
Op. 12, No. 2 “Aufschwung”
3% About the Performer #
Robert Schumann
(1810 1856)
Da n Malinovsky was born in Jerusalem, Israel in 1993. He
sta rted studyin g classical piano at the age of 5 and couldn ’t stop ever
since. Since moving to the U.S in 2006, Dan has expanded his repertoire
Sonata in E Major, K531 .
Domenico Scarlatti
(1685 1757)
4
Sonata in B Minor, K27 ..
..Domenico Scarlatti
(1685175 7)
Piano Sonata No. 17
Op. 31, No. 2, Mvt. lll
. Ludwig van Beetho ven
(1770 182 7)
to jazz and po pula r music. During high school, Dan received a perfect
score on the highest level of the NYSSMA exam numerous times. A t
graduation , he was awarded the “Frederic Chopin Awa rd” for
outstanding piano performance, and the “Best Musician Award". He
also performed with numerous orchestras including the NassauSuffolk
Wind Symphony. Before going to Binghamton to study
fina nce, Dan worked on Long Island as a jazz pia nist.
At Binghamton, Dan stud ied piano performance with professors Jinah
Lee and Michael Salmirs, and constantly performed at university
concerts and recitals. Additionally, he was the president of Piano Society,
an organization which h elps studen ts develop piano performance skills
and give back to the community through fundraising and music
education. D a n plans to continue studying piano performance after
INTERMISSION
Les Adieux
1
graduation.
Franz Strauss
(1822 1 9 0 5 )
with K athryn R. Saturnin o on Frenc h Horn
Fantasie in C major .
Op. 17, Mvt.i
. Robert Schumann
(1810 185 6)
�Binghamton University Music Department’s
Coming Events
$ $ $ $ ¥ $ $ $ $ $ $ $
Sunday, May 3 – University Chorus and Symphony Orchestra:
Mendelssohn’s “Lobgesang” – 3 p.m. – Osterhout Concert Theater
– $7 general public; $5 faculty/staff/ seniors/alumni; free for students
Thursday, May 7 – Student Recognition MidDay Conc ert – 1:20 p.m.
Casadesus Recital Hall – free
Thursday, May 7 – Harpur Chorale and Women’s Chorus Spring
Concert 7:30 p.m. – Anderson Center Chamber Hall – $7 general
public; $5 faculty/staff/seniors/alumni; free for students
Friday, May 8 Nukporfe African Drumming and Dance Ensemble –
7:30 p.m. – Watters Theater – $5 general admission at the door
Sunday, May 3 Senior Recital : Cole Tornberg, tenor – 7:30 p.m. –
Casadesus Recital Hall – free
Saturday, May 9 – Senior Recital: Caitlin Gotimer, soprano – 7:30
p.m. Casadesus Recital Hall free
$ $ $ ¥ $ $ $ $ $ $ $ fi
For ticket s or to be added to our email list, visit anderson.binghamton.edu o r call (607)
777ARTS. For a complete list of our concerts call (607) 7772592, visit
music.binghamton.edu or become a fan on Facebook.
[ = ] = [ = ] If you were inspired by this performance, consider supporting the
Department of Music with a financial gift. Your support helps to
continue the work of students, faculty, and guest artists and their
[ = ]
E
contribut ions to our community. Please make your donation
payable to the Binghamton University M usic Depa rtment, and send
your check to
BU Music Departme nt, P.O. Box 6000, Binghamton, NY 13902.
�
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
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Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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Title
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Dan Malinovsky, senior recital, "Bits and Pieces," May 2, 2015
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
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Works by Schumann, Carlatti, Beethoven, Strauss. Held at 12:00 p.m., May 2, 2015, Casadesus Recital Hall.
Creator
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Malinovsky, Daniel
Saturnino, Kathryn
Publisher
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Binghamton University Libraries
Date
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2015-5-2
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Type
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sound
-
https://omeka.binghamton.edu/omeka/files/original/91bb1af6cf1d0c81a96ce11cac7fdd6f.pdf
85cbad25e2553b391a802d1d90371dee
PDF Text
Text
BING HAMTO N
U N I V E R S I T Y
STATE U N I V E R S I T Y O F NEW Y O R K
[4
w d e e
D E P A R T M E N T
MASTERS RECI TAL
JENNY GAC, SOPRANO
with
M icha el Lewis, Pia n o
Saturday, May 2, 2015
3:00 p. m.
Casadesus Re c ital H a l l
�. M..v...........
,£2
W R ’.
rXV
S
A
e
I.
art)
' .. W. A. Moz
(17561791
sesssssssssssr isae n nes
e
3 3 43
” " ’ revere. Giuseppe Verdi
..
3
\
7
(18131901)
Q . Brahms
(18331897)
.M:
Antonin Dvoi’ak
(18411904)
35511314411... "
_ 73... ' Wm..........Alexandre Georges
(18501938)
1‘ E31,
sb .ffi
a t
'.
fininmenm n in Paris
' ‘
m Peter Pan
’ 3 9 1 .
.
' “file Enchanted Pig
v e e e e
1
CERRY
.
. George Gershwin
(18961937)
.. Leonard Bernstein
(19181990)
Jonathan Dove
(b. 1959)
�PRO GRAM NOTES
‘ 7
1.
We begin this gradua te rec ital with th e tath e
’ l‘
583: I go, but where? This concert aria is a f : aPPT
Qw, !
as a prelude to Casi fan tutte, to be s un byee‘s ' l "
first Dorabella). M ozart wrote many concge . l” '
specific singers with whom he worked11th
1
personally and vocally. As was popular parc
divided into fast/slow sections. The P
throu gh repea ted, agitated patte rnafl'"~
were so characteristically Mozart, M” "
music, and the agitated acco J ,
triple progressions in the pian
R
above. Both “voices” are? firB
repeated phrases a ué2
Vado, m a dove?
(I go, but wh ere?)
I go, b ut whe re?
Oh Gods!
l f Heaven feels no pity
for my torme nts an d my sighs!
,
g o
.
Though Verd i is best known for his a f».
several songs that em bodied the Italia n nat i ,," '
prese nt du ring much of h is life. Stornelli ar e“ 5. ’
from the Italia n coun trysid e that often inco
subjects and language. The keen listener will also
Verdi opera melodies with in his songs, and that many? ‘ . ..
have a decidedly operatic feel. The text of Perduta hold n a,
familiar Gretchen am Spinnrade of Goethe’s Faust. The m
u‘
spinn ing wheel is absen t in the piano a nd we ate presented w
repea ted, d etached, u nvary ing c hords, exposing Marguerite ’s m ‘l 5,1:
state and a llowi ng the progression of this state to develop ea c h ime
it is repea ted. The vocal line broad ens a nd increases in r h y t hm i c
and dynamic intensity throughout the piece. In the elastic and lively
La zingara, poet S.M. Maggioni highl ights the gypsy life a nd la ck of
�t politics and national distress in
~ me rt and piano accompaniment
‘. r!!! dances over arpeggiated chords
4
‘ r“
dance influences.
‘ . is heavy
.
m longer do I find to find
‘ fliSforceful
ch, the press
, i f s ;
do I hope to find
embace r him,
m
ih 31»; f t o m e.
e g g ' ksi “ham
;
. ‘ . ’ l
’
+
” N o w it "
fig; “ gypsy
' " Q . f
r was fa t h e r to me,
‘Whatever country was my
liotneland~
in vain people go calling for me
there.
From the beginning I always knew
that my homeland was the earth,
which gave me flowers and fruit.
1
' thim ;
fine.
' A . and
“ ru
E d eo“
1 feel I am
Wherever destiny leads me, I find a
smile, I find love.
Why think about the past when the
7
present is so happ y.
It ’s true: tomorrow a dark veil could
disturb all this serenity;
but if today my sky shines so
brilliantly blue, why make myself
sad over a doubt ful future?
�death for him; Rusalka obliges. In the act 1 aria, Mésiéku na nebi
hlubokém, Rusalka sings to the moon, asking it to tell the prince of
her love.
Mésiéku n a n e b i h lubokém
Tell him, silvery moon,
(Moon i n t he d eep s ky)
Moon, high in the deep sky,
your light can see far.
Over the whole earth you roam
And see into the homes of people.
that my arms embrace him,
so that he, for at least a moment,
remembers me in his dreams.
Shine your light where he is,
tell him, oh tell him I am waiting
Moon, stand still for a moment,
tell me, where is my love?
here!
l f his human heart can hear me,
let this memory awaken him.
Moon, stay with me!
V.
Alexandre Georges is a lesserknown French organist and composer
who studied under Cesar Franck. Georges wrote mainly for the
voice, including several sacred vocal and choral works, dramatic
oratorios and works for the OpéraComique. Miarka is based on a
novel written by M. Jean Richepin. It premiered as a full opera on
November 7, 1905, but was later revised and presented as a lyric
drama in 1925 and included 15 songs. During the ti me this piece
was written symbolism, naturalism, regionalism, and orientalism
were commonly exhibited in the Ope’raComique. The story of
Miarka embodies these ideologies. Vougne, mother of Miarka is a
gypsy. Vougne is the daughter of the king of the Romanichels tribe,
prone to hallucinations and gifted at the reading of tarot cards. In
the beginning of the opera, the tribe has vacated, leaving her behind
though she is with child. She remains at the borders of a river by a
rural village until her daughter, Miarka, is born. Vo ugne immerses
Miarka in the river and consecrates her to the sun (Hymne au soleil).
Vougne hears a mysterious voice foretelling that Miarka will be
queen one day. As Miarka grows, Vougne passes on to her the
traditions of her tribe, including rare books that contain sacred
songs of the Romanischels and reverence for nature (La pluie, L ’eau
qui court). Vongue tells her daughter of her d reams and visions and
performs enchantments in order to realize her dream of Miarka as
�queen. After awhile, Vougne and Miarka are forced to leave their
dwelling, and they travel, searching for their Romanichels tribe.
Vougne falls ill along this journey, just as they are approaching the
tribe. Before she dies, Vougne’s dreams are realized: the king of the
tribe weds Miarka and she becomes queen (Cantique d’amour).
