84 10 1775 https://omeka.binghamton.edu/omeka/files/original/b4e2f1e02ebfdb8b36eb49446edcf585.pdf 5f53adf107a853fbc669dda539e1a96e PDF Text Text BINGHAMTON U N I V E R S I T Y S T A Y