Vongue expires, happy.
Hym ne a u So leil
(Hymn to the sun)
Sun that flames,
Sun of redgold,
Sun that burns,
Sun with diamonds,
Sun that creates,
Sun that bleeds!
Sun, 1 offer you this livinggold,
Sun, I give you diamonds of flesh,
Sun, I dedicate to you the blood of
my blood.
Sun, put your gold on her skin,
Sun, put your diamonds in her eyes,
Sun, put your blood in her heart.
Sun that flames,
Sun of redgold,
Sun that burns,
Sun with diamonds,
Sun that creates,
Sun that bleeds!
La p luie
(The rain)
Rain, rain with fresh lips, kisses the
ground with dry lips
And makes cracks on the surface.
L ’eau qui court
(Running water)
If the running water could talk she
would tell great stories.
She would recount the earth and
the sky.
The water has as many shadows as
the earth has blades of grass.
The water has as many reflections as
the sky has stars.
Each blade of grass speaks to its
shadow, and each star to its
reflection.
This has been since the world
began~
~if the running water could talk!
But the eyes of the good Romanians
are as clear as the running water.
And, like the water, they pass
through things without rest.
Each blade of grass recounts its
mysterious birth to them; and each
Rain, rain with green fingers,
plays on the skin of dead leaves–his
cheerful “airtambourine.”
star, gazing at itself, tells of all their
adventures.
Rain. rain with blue feet,
Dances the dance, twirling round
since its beginning.
lt is the water that runs and can
speak.
and round, and makes circles in the
dust.
Thus, the clear eyes of the good
Romanians have known the earth
�Cant ique d ’amour
(Canticle o f love)
It’s you! I recognized you by the
serpents of your hair, by the green
sapphires of your eyes.
It’s you! I have always seen your
image shine in the stars of my
nights.
It’s you! I have waited for you, your
love has arrived, living what I have
dreamed.
It’s you! I have chosen. Your whole
body shudders, and m y blood will
burn you.
It’s you! Welcome!
I want to die, exhausted, in a
shroud of kisses.
VI.
American composer and pianist Geroge Gershwin’s music spanned
both popular and classical musical genres. His songs were often
featured in multiple musical productions and his most popular
melodies are still wellknown today. By Strauss has some
lighthearted fun with the most quintessential elements of Johann
Strauss’ music.
Initially intended to be a fully produced musical, Bernstein wrote a
complete score fo r Peter Pan, and it began as a musical adaptation of
the play. Howeve r, only 5 of the songs were initially performed. In
2000, conductor Alexander Frey discovered the score and restored
the complete work, which was prem iered as a fullystaged musical in
London in 2006. In My House Wendy sings of her hopes and
dreams for a futu re with her love.
Based on a Romanian folktake, The Enchanted Pig is a story of a
princess (Flora) who finds out she is to be betrothed to a pig. The
king (her father) believed this pig is enchanted, and Flora travels to
the ends of the earth, and even to heaven to free her husband from
the evil spell that binds him. Flora has two sisters who were each
lucky enough to have been betrothed to a man. In Adelaide’s Lament,
Flora’s oldest sister is having some troubles on her wedding day.
�ABOUT THE PERFORMERS
Soprano Jenny Gac hails from nearby Newark Valley, NY. Ms. Gac
began her training at the Crane School of Music, SUNY Potsdam. She
has appeared on stage with TriCities Opera as Countess Ceprano in
Rigoletto and Sally in Die Fledermaus. As pa rt of the Binghamton
University Opera Studio she has performed the roles of Micaela in
Carmen, Curley’s Wife in Of Mice and Men, Fiordiligi in Cosi fan tutte,
Abigail Williams in The Crucible, Alice Ford in Falstaff, Rosalinda in
Die Fledermaus, and The Mother in Hansel and Gretel. With the Crane
School of Music Opera Ensemble she has performed the roles of: Nora
in The SailorBoy and the Falcon, First Lady in The Magic Flute, and
Zerlina in Don Giovanni. She has also appeared as the soprano soloist in
Dvorak’s Te Deum. She is a 3 year recipient of Ist place in the NATS
vocal competition and is the recipient of a Binghamton University
Graduate Assistantship, Jewel Griffith Vocal Music Scholarship, the
New York State Retired Teachers Association Scholarship, and the
SUNY Potsdam Adirondack Mountain Scholarship. She is a student of
Prof. Mary Burgess.
Michael Lewis, Adjunct Lecturer at BU and Assistant Music Director
at TriCities Opera, earned his undergraduate degree in Vocal
Performance from Ithaca College in May 2013. He has had coaching
experience with the International Vocal Arts Institute, Mill City
Summer Opera, CoOPERAtive program and Ithaca College School of
Music. While at Ithaca College, Michael was involved with the
inaugural season of the first studentrun opera company at IC, Ithaca
College Light Opera, in which he served as Assistant Music Director
and Vocal Coach. H e went on to lead the group in their second season
as Music Director. The opera company continues to perform one one
act opera each semester.
As a vocalist, he has performed a variety of roles in Ithaca College’s
mainstage productions. In his final year at Ithaca, he had the
opportunity to play the title role in Gianni Schicchi. This production
was paired with Suor Angelica, for which Michael served as opera chorus
master. In the past decade, Michael has been actively developing his
style as a composer. H is current works which focus on the voice and
piano have been performed throughout the United States and
Australia.
�Binghamton University Music Department’s
Coming Events
$ $ $ $ $ $ $ $ $ $ $ $
Sunday, May 3 – University Chorus and Symphony Orchestra :
Mendelssohn’s “Lobgesang” 3 p.m. – Osterhout Concert Theater
$7 general public; $5 faculty/staff/seniors/alumni; free for students
Sunday, May 3 – Joint Recital: Junior Max Rydqvist, baritone and
Senior Ricky Nan, tenor – 7:30 p.m. Casadesus Recital Hall – free
Thursday, May 7 – Student Recognition MidDay Concert – 1:20 p.m. –
Casadesus Recital Hall free
Thursday, May 7 – Harpur Chorale and Women’s Chorus Spring
Concert 7:30 p.m. Anderson Center Chamber Hall $7 general
public; $5 faculty/staff/seniors/alumni; free for students
Friday, May 8 Nukporfe African Drumming and Dance Ensemble –
7:30 p.m. Watters Theater $5 general admission at the door
Saturday, May 9 – Senior Recital: Cole Tornberg, tenor – 3:00 p.m. –
Casadesus Recital Hall free
Saturday, May 9 – Senior Recital: Caitlin Gotimer, soprano – 7 :30 p.m.
– Casadesus Recital H all free
firfifitfifi'fififltfifififit
For tickets or to be added to our email list, visit anderson.binghamton.edu or call
(607) 777ARTS. For a complete list of our concerts call (607) 7772592, visit
music.binghamton.edu or become a fan on Facebook.
E
–
[ x ]
E
= [ = ] If you were inspired by t his performance, consider s upporting
the Department of Music w ith a financ ial gift. Your support
helps to continue the work of students, faculty, and guest
artists and their cont ributions to our community. Please
make your donat ion payable to t he B inghamton University
Music Department, and send your check to BU Music
Department, P.O. Bo x 6000, B inghamton, NY 13902.
�
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1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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1 audio disc
Duration
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49:00
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Title
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Master's recital with Jenny Gac, May 2, 2015
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works by Mozart, Verdi, Dvořák, Georges, Gershwin, Bernstein, Dove. Held at 3:00 p.m., May 2, 2015, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Gac, Jenny
Lewis, Michael
Publisher
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Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
2015-5-2
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In copyright
Type
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sound
-
https://omeka.binghamton.edu/omeka/files/original/11c7cf57584e52aeba1afa31bceb1d71.mp3
a4d5a8446909cb5aa1119c36d0d9ce1c
Dublin Core
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Title
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Armenian Oral History
Contributor
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<p>Aynur de Rouen, Ph.D.</p>
Description
An account of the resource
<span>This collection includes interviews in English with informants of all ages and a variety of backgrounds from various parts of Armenia. The interviews provide deeper insight into the history of the Armenian culture through personal accounts, narratives, testimonies, and memories of their early lives in their adoptive country and back in Armenia. </span>
Rights
Information about rights held in and over the resource
In copyright.
Relation
A related resource
<a href="https://www.binghamton.edu/libraries/about/collections/oral-histories/index.html#sustainablecommunities">Sustainable Communities Oral History Collection</a>
Language
A language of the resource
English
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Date of Interview
6 January 2020
Interviewer
The person(s) performing the interview
Aynur de Rouen and Joseph Seif
Interviewee
The person(s) being interviewed
Mary
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
45:11
Language
English
Digital Format
Binghamton University
Material Type
Sound
Interview Format
Video or Audio
Audio
Rights Statement
This audio file and digital image may only be used for educational purposes. Please cite as Armenian Oral History Project, Binghamton University Libraries, Binghamton University, State University of New York. For usage beyond fair use please contact the Binghamton University Libraries for more information.
Keywords
Armenians, Beirut, Aleppo, Parents, Family, French, Turkish, Boston, Traditions, Armenian.
Biographical Text
Mary was born in Beirut, Lebanon to Armenian parents. Her family relocated to Boston, Massachusetts when she was young. She moved to the Broome County area after she married a Binghamton native. Mary has a Master's degree in Clinical Social Work. She is married with two children and grandchildren.
Transcription
Any written text transcribed from a sound, or alternative text from a visual medium
Armenian Oral History Project
Interview with: Mary
Interviewed by: Aynur de Rouen and Joseph Seif
Transcriber: Aynur de Rouen
Date of interview: 6 January 2020
Interview Setting: Binghamton, NY
--------------------------------------------------------------------------------------------------------------------
(Start of Interview)
00:09
JS: Today is January 6, 2020. We are at the Binghamton University Library with Mary. So, um, what ̶ Where were you born Mary?
00:25
M: I was born in Beirut, Lebanon,
00:26
JS: Or you were ̶ You went to Beirut, Lebanon. Okay.
00:28
M: I was born there. Yes.
00:30
JS: And what is your ethnic ̶ ethnic ̶
00:32
M: I am Armenian.
00:33
JS: Armenian? Okay. How was ̶ Can you tell us a bit more about Lebanon, Beirut, Lebanon?
00:39
M: Well, I came here when I was very young. So my parents immigrated here. So I do not really remember a lot about my life in Beirut prior to coming here. But when I graduated high school, my parents sent me back to get to know the country that I came from and to meet my family that was still there. So then I developed much more of an appreciation and a feeling for where I came from.
01:04
JS: So you have, you have a lot of family back in Lebanon.
01:08
M: Not anymore. I have one uncle, elderly uncle who lives there on my father's side, and then I have a my mother's sister and my cousin who live in Damascus. Other than that, there is well and a cousin who lives in Dubai, but I do not really consider that as much. Yeah.
01:24
JS: Okay. And so when did you come here to the US? He came here with your parents ̶
01:29
M: With my parents in 1959, 1959.
01:34
JS: Wow. Do you have any siblings?
01:36
M: I have one sister. We are a year and a half apart. So we were both very little when we came here. And so I think we became Americanized very quickly as a result of that. And we started kindergarten together. And in the US in Boston, that was where we ended up.
01:53
JS: Okay, so you do not remember anything from when you were kid? You said ̶
01:58
M: Um, I just, I just remember. Yeah, we spoke Armenian at home. Okay. What else did you want to ask me? I do not want to just ramble on.
02:06
JS: Oh, no. So was ̶ Armenian here in the US or just in Beirut, when ̶
02:12
M: both my parents still wanted us to speak Armenian at home here, but we never did. But we were supposed to.
02:20
AD: Do you still speak Armenian?
02:21
M: I can speak I understand. Very well, I can speak but it is a little rusty now. But I understand it. My mother who only passed away four and a half years ago, always spoke Armenian to me. So the language is very much a part of me. Always.
02:36
JS: Um, so when you? You said you came to the US ̶ when you came to the US as a young kid and went to school here. How were ̶ How was like the environment change? Do you recall any of that?
02:47
M: Well, I just remember, um going to kindergarten and not understanding the teacher.
02:53
JS: Okay.
02:54
M: ̶ Like one day, and then the next day. I just understood, that was what it seemed like, I am sure the process. But you know, at that age, what are you going to remember, except just being there and all the kids understood the teacher and you did not understand word and then, but I do not remember being terribly upset by it. Because I think my parents just told me it would come real quickly and it did. Yeah.
03:14
JS: That is good. That is good. So could you let us know a bit more about your family's history, your parents? What work ̶ with their jobs and everything.
03:25
M: My father was from Beirut, and he got us. I mean, up through up until college, I do not know what school he went to. But he was French educated. And then he went to the American University in Beirut, and he is an engineer. He was an engineer. My mother went to a French missionary school in Damascus, where she grew up. And so French was her first language all along, after Armenian, and she got her baccalaureate. So my father was an engineer, and he worked as an engineer in Beirut, up until the time we came here, and then he got a job here in the center,
04:01
AD: where they born? Your dad?
04:03
M: My father was born in Beirut. My mother was born in Idlib, Syria, which is now really difficult place but
04:11
JS: [indistinct] Syria?
04:12
M: Idlib.
04:14
JS: Idlib, oh, yeah. Okay.[laughter]
04:20
AD: So how did they end up in Lebanon and Syria? Do you know that history?
04:29
M: I do not know very well, I know, my paternal grandparents, I think were from Istanbul and ended up in Lebanon. And I do not know how. I do not really have much information about their family. But on my mother's side, I know more than enough because my mother was a family historian. So she wrote a family history book, and she traced her family back on her father's side 500 years and they were always from Aleppo. And again, I guess, according to her research before that they were from Ani in Armenia.
05:02
AD: Van
05:03
M: Van, yeah. And then move to Aleppo. So they were at that point, I think when my mom was one my grandparents met. My grandfather was basically Arab speaking. very Armenian, you know, very Armenian orthodox religion. But just like we speak English, even though we are Armenian, and they spoke Arabic in the family. And do you have questions? Or ̶
05:25
JS: This is very interesting?
05:30
AD: Yeah.
05:30
JS: So you mentioned that your mom wrote a book, is it? Is it published or ̶
05:35
M: No, it is self-published. And I thought about it, but I just thought, you know, it is kind of a very personal book. And I do not know if you know, but my mother did other projects that, that I made sure to donate to the library when she passed away. She did. She was very artsy. And she sewed and did a lot of things like that. And she made like 50 costumes for Armenian historical costumes that were spectacular. And we donate donated them to the Armenian Museum in Boston, where they have them and they display them.
06:09
JS: So your mom did like more Armenian art or traditional cultural ̶
06:15
M: the costumes, like she researched all the history, and all the costumes of women of the various periods starting in pre Christian times, all the way up to you know, the World War I time, and she did all the costumes. It is unbelievable. But I do not have pictures of all of them. But I have pictures of a couple I can possibly send you. Plus she did an oral history project to where she went to. There was an Armenian nursing home in Jamaica Plain Massachusetts. It was all Armenian elderly people. And she did an oral history where she would go in and tape them talking about their experiences during World War I, during the genocide ̶
06:56
AD: So those are the survivors.
06:57
M: The survivors of the genocide, and that we also donated to the museum.
07:03
JS: Wow. It is fascinating.
07:05
M: It is. Yeah.
07:09
AD: It is, it actually is. So when you were ̶ So when did you move to Binghamton?
07:13
M: When I got married. And ̶
07:15
AD: So, you grew up in Boston.
07:18
M: I grew up in Boston? Yep. Where there is a big Armenian community. Yes.
07:22
AD: Okay. Even today, it still continues ̶
07:24
M: Oh, yeah. Okay. So, can you tell me how your surrounding ̶ like, your house ̶ when you were growing up? When you go to your friend's house, like, did your house look different? Are ̶ you know, like ̶
07:42
M: No not really. No, it was pretty similar. My parents were pretty Europeanized. And I do not think that there was anything that would distinct ̶ distinguish us from my friends homes or anything like that. My best friend was Armenian. But that just kind of happened growing up because her parents were friends with my parents. So I do not feel in any way that I grew up feeling different. I went to high school, I went to an all-girls Catholic High School in Boston, where everybody was either Italian or Irish. There is a huge Irish population there. And then I felt a little different because my family you know, did not we went to an Armenian Orthodox Church and this and that, but I never really felt like it has stigmatized me I had a lot of friends and things so did I answer your question?
08:27
AD: Yes. So you did not have anything represents Armenian culture in ̶ like your decorations?
08:36
M: No.
08:36
AD: Nothing like ̶
08:38
M: In my house or my parents’ house?
08:40
AD: In your house or in your parents’ house.
08:45
M: I am trying to think but it was long time ago ̶
08:46
AD: You said made costumes. Was she also, also like, like crochet ̶ you know, stuff like that.
08:55
M: My grandmother did things like that, that my mother had. But my mother did not do those things. And when I was growing up, my mother was not even really that involved with doing those kinds of things that she later went on to do with her research and her book writing and things like that. I see.
09:10
AD: I see. So how about food?
09:13
M: Oh, yes, food? Definitely. We ate Armenian food, which we still love to go and eat Middle Eastern food because it is part of our culture and what we love so the food definitely, yeah.
09:24
AD: And how about your house? Like when you can? Yeah, like, ah, did you eat Armenian food growing out?
09:34
Daughter: That tradition continued? Yeah, yes,
09:38
AD: Food continues language ends, but food continues.
09:42
M: Language did not end either. But it did end with my kids. Unfortunately, that is where I do blame myself that my husband is also Armenian, and he can understand but he does not speak at all. So it became a little bit of an impediment for me just like on an everyday basis to just speak the language but she [referring to her daughter] because she hung out with my mother and me all the time. Got a real earful of Armenian. So she understands a lot more than she even gives herself credit for. I think, yeah.
10:09
Daughter: I wish I spoke fluently, but ̶
10:12
AD: Well, if you have it, so maybe if you visit, yeah, you know, Armenia then or hang out with more Armenian speaking people.
10:24
Daughter: Absolutely. Even after a week of being around extended family, you see yourself understanding more than you even did prior to that. So ̶
10:34
AD: Absolutely. One day. Yeah, yeah. Why not?
10:36
JS: So you said your there was a big Armenian community in Boston. Were you friends with a lot of them? Did you guys have like parties? Or events ̶
10:43
M: Yes, it was fun being a young person in Boston, those days. I belong to the church, the ASA, the Armenian Student Association. And then when I went to college, I belong to another Armenian young adult organization. And there were always dances and I was in a play, speaking in Armenian, I mean, all this crazy stuff, but it was very fun. And actually, my best friend was also Armenian. And we did not even know we were Armenian. Until after we got to know each other and like, “Oh, my gosh, your Armenian too?” Oh, yes. There was ̶ It was great. It was really nice. We had a lot of fun.
11:18
JS: That is good. So is that how you met your husband? Or?
11:20
M: No, we were set up on a blind date.
11:23
JS: Oh really?
11:23
M: Yes. By family? Yeah. Because I have family here in Binghamton. And we were here to visit them once and his elderly aunt met me and thought, “Oh, she might work for my nephew.” So that was how that got set up.
11:40
JS: Interesting.
11:40
AD: So were you expected to marry an Armenian?
11:45
M: You know, you probably think I was but there was not any pressure on me to do so. My mother just said marry the person you love. And my father was never very Armenian in his, in his sentiment and his identity. And my father was very much of like an artistic type who really kind of felt closer to France and all that rather than he did to Armenian but my mother was very Armenian, but she never impose that on me. No.
12:08
AD: How about you with your ̶ How many children do you have?
12:12
M: My daughter and my son who is older? Yeah. I never did ̶
12:17
Daughter: I think it was always something that they recognize would be an asset in a relationship if you had that shared cultural background and understanding of each other. But there was never an expectation attached to it.
12:28
AD: So how do you identify yourself?
12:30
Daughter: Very Armenian? Like, like my mother said, I grew up very close to my, my grandmother and other relatives. And that was always such a fundamental part of their identity that even more than my brother, I think I took that on and I really identify with it.
12:47
AD: Are you married?
12:48
Daughter: Yes.
12:40
AD: Do you have children?
12:51
Daughter: No.
12:51
M: She just got married.
12:52
Daughter: A couple of ̶ three months ago. [laughs]
12:56
AD: Oh, congratulations. How about your brother? Is he married?
12:58
Daughter: He is and two children too.
13:01
AD: So how about his children? Do they identify themselves with the Armenian ̶
13:07
Daughter: There ̶ His wife is European, very Western European. My brother like I said, it is not as much of a part of his identity as it is with mine. It comes through ̶ my mother introduces them to Armenian music.
13:21
M: And I spoke to them in Armenian sometimes when I can they understand body parts, you know, in the Armenian language and things like your toes or whatever.
13:31
Daughter: But I guess time will tell a little bit. They are still very young, so.
13:35
AD: And still a lot is going on in that part of the world. It is good to know that language that is for sure. Yeah. Any languages from that part of the world is really vital. I think.
13:49
JS: Did you guys ever go back to visit Armenia? Or ̶
13:53
M: So going back I told you, my parents sent me between high school and college I spent more than I actually loved it so much in Beirut that I was always supposed, yes. Okay. So I was just turned 18. I took this whole trip all by myself, stayed with my relatives in Syria and in Lebanon, and then ended up staying in Lebanon and loving it so much that I asked my parents that I could go to school there and I went to AUB [American University in Beirut] for two semesters. But then when we started dodging rockets coming from here and there, my parents said “Come home immediately,” so ̶
14:28
JS: Was that during the Civil War?
14:29
M: Yes. The beginning of the Civil War. Yes.
14:31
JS: you were there. Were other Armenians there as well? I would imagine. So yeah.
14:37
M: Oh, huge, huge amount of population of Armenians. Right there. Yes. Yep. Yeah, but I loved it. It was fabulous.
14:46
JS: Yeah, a lot of the food in Lebanon and elsewhere in the Middle East is influenced by Armenian, a lot of the, the meat. I know you guys call them differently.
14:56
AD: Köfte
14:56
M: Yes, köfte, we call it köfte too.
14:59
JS: Oh, you do okay, okay. [laughter]
15:02
M: Absolutely, and we have the dolma, which is like the stuffed zucchini and cabbages and
15:07
Daughter: Grape leaves ̶
15:07
M: Grape leaves, yeah with different kinds of stuffing
15:12
AD: Fasulye.
15:12
M: Fasulye, oh, yeah. Like in my freezer right now. So yeah ̶
15:17
AD: Absolutely. It is the same food. It is just, you know, everybody ̶ like the ethnicity of the food so you can separate.
15:27
JS: It is hard to determine ̶
15:29
AD: From Greece all the way to you know, [indistinct]. You cannot separate it. It is just so intertwined. Yeah, yes.
15:40
Daughter: Absolutely.
15:40
AD: We all eat the same food.
15:42
M: Yes. And it is good, healthy, really delicious food.
15:48
Daughter: She, she is a really good cook.
15:53
M: Oh, [indistinct]
15:54
JS: you cannot say otherwise. You have to say ̶
15:56
Daughter: Oh, that is ̶
15:57
M: That is right. I am twisting her arm behind the scene so you better tell them I am a good cook.
16:02
JS: I would have to do that for my mom.
16:07
M: Oh, she is for sure.
16:08
JS: All right, so you mentioned religion when you came to the US. So back in Beirut, there was a big? Well, you do not quite remember it. But when you grew up here with religion and stuff, there was a lot of Catholic in Boston, right? As the most orthodox was that any barrier to ̶
16:26
M: But there was a big Armenian population there. There are five Armenian churches in the greater Boston area. The different parts of you know, different kind of factions, if you will, of the Armenian Church, the different kind of philosophical slash political beliefs that lead to different kinds of churches. But we were part of the Holy Trinity Armenian Church, and that was where I grew up going. It is a beautiful big church. Right. Yeah. That was there already. When? When we went to Boston.
16:54
JS: Okay. And did you ever go back to Armenia itself?
16:58
M: I have never been to Armenia, I have never been there.
17:01
JS: You do not have any relatives, family there? No,
17:04
M: No.
17:07
AD: How about Istanbul?
17:08
M: I have never been there. And I just feel like all the family ̶ My Turkish people that grew up in Turkey, ended up the ones that I know, have ended up either in Lebanon or Syria.
17:20
AD: So they left, because I ̶ my research deals with non-Muslim groups in Istanbul. And yeah, some people left but like a lot of Armenians from Istanbul, they do not end up leaving ̶ but there are some yes, but, but a lot of them stayed.
17:47
M: That is very ̶ I am sure that is true. I do not like I said, the only people I knew from Istanbul were my paternal grandparents and I do not have any history on why they would have left and why they ended up in Lebanon, I have no idea.
18:01
AD: You could do that research. You could find your ̶
18:05
M: I think that is probably in my future. And I would love to get some help.
18:10
AD: I will help you.
18:11
M: Thank you. I was just going to kind of put that in there, somewhere, yeah.
18:15:
AD: I will help you, yeah.
18:16
M: Because my, my uncle who's still alive, he is in his 90s. Now he sent me like a little family tree with pictures, but it only went back two generations, like his parents, so that on the fourth generation, way from where he came, but I would like to know why they went. I know my mother's mother was born in Antep, Gaziantep I think it is called now, they came from what I was told was a wealthy family there have an Armenian kind of area in Turkey. But I guess when the war started, they just left everything. But they were close enough to Aleppo to not get into some of the difficulties that some of the others did, leaving the country. So they just took a train left everything behind, ended up in Aleppo, where the Syrians had a really amazing social services’ system set up for the people, the refugees from the war, so they had them housed and fed and my grandmother was teaching English unbelievably enough in an Armenian school that got set up in for the orphans in Aleppo. And that was how she met my grandfather, who was a lawyer, actually, he went to law school Istanbul, my grandfather on my mother's side, but then he went back to Aleppo afterwards to practice law.
19:34
AD: Yeah, is it ̶ but the ̶ what I know of the Armenian ̶ majority of non-Muslim population, especially Armenians, they were like really well educated group of people.
19:51
M: Yeah, I my family that has always been stressed. We all you know, doctors, engineers. I have a master's degree clinical social work so and so does my daughter. I mean, we stressed education and my husband has a degree from, from University of Pennsylvania. I mean that, that has always been not financial wealth as much as just really education was always stressed.
20:13
JS: Okay. Yeah. Can you tell us more about your family's history on your mother's side? The one that you know that that is really interesting.
20:21
M: So what do you want me to state ̶ So, so my grandfather's family was there, he went to Istanbul and got his law degree, went back met my grandmother, who was one of the refugees from Turkey, fell in love got married, they had six children in eleven years. And my grandfather became a circuit judge in northern Syria. So they had like ̶ each kid was practically born in a different part. My mother was born in Italy, her younger sister was born in Deir ez-Zor or others born in Aleppo. And then I think the youngest one was born in Damascus, but I could be wrong about that. I cannot remember. So they traveled a lot. But my mother loved Aleppo. Aleppo was very special for her, because that was where she was really little. And ̶ everybody was looking at their phone.
21:12
Daughter: Sorry about that.
21:16
M: So and then, when my mother was I do not know how old she was really, she was still ̶ she went to an Armenian Elementary School in Damascus, because then he got transferred to Damascus. And so my grandfather had quite a stature in his community, in the Armenian community in Damascus. And the Armenian Pope, the pope from Etchmiadzin in Armenia came to Damascus, and he stayed at my grandparents’ home. And they had all kinds of ceremonies and things like that this was a story my mom told over and over. So there was a lot of respect for, for my grandparents in the community. And then he became a member of parliament, and he represented the Armenian population in Syria. And while the French were still in Syria, but then when the French left and the Syrian government, you know, it kind of went into turmoil and all that, then he lost his position there. And then he died shortly after that. That enough, do you have more questions? [laughter]
22:15
JS: That is really interesting. Interesting. Wow. So do you know anything ̶ Do you know more about the French? Like, when Syria was under French control how, how life was there? Or ̶
22:28
M: I think they were very happy. And from what my mother tells me, the various religious minorities, whether it was the, you know, the Muslims, the Armenians, the Catholics, or whoever, they all got along very well. There was no problem. My, my, my grandparents had friends from all walks of life and from all various religious, ethnic backgrounds, and everybody was really comfortable. And I think the French let them be pretty much they did not try to impose them their culture on them so much, so they grew up in a pretty good place. Like I said, my mom went to French schools.
23:06
JS: Yeah. Oh, yeah, that is right. That is the French Connection.
23:07
M: The French Connection. The Franciscan nuns, the French nuns, and my uncle's some ̶ My mother was five brothers and sisters, three brothers and two sisters. So the boys went to a French boy school and the daughters went to a Franciscan.
23:22
JS: Interesting. So what, what really ̶ do you know what happened after when the French when Syria gained independence? Why did, why did your grandfather get kicked out of ̶
23:35
M: I do not know exactly why, but I guess, um it just kind of happened because the Syrians maybe did not identify the Armenians as, as a group that needed to be represented in the parliament. I do not know exactly. But I know that it was very difficult for him afterwards. And he was only in his early 60s and he died of a heart attack shortly after that was very stressful for him. Yeah.
24:01
AD: I am sure it was the stress.
24:03
M: Yeah, yeah.
24:06
JS: What time is ̶ Okay. See if you have any other questions, do you have anything?
24:13
AD: No.
24:15
JS: Do you have anything you want to add on or say? Anything about your family? Anything you can recall, but anything you experienced that was Armenian or linked to Armenia?
24:27
M: Well, my family is dispersed all over the world. And we all maintain our Armenian heritage very closely. We get together as much as we can. We are very close. So I think part of that is just due to our Armenian background, you know,
24:42
JS: Yeah. Do you guys ever like you said mentioned your whole family's around the world? Do you guys ever do like a big family?
24:48
M: Oh, yeah.
24:49
JS: Oh you do?
24:50
M: We just had one about two years ago in Canada, but we have done it in France. We have done it, um ̶ When I was little, we went back to the Middle East with my mom and we spent a whole Somewhere in the Middle East, but I was still little, you know, at that time, so, but I remember oh wait a minute I do remember, I was in my grandmother's kitchen, and that was when Saddam not Saddam. Okay, I am the president of Syria. Oh, Hafez Al Assad was there was a coup d'etat while we were there. This was in 1963. There and so we were at this reunion, and there was a coup d'etat going on, I was in my grandmother's kitchen, all of us. There was like, I have twenty-three cousins, and my mom has lots of siblings and my grandmother and all these people. And they started like guns going off in the street. And they did. They did were curfews. Thank you where you can, you know, leave after so we would all just hang around in one house and the kids. We were having a ball, but the adults were. But then we went to Beirut, and then we you know, got a house and big fire all of us all together. It was great. But yeah ̶
25:55
JS: It is a good place.
25:57
M: Oh, it is so beautiful. I remember that. I remember mountain climbing and just running and playing all day long. It was so beautiful.
26:04
JS: Yes. It is very known to being an Armenian ̶ Armenian place.
26:08
M: Is that so I did not know. Yeah.
26:10
JS: Yeah, Yeah. It is, also it is also a good place for skiing as well. It is up there.
26:15
M: Yeah. Yes, it is. Yeah. It had red dirt. I remember mountain climbing coming home, my mother being mad because our clothes were covered in red soil, and she could not wash out. But yeah, it is a beautiful place.
26:28
JS: Interesting. I do not know what to add.
26:33
AD: Okay. Um, did you hear from your mom, or your dad, like, anything related to the Armenian Genocide?
26:47
M: You know, I was just telling my daughter that I never knew that was a genocide until I went to the Middle East. And even then it was not like it was not a cocktail party conversation. And the only way that I heard it was because my, my mother sister that I am very close to ̶ used to take me on her visiting days when they would go to different lady's houses, and they would have coffee and pastries and stuff. And one of the ladies there was, they would all say she was to be in a Turkish harem. And they said it was because during the war, she was a little girl, and somebody put her in a harem. And then anyway, I do not know how she got out of the harem. I do not know what happened. But I remember saying how did that happen? And they told me Well, there was a war and a lot of Armenians died or, or were killed or went through these death marches. And she was just taken on. But they also said, and this is something I wanted to stress too, you know, yes, it was terrible. And the government made these choices that killed all those Armenians, but the average Turkish person, somebody's neighbor, somebody's friend, we were doing everything they could to help the Armenians behind the scenes, you know,
27:52
AD: Yeah, they are friends, neighbors ̶ Wouldn't you help someone ̶
27:57
M: Absolutely. But I guess their point was, they did not want the whole thing to seem as though there was some monstrous thing going on with everybody participating. It was just kind of ̶
28:06
AD: Yeah, not everybody. Yeah, it was it was political. And then a couple of people decided it was ̶ all political concerns, right? What is going on today? But people that ̶ help each other?
28:21
M: Yes. But I think it was on my parents got divorced. And my mother married a Hungarian man who lived through the war, and then Revolution and the Russian takeover of Hungary. So he was a refugee that went to Boston from Hungary. And so he really, I think, was kind of an impetus for my mother to start researching more about what happened with Armenians and the genocide. And, um so that was when I learned more and more about it, and, yeah ̶
28:50
AD: Because up until the nineteenth century, you know, the, the word is millet. It is like people with book ̶ religious book, like either Jews or Armenians or Greek, you know. They had some rights. It was not like, they do not mean ̶ they were minority. But it was not like, like in the nineteenth century, that they lost everything. It was like that. So but it is all political. Now, fortunately, right? It has happened, but it is. So you do not mean this to arrive or that you recall from your family ̶
29:41
M: As I said, my maternal grandmother left but it was not. It was not a really traumatic, it was very hard for the family because they left everything behind. But there was no physical danger that they were in or anything like that. But on my, my husband's father's side, he grew up in Hadjin [Saimbeyli]. I do not know what it is called. It is like a mountainous area with his family, his father was a priest. And the whole family left and went to Marseilles when things first started, but my father in law who was born the same year as my, my grandmother, so he was born in 1902. Okay, my father in law, so now he would have been like a hundred eighteen years old. So he was a child during World War I. And he got left behind with an elderly relative who could not travel. So he went through a lot. And he thought a lot being where he was, and not being and being fifteen. But somehow, he made it to Marseilles at some point, I do not know details, because he could never talk about it. I think his whole life, he probably had a lot of PTSD as a result of it. Post traumatic. Yeah.
30:54
AD: Yeah. It was not an easy time. That is for sure.
30:55
JS: So when you were ̶ you said you found out when you were in Lebanon? Did you feel like the Armenians, the Armenian community did not really talk about it? Or did they? It felt like something they just want to leave behind? Or ̶
31:10
M: I do not think so I think there are definite groups of Armenians that, you know, wanted, I do not want to say we banned, but wanted it. And I think all Armenians just out of the sake of you know, after the Jewish Holocaust, there was retribution and all that. And that there, there needs to be some sort of closure, some sort of admission and closure. Nobody wants to go take lands back, as far as I know, at least people I know, do not do not want to do that. They just want to sense a closure. And a sense of Yes, you did go through that. And it was terrible. But it is all behind us now. And we can move on from there. You know, and I think we all agree on that. But there are some that are a little more militant than that. I do not know if they are still like that. But when I was a kid growing up in Boston, there were some people that used to get a little more worked up over it.
31:57
AD: Absolutely.
31:57
JS: Yeah that makes sense.
31:58
AD: Yeah, absolutely, um. Go ahead.
32:09
JS: I am thinking I am thinking,
32:11
AD: I had something, but I forgot right now.
32:12
JS: Okay. Um, do you ever plan to go back to do live there? I mean, or like visit one more time, or ̶
32:21
M: If the political situation is not as bad as it is now. I would never go back right now. My, my aunt and my cousin are actually in Damascus, and they are living there. They went to Beirut, when the war was really going on in Syria really badly. They got an apartment in Beirut, and they seem to be doing well. But my aunt was in her eighties just was not happy there. She wanted to be back in her hometown. So when things quite a done in Damascus, her daughter helped, you know, went with her just so that she would not be alone. And they are there. And it worries me now whenever I hear the news and what is going on, but they are so used to it. Not, not to say not to normalize it, but in some ways, you know ̶
33:02
JS: Yeah, yeah. I know what you mean.
33:05
AD: Well, you can always go back to Istanbul. They are like, maybe you do not know your relatives, but the architecture is ̶ like wonderful. Oh, yeah. Armenian architects. And that is my thing, architectural history. So well. I mean, they are, like, beautiful examples of the architecture and the cuisine. Like the ̶ Istanbul the food ̶ It is definitely Armenian and Greek ̶ combination of that Greek culture.
33:42
M: Right.
33:42
AD: It is, it is really, really delicious.
33:44
M: Right, well, my mother used to make Istanbul dishes from learning from her mother in law. And those were my favorites always. They are really good.
33:52
AD: Yeah, it is. It is unbelievable. So and then, you know, the churches.
33:57
M: And the mosques. I know though. Yeah. But also there are like,
34:02
AD: Yeah, but also there are like ̶ beautiful Armenian churches, majority is Gregorian [the Armenian Apostolic Church], we have real a small number of Orthodox Armenians. The majority ̶ I am told about, like more than 90 percent is Gregorian.
34:18
M: Gregorian. I am not sure what ̶
34:20
AD: It is more I think protest.
34:22
M: Oh, okay.
34:23
AD: It is I but still, I think it is not like after the Reformation period, it is still before, but if they ̶ I do not know, I am not a big person. That is the Gregorian.
34:44
M: Okay. You know, I do not think I have ever quite heard that term before. Unfortunately.
34:50
AD: Really? Oh, that is, that is the majority of ̶ the sect.
34:56
M: Okay. But it is more Protestant. You said it is the Protestant.
34:59
AD: That is what I am thinking because it is not orthodox, we have some orthodox Armenians but it is like very small percentage but majority ̶ like Armenians, Assyrians they are Gregorian so do not ask me so much about it.
35:20
M: I am going to go home and Google it and learn about it.
35:26
AD: Yeah. [laughter]
35:26
M: But I ̶ my mother gave me a notebook that belonged to my ̶ It was like my grandfather her father's journal that he kept when he was young like he made the note that the day that my mother was born and wrote about his feelings about having a new daughter and it is beautiful but I cannot really read it because I do not read Armenian I speak it but I do not read it so but there is also a part in it about when he was in law school and about how much he loved Istanbul and again he talked about the architecture and the beauty of the of the land itself and the, the, the beauty of the country you know, so he was very impressed with it. Because he grew up in Aleppo very dry very yeah desert like can almost conditions so ̶
36:09
AD: And whereas Istanbul is all water. You know, you know, of course we have less green now. Thanks to all this unnecessary buildings, structures, but still is, still it is beautiful. I think it is.
36:31
M: Is that where you are from?
36:33
AD: Yes. That is where I am from. So I am not objective about it.
36:39
M: You do not have to be.
36:42
AD: [indistinct] hometown. Yeah, it is different. When you talk about your hometown, definitely.
36:52
JS: Okay. Well, I am just going to wrap up everything but before I do, I just wondering if you have anything else to add about food, culture, religion, experience is at think of any cultural thing. Traditional stuff?
37:10
M: I do not know. I do not think so. I think of anything ̶
37:15
AD: I have a question so like when you name your children? Do you pick Armenian names?
37:23
M: I did not. Although I my daughter's middle name is my mother's name, which was Armenian.
37:29
AD: Yeah.
37:29
M: And my ̶ But no, other than but my great grandma, my grandma, not my grandma. Yeah, yeah, my granddaughter's first name is my mother's name. Lusin. You have, you have seen her at the restaurant? The little girl, not the baby. But the other one. Yes. Her name is Lusin, which is my mother's name, which means moon and Armenian. And so, yes, but other than that, yeah, not. Because my name was always hard. Okay. And I had the one that has probably come to think of it. The one thing that did torment me was my name. Because No, none of my teachers could say it. And so my parents changed my name to Susan, when I was, when I was in elementary school. So somebody would call me Susan instead of Hey, you were Yeah, that one over there. So that was the only thing that I had problems with was my name. Yeah.
38:19
JS: Wow. Interesting.
38:22
M: Yeah, forgot about that
38:23
Daughter: Leaves an impression.
38:25
AD: Yeah. But ̶ I have five letter on my first name, okay. How different ̶ It is not like I have fifteen letter, all consonants together that you do not know how to pronounce it. Five letters. And I have like thirty different versions ̶ how my name spelled and pronounced.
38:49
M: Oh, join the club.
38:50
AD: I do not want to put in the tape now. Some of the things I was told. And I am like, “Really?” Like,
“How did you come up with that?”
39:00
M: Well, exactly. I can I can tell you I had the same experience that was shocking, because if you can read you can tell it that completely off base. But then, but my name is five letters to it is not that confusing.
39:17
AD: You know, Indian names and it stars and it never ends and you are like “Okay.” “How am I going to say that?” It is not like that ̶ five letters. You can come up with something easily. That is amazing to me. It is like, but that is, that is people's laziness. I think seriously, that is how I feel.
39:43
M: Right about I also think that now everybody's name is made up like everybody makes up their kids names. Well, when I was growing up, nobody had any different names than Kathy and Mary and a couple other names and if your name was different than you were different because of it. Which I did not mind. I just wanted them to pronounce my name correctly.
40:04
JS: Yeah.
40:04
AD: Yeah that I totally understand.
40:08
JS: The science of the names.
40:10
AD: You are happy your name is very easy.
40:13
JS: Three words ̶ three letters ̶ Joe
40:17
AD: How can you go wrong with that, right?
40:18
M: Yeah, you cannot go wrong with that.
40:20
JS: Less than a safe so you can just call me there Joe save or Joseph.
40:27
AD: That is easy.
40:28
M: That is easy.
40:30
JS: The only thing with me is that people look like wait your name is Joe. Are you sure? But do not think it is like Mohammed or something like ̶ yes like to make sure.
40:40
Daughter: To convince them
40:41
JS: Convince them.
40:43
AD: Because there is this conception that if you are from Middle- East you must be Muslim or Jewish. It is like you know, if you are a Christian that oh really there is still this you know, I mean if you are from the area you know that is normal but if you are not there is that concept in their mind like majority of the people are Muslim and ̶
41:10
M: That is right. Or they do not know the finer distinctions between ̶ I was born in Lebanon but I am Armenian you were born in Lebanon maybe but your ̶ you are Lebanese or you are Arab extraction whatever, but they do not they do not get that they, they we have Lebanese friends and they call us Lebanese too, because they know we were I was born in Lebanon. So I guess that makes me Lebanese in a way but I guess I really identify with Armenian and not Lebanese you know.
41:39
AD: People who are born and lived all their lives over there. I would say Lebanese Armenian or Turkish Armenian. You know what, like, because you are as much as Turkish if you were born and raised there.
41:59
M: Yeah.
42:00
AD: Like anybody else.
42:01
M: Right?
42:01
AD: That, that is not the ethnicity that ties you to the land.
42:07
M: That is right.
42:08
AD: You are from there. You know, you are from Istanbul and yes, you are from Istanbul. It does not matter what religion you have, what ethnicity you have, you belong that piece of land,
42:20
M: The exact words, but they, but they kind of inter interject the ethnicity into the piece of land you belong to and the language and the religion just go along with it. So it is kind of hard to pull it all apart for people sometimes I think.
42:33
AD: I know
42:34
JS: What, what I believe is might be a bit more like a counter you but I think like where you were born does not necessarily mean. That is who you are. Because I was born in Saudi Arabia. I am not ̶ definitely not Saudi Arabian.
42:49
AD: Come on now.
42:49
JS: I am ̶ no.
42:51
JS: I do not. I like ̶ that land means nothing to me. Just a piece of desert. And that is it.
42:58
AD: Yeah, but you were there for a short period of time. I am talking about people ̶
43:05
JS: That live there ̶
43:05
AD: Generations after generation, do not they think they deserve that, that they are from that piece of land?
43:14
M: Right. Sorry.
43:15
JS: ̶ Can contribute?
43:16
AD: Like they were there for three years or less?
43:19
AD: That is right. That is right. Okay. Hey, that is that is what I get.
43:23
M: Yeah, my, my mother's mother was born in Turkey. She left when she was I do not know how old I guess she was about fifteen when they went to Aleppo, but she spoke Turkish to her sisters her whole life. And I think she had a strong affinity to Turkey. And Antep. She cooked all the food that was really regional Antep cooking, which is awesome, too. You know?
43:46
AD: Yes it is and who knows? How many generations?
43:49
M: Oh, way back.
43:49
AD: ̶ lived here. That is what I am saying.
43:53
M: Exactly
43:53
AD: Yeah. Like something happened. This is all political. At the end of the World War I, like when everything became crazy in that part of the world. So they made this exchange like, for Greeks, like whoever lived in Turkey had to leave look like how shocking that is. They had to leave their motherland, that they been living there for centuries, and they had to go to Greece. Likewise, Turks who have been living in Greece need to leave there. And guess what those people never made that because they were always looked at as an outsider wherever they left. To me, that was the cruelest thing you can do to someone
44:43
M: Definitely being displaced. Yeah, that is a terrible thing. It is.
44:49
AD: It really is forceful, but ̶
44:53
AD: Yeah, so anything else, Joe?
44:56
JS: I do not have anything. No. Think¬ ̶
45:00
M: I do not ̶ I really
45:03
JS: I think it is a wrap.
45:05
AD: Thank you so much.
45:07
M: My pleasure. It was very fun. Very interesting. Very nice to meet you.
45:11
AD: Yes.
(End of Interview)
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Interview with Mary
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https://omeka.binghamton.edu/omeka/files/original/7c08c69d81cb6124f404fda082583094.mp3
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Armenian Oral History
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<p>Aynur de Rouen, Ph.D.</p>
Description
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<span>This collection includes interviews in English with informants of all ages and a variety of backgrounds from various parts of Armenia. The interviews provide deeper insight into the history of the Armenian culture through personal accounts, narratives, testimonies, and memories of their early lives in their adoptive country and back in Armenia. </span>
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In copyright.
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<a href="https://www.binghamton.edu/libraries/about/collections/oral-histories/index.html#sustainablecommunities">Sustainable Communities Oral History Collection</a>
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English
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Date of Interview
2 February 2018
Interviewer
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Jacqueline Kachadourian
Interviewee
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Mikayel Harutyunyan
Language
English
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Binghamton University
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Audio
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This audio file and digital image may only be used for educational purposes. Please cite as Armenian Oral History Project, Binghamton University Libraries, Binghamton University, State University of New York. For usage beyond fair use please contact the Binghamton University Libraries for more information.
Biographical Text
Mikayel Harutyunyan was born in Yerevan, Armenia, and moved to New York in 2012. He received his Bachelor's degree in Graphic Design from Binghamton University in 2020. While studying at Binghamton University, he was the Graphic Design Intern at Pipe Dream Newspaper. Harutyunyan plans to work in either product design or graphic design in the entertainment industry.
Transcription
Any written text transcribed from a sound, or alternative text from a visual medium
Armenian Oral History Project
Interview with: Mikayel Harutyunyan
Interviewed by: Jackie Kachadourian
Transcriber: Cordelia Jannetty
Date of interview: 2 February 2018
Interview Setting: Binghamton
--------------------------------------------------------------------------------------------------------------------
(Start of Interview)
00:13
JK: My name is Jacqueline Kachadourian, I am interviewing, um, for the Binghamton University Oral History Project Today is February 2, 2018. Um, will you please state your name for the record?
00:25
MH: My name is Mikayel Harutyunyan.
00:28
JK: And can you give us some biograph-uh, biographical information like where you are from.
00:33
MH: Yeah, um I was born in 1998 in Armenia, Yerevan, uh and since then I have moved to America, um, for studies.
00:47
JK: And, um, growing up in Armenia, uh how long did you live there until you moved ̶
00:53
MH: I lived there until I was thirteen years old.
00:55
JK: And then you moved to the United States?
00:57
MH: Yes.
00:59
JK: And, um, would you tell us about your parents, u their occupations and their role in [indistinct] ̶
01:04
MH: Uh, my dad is a businessman, uh so he does multiple ̶ he, he deals with multiple companies, multiple different jobs. And my mom is a ̶ used to be a banker, an accountant and then she is now a stay at home mom who studies in college.
01:25
JK: And did you have any siblings growing up?
01:27
MH: Yes I have. When I was growing up I had a one year like an older brother whose one, one years old one year older than me. But now I also have a, a eight year old small brother.
01:39
JK: And did you attend Armenian lang-language school or bible school or ̶
01:43
MH: Uh, well yeah when I was in Armenian I was in an Armenian school.
01:48
JK: And, uh, did you ̶ assuming in Armenia you spoke Armenian ̶
01:53
MH: Yes.
01:54
JK: Uh, did you learn any other languages like Turkish or [indistinct] ̶
01:57
MH: Uh, I learned Russian.
01:58
JK: Russian.
01:59
MH: Uh, Russian is the second language for Armenians in Yerevan.
02:03
JK: And, um, uh, did your family a-always stay in Armenia in like the past, or did they move from different places to Armenia?
02:13
MH: Yeah, uh, my mom's side, uh, had lived in Armenia in, uh, I mean both of the sides have lived in Armenia but not Yerevan ̶ only the, uh, grandparents, uh, my grandparents that moved to Yerevan and since then their kids, uh, my mom's side comes from, uh, uh, Hoktemberyan. And my dad’s side comes from, uh, [indistinct], in Ijevan.
02:41
JK: And, um, did your family ever go through the Armenian genocide or were they not part of it?
02:50
MH: Uh, I know that my mom's side was affected because her, um, her uncle's parents they, they were separated at, uh, when they were moving away from Armenia, or fleeing Armenia to come to U-the US. They, uh, separated-the older and the younger brothers were separated because they were put into, uh, different, uh, home services for kids, uh, and they accidentally ̶ one of the kids' names was changes ̶ last names was changed so they do not even have the same last name even though they are cousins.
03:31
JK: Mhm, and did they ever reconnect, do you know?
03:33
MH: Yeah they, they reconnect they reconnected later on and, uh, they are bo ̶ all, all of them are in, uh, America ̶ or -Los Angeles.
03:40
JK: Okay. And, uh, growing up in Armenia, was it like ̶ um, moving to the United States ̶ how was it similar or different?
03:51
MH: Uh, I feel like my parents were always kind of, um, like, uh, they, they were active in the US ̶ in Europe they traveled a lot so we were kind of used to this ̶ the English language, watching stuff in English, um, we ̶ I mean obviously I was not good at speaking, uh, I thought I was because I studied in Armenia but turned out when I first arrived it was not easy, um, but after a while, I got used to it.
04:16
JK: Um, growing ̶ uh when you moved to the United States, uh, what part did you move to?
04:21
MH: Uh, we moved straight to New York, um, yeah Westchester.
04:26
JK: And were there a lot of Armenians in the area or no?
04:28
MH: Not a lot at all, uh, and the Armenians that are there, they have been here for such a long time that it is kind of different, uh, yeah.
04:37
JK: And, um, growing, growing up in Westchester did your parents speak Armenian in the household or did they ̶
04:44
MH: Yeah, uh, we speak in Armenian but my younger brother he started losing the ability to speak Armenian so he just ̶ he usually has a tough time speaking but yeah we usually speak Armenian in the household.
05:01
JK: And did you guys accustom to like, uh, American standards or did you guys keep with the Armenian traditions?
05:08
MH: I think we kept ̶ we most likely kept like the traditions, the Armenian but we also incorporated the American stuff like Thanksgiving and Christmas even though we Armenians do not celebrate those two. Um, but we ̶ but we also keep the Armenian Easter and stuff January 6.
05:26
JK: And when you were in Armenia did you attend church regularly?
05:30
MH: Hhm not regularly, we, we would attend obviously for any, um, weddings and, uh, and, uh, what is it called other, other events that happen in the church and we would go sometimes to pray and, um, light candles but not regularly, I would not-
05:49
JK: Um, was it were you [indistinct] living in Westchester, uh, the Armenian community, or was it mostly your [indistinct] your American friends?
05:58
MH: Uh, we are ̶ we have one, uh, family friends in-a few minutes away from us in Westchester but, uh, usually my friends are American, uh, and we, we usually ̶ we ̶ there is an Armenian church in Westchester that we attend sometimes but we do not really know anyone from there.
06:19
JK: And coming to Binghamton University, um, do you know, do you know if there is a big population of Armenians or have you seen-?
06:28
MH: I have not really seen much I have seen just a couple people that are Armenian and, uh, I do not really think there is a big community here.
06:37
JK: Yeah, um, and then let us see, so growing up in the household in, uh, Armenia what was it ̶ what was it like compared to like now within like the classes et cetera, school life?
06:56
MH: Uh, yeah I mean obviously school life is much different I was going to a public, uh, private school in Armenia, uh, which was kind of more similar to American schools than any other school in Armenia so I am kind of more used to it but at the same time it is, it is obviously different and, uh, the household seems to be the same not, not much of a difference there.
07:17
JK: And, uh, have you ever been back to Armenia since you left or ̶
07:21
MH: I ̶ yeah, I, I cannot go back and I have not been there before, uh, since the five years I have been here because once I go back there is a problem with the Armenian, uh, army and even pe-people with citizenship in the United States, uh, uh, that are-that have come, uh, from Armenia and then became citizens they can still, uh, be taken to the army even if they go back.
07:46
JK: Oh okay.
07:46
MH: Yeah.
07:47
JK: And do you have any family in Armenia or are they ̶
07:50
MH: I, I do yeah I have my, uh, dads, uh, side, grandma and uncle.
07:55
JK: Okay.
07:56
MH: With-with kids and wife.
07:58
JK: Um, if it was possible would you want to go back or ̶
08:00
MH: Oh yeah, of course, I would like to visit.
08:03
JK: Yeah and, uh, what were the ̶ what were the circumstances in which you guys had to come ̶ or leave Armenia and come to the Westchester ̶ were you happy about it or were you ̶
08:14
MH: Uh, yeah I think, uh, it has been ̶ my dad has been planning it for a while, not planning but thinking about it because my so in around 2000, uh, around the year 2000 my grandparents won the, the green card and went to LA. My, my mom's side, uh, yeah grandparents went to live in Glendale which has a very big Armenian community and, uh, since then obviously the idea was to join with them ̶ join-go to America was pretty vivid but, uh, we pushed it as education and obviously avoiding the war and, uh, avoiding, uh, going to the army.
09:00
JK: And, um, you ever you think you guys would ever go to Glendale or ̶
09:09
MH: Uh.
09:11
JK: ̶ Probably stay in Westchester.
09:11
MH: Um, there is an idea I mean yeah if, if anything it there is its different circumstances obviously but, um, it depends on what happens but the idea to move to Glendale is not, not a terrible one there is ̶ it is a big community there but, um, I, I feel like this is better ̶ kind of not too close to the community because I know that many people who live there they just do not even learn English because they have everything they need to just speak Armenian and not, um, get American ̶ not get Americanized I guess.
09:46
JK: And, um, what were some of the Armenian traditions that you guys kept in the household like did you guys celebrate Armenian Christmas as opposed to traditional Christmas?
09:56
MH: We ̶ I guess we cel ̶ we celebrate both, um, we celebrate the American one and the Armenian on January six, uh, and, um, yeah, yeah we, we kept those kind of traditions.
10:14
JK: Um, and then growing-as you grow older, grow older do you want to keep those traditions in the household like speaking Armenian?
10:23
MH: Yeah, yeah definitely I, I would like that I'd like it if-if we kept it and even, uh, other type of traditions, too in, uh, I guess marriage and stuff.
10:33
JK: Mhm and, um, it is important to your parents to, uh, for you to keep those traditions not just like yourself but your parents want you-
10:42
MH: Uh, I do not know actually, um, they have not really ever specified they need the traditions kept I guess it is just assumed that we are going to and, uh, we never ̶ me and my brothers never said that we were not I guess it is ̶ it is kind of obvious for us.
10:57
JK: Yeah, um, uh, coming to Binghamton and obviously the United States what were some of the new traditions that you guys, uh, brought into your household? If, you know, any ̶ or ̶ besides holidays and stuff.
11:14
MH: Um, I do not, I do not think there is anything that big, uh, not, not really no.
11:24
JK: And, um, when you went to ̶ I am assuming you went to high school in Westchester?
11:29
MH: Yeah.
11:29
JK: Um, did-were people surprised that you were from Armenia like did they know about Armenian culture?
11:38
MH: Uh, they would ask because I, I have an accent and stuff they would ask about it but, uh, it would ̶ they would assume or they would like pretend that they knew where, where it is but obviously it is like such a small country it is not really ̶ but people were interested yeah people were wondering about stuff and I, I tried to kind of show my culture as well.
12:01
JK: And, um, what-what do you think that makes ̶ what makes you most Armenian in your eyes? Like what is ̶
12:08
MH: What makes me most Armenian? My nose [laughs] No, uh, I do not know, uh, I guess, uh, the way I think I guess is very Armenian traditionalist I guess, um, and, uh, political views I guess a little bit but-
12:30
JK: Um, do you ̶ what do you think is the ̶ do you think like church is an important Armenia like what makes ̶ what do you believe that makes Armenia like important? The language, the culture ̶
12:42
MH: Yeah the, the language is very important because, uh, our letters are our own we do not even it, it does not come from any trees it is just created by us and we speak it and it is really rare for a language to have a ̶ to be like that for such a small country and history is very important obviously, um, pride, um, and church is too.
13:07
JK: And do you think Armenia could re ̶ uh, remain without the language or the church of the homeland or ̶
13:14
MH: Um, can Armenia remain without having a homeland?
13:18
JK: Yeah, like ̶
13:18
MH: Yeah like I get what you are saying the history traditions stuff.
13:21
JK: Yeah.
13:22
MH: People ̶ when people usually ̶ I mean you can kind of see it in, uh, people who have moved here a lot of them, uh, try to keep the traditions and they do go to church but sometimes it just does not work out and slowly they, uh, get more Americanized which is fine I guess but, uh, there are so many Armenians all over the world in completely different places and they ae all completely different but they are all proud to be Armenian. I guess that is how it can remain.
13:50
JK: And you see, uh, bringing the topic up ̶ do you see a difference between the Armenians who are in Armenia and like, uh, the diaspora ̶
13:57
MH: Yeah defin ̶ definitely I went to camp over the summer, uh, the Armenian camp. All the people ̶ most of the people there were I would say 95 percent were American-born in American or Canada and, uh, it, it is not, it is not something specific but it is obviously different than from people in Armenia than how people in Armenia are.
14:20
JK: Uh, do you know any ̶ like could you name any examples or it is just gener ̶ like general.
14:25
MH: It is just that ̶ I really cannot it is just, just the feeling of the interaction just the culture I guess but they do keep ̶ I know that they are strong in keeping the tradition of church every Sunday they, they would have a church, um, they would invite, uh, like a preacher ̶ Armenian preacher and they would have church.
14:46
JK: And, um, uh, let us see how would you identify yourself as like Armenian-American, American-Armenian?
14:57
MH: I would just say Armenian.
14:58
JK: Armenian.
14:58
MH: Yeah, I ̶ not, uh, I guess it is too early to say Armenian-American yet.
15:04
JK: Um, and, uh, for your siblings like you and your older brother and you and your younger brother do you communicate them ̶ to them with-in Armenian or ̶
15:15
MH: Yeah with my, uh, older brother I definitely do. With my younger one, I try to but sometimes he does not understand some things I say so we switch to English but usually, I try to communicate with them in Armenian.
15:28
JK: And, um, um, as you grow older do you want to move back to Armenia if it was possible or do you want to stay?
15:51
MH: Um, permanently probably not I would want to move, move back. Sometimes I do think about how my life would be different if I stayed in Armenia but at the same time, I think the opportunity in America is way too large to miss out on, um, since I am already here. But I would want to visit Armenia. I definitely ̶ I would want to go for a couple months at a time.
16:12
JK: And, uh, going back to like your past history like your past family history, uh, you were saying how your mom's family was affected by the genocide have you ever visited like the villages they came from-they are still intact?
16:27
MH: Uh, the village my, my, my, my mom’s side is on is, uh, I visited many times and same, same with my dad's side. Actually I visited the dad's side even more because in Ijevan, Ijevan is right next to Azerbaijan border but it, it really was not affected by, uh, the war and, uh, by the genocide with the Turks so, um, we visit there all the time. And my-my mom's side it is Hoktemberyan we, we would go there I, I was a kid I would go there more because my grandparents were here ̶ were back in Armenia, um, but yeah, uh, but the original, original sites like in even in Turkey that, that has been taken over ̶ I have not visited those.
17:08
JK: Would you want to if the opportunity arises [indistinct].
17:13
MH: Probably not. I, I people go to Turkey a lot of time from Armenia but, uh, I do not know I have never felt the urge to do that.
17:23
JK: And, uh, what ̶ do you know the reason why your family decided to stay in Armenia rather than re-relocate, uh, during that time?
17:32
MH: Oh during that time. I really do not know why. I think I think both the villages-both of the villages that they stayed in were not really that affected, um, Ijevan my, my dad’s side, uh, I guess and they were not it was not like they were staying there permanently it ̶ my grandparents were already in Yerevan, uh, both of them so it, it was not going to affect them as much, uh, or like with Azerbaijan. So I guess it, it just happened to be really convenient to stay, safe.
18:08
JK: And, uh, was it was there any difficulties coming to the United States at a young age?
18:17
MH: Yeah, uh, obviously there is going to be, uh, is ̶ you are going to be having a tough time the first couple months because of the language barrier, uh, my grades were not that great and then, uh, and when ̶ they did get better obviously because, um, I came to Binghamton ̶ I needed to go to college um but it was tough, uh, the language barrier was always I mean there and culturally were also completely different from American people so, socially, it was also affected.
18:51
JK: And, um, and I know you already mentioned this but it's important to keep the tradition of speaking Armenian alive and to uphold the Armenian traditions, um, why-why is it important for you to [indistinct].
19:12
MH: Um I, I would say I am like nationalist [laughs] nationalistic towards Armenia. I mean I really love my country, um, so, uh, keeping the language is number one way to keep the traditions alive ̶ keep the culture alive, uh, language is very important and you can see it in, uh, every immigrant group that has moved; Italians, Irish, uh, all the, uh, Latinos that moved from different countries they, they, they keep ̶ they have sections of country where there is a lot of them and they speak the language because they need to keep the culture alive in a different country, um, so it is important to, uh, keep our Armenians ̶ like Armenia ideology.
20:00
JK: Um, is there anything else you would like to add?
20:03
MH: Uh, no I, I think, I think that is it, yeah that is about it.
20:05
JK: All right thank you.
(End of Interview)
Keywords
Armenians; Traditions; Yerevan; Church; Culture; New York; Family; Language; Family.
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Interview with Mikayel Harutyunyan
-
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Format
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Audio interviews
Title
A name given to the resource
McKiernan Interviews
Description
An account of the resource
Stephen McKiernan's collection of interviews includes more than two hundred interviews with prominent figures of the 1960s, which were collected between the mid-1990s to 2023 The collection provides narratives of people who were actively involved in or witnessed events in the 1960s, an era which spurred profound cultural and political transformation in the twentieth century. Interviewees include politicians, artists, scholars, musicians, authors, and veterans who delve into the decade’s most prominent issues and events, including the civil rights movement, the free speech movement, the anti-war movement, women’s rights, gay rights, segregation, the Vietnam War, Woodstock, Hippies, Yippies, and individualism.<br /><br />
<h3>The McKiernan 22</h3>
<div>Stephen McKiernan interviewed legends of the 1960s. When asked in 2021 where one should start when sifting through his vast collection, he provided the following list:</div>
<ul>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/854">Julian Bond</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/1866">Bobby Muller</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/1175">Craig McNamara</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/910">Dr. Arthur Levine</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/837">Diane Carlson Evans</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/942">Dr. Ellen Schrecker</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/876">Dr. Lee Edwards</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/841">Peter Coyote</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/1233">Dr. Roosevelt Johnson</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/899">Rennie Davis</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/1222">Kim Phuc</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/917">George McGovern</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/833">Frank Schaeffer</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/840">Rev. Dr. Frank Forrester Church </a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/1240">Dr. Marilyn Young</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/842">James Fallows</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/835">Joseph Lee Galloway</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/911">John Lewis</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/839">Paul Critchlow</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/888">Steve Gunderson</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/1159">Charles Kaiser</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/2407">Joseph Lewis</a></li>
</ul>
Creator
An entity primarily responsible for making the resource
Stephen McKiernan
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Language
A language of the resource
English
Rights
Information about rights held in and over the resource
In copyright.
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Date of Interview
6 February 1998
Interviewer
The person(s) performing the interview
Stephen McKiernan
Interviewee
The person(s) being interviewed
Ed Rendell
Biographical Text
Ed Rendell is a politician, and a member of Democratic Party. Rendell served as the Governor of Pennsylvania from 2003 to 2011, as chair of the national Democratic Party, and as the Mayor of Philadelphia from 1992 to 2000. He also served in the U.S. Army Reserve from 1968 to 1974. Rendell received a Bachelor of Arts degree from the University of Pennsylvania in 1965 and a Juris Doctor from Villanova Law School in 1968.
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
20:49
Language
English
Digital Publisher
Binghamton University Libraries
Digital Format
audio/mp4
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
MicroCassette
Material Type
Sound
Interview Format
Video or Audio
Audio
Keywords
Boomer generation; Revolution; Lyndon Johnson; Vietnam War; Vietnam veterans; Society; Trust; Government; College students.
Description
This interview was conducted in a public place. We apologise for the background noise.
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Rights Statement
Many items in our digital collections are copyrighted. If you want to reuse any material in our collection you must seek permission, or decide if your purpose can qualify as fair use under the U.S. Copyright Law Section 107. If you think copyright or privacy has been violated, the University Libraries will investigate the issue. Please see our take down policy. If using any materials in this online digital collection for educational or research purposes, please cite accordingly.
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A name given to the resource
Interview with Ed Rendell
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https://omeka.binghamton.edu/omeka/files/original/ac67bccba8b430d1a314ba7ea6a7a9cd.mp3
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Format
The file format, physical medium, or dimensions of the resource
Audio interviews
Title
A name given to the resource
McKiernan Interviews
Description
An account of the resource
Stephen McKiernan's collection of interviews includes more than two hundred interviews with prominent figures of the 1960s, which were collected between the mid-1990s to 2023 The collection provides narratives of people who were actively involved in or witnessed events in the 1960s, an era which spurred profound cultural and political transformation in the twentieth century. Interviewees include politicians, artists, scholars, musicians, authors, and veterans who delve into the decade’s most prominent issues and events, including the civil rights movement, the free speech movement, the anti-war movement, women’s rights, gay rights, segregation, the Vietnam War, Woodstock, Hippies, Yippies, and individualism.<br /><br />
<h3>The McKiernan 22</h3>
<div>Stephen McKiernan interviewed legends of the 1960s. When asked in 2021 where one should start when sifting through his vast collection, he provided the following list:</div>
<ul>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/854">Julian Bond</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/1866">Bobby Muller</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/1175">Craig McNamara</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/910">Dr. Arthur Levine</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/837">Diane Carlson Evans</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/942">Dr. Ellen Schrecker</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/876">Dr. Lee Edwards</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/841">Peter Coyote</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/1233">Dr. Roosevelt Johnson</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/899">Rennie Davis</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/1222">Kim Phuc</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/917">George McGovern</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/833">Frank Schaeffer</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/840">Rev. Dr. Frank Forrester Church </a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/1240">Dr. Marilyn Young</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/842">James Fallows</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/835">Joseph Lee Galloway</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/911">John Lewis</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/839">Paul Critchlow</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/888">Steve Gunderson</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/1159">Charles Kaiser</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/2407">Joseph Lewis</a></li>
</ul>
Creator
An entity primarily responsible for making the resource
Stephen McKiernan
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Language
A language of the resource
English
Rights
Information about rights held in and over the resource
In copyright.
Template: Simple Audio Player (Amplitude.js)
This template displays an audio player with the first attached image file as the 'cover image'. For its audio source, the template looks for the first attached audio file. If additional audio files exist, they should be combined using audio editing software, or a separate Omeka item should be made for each part.
Date of Interview
2010-10-29
Interviewer
The person(s) performing the interview
Stephen McKiernan
Interviewee
The person(s) being interviewed
Craig McNamara2
Biographical Text
Craig McNamara is the son of Robert McNamara, former Secretary of Defense during the John F. Kennedy and Lyndon Baines Johnson administrations. He is the President and owner of Sierra Orchards, a diversified farming operation producing organic walnuts and olive oil. He also serves as founder and president of the Center For Land-Based Learning, an innovative program, which assists high school students in building greater human and social capital in their communities. McNamara currently is the President of the California State Board of Food and Agriculture. He has a Bachelor's degree in Plant and Soil Science from the University of California, Davis.
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
5:50
Language
English
Digital Publisher
Binghamton University Libraries
Digital Format
audio/mp4
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
MicroCassette
Material Type
Sound
Interview Format
Video or Audio
Audio
Keywords
Kennedy family; Civil Rights Movement; 1960s; 1970s; Malcom X; Generation.
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>.
Rights Statement
Many items in our digital collections are copyrighted. If you want to reuse any material in our collection you must seek permission, or decide if your purpose can qualify as fair use under the U.S. Copyright Law Section 107. If you think copyright or privacy has been violated, the University Libraries will investigate the issue. Please see our take down policy. If using any materials in this online digital collection for educational or research purposes, please cite accordingly.
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
Interview with Craig McNamara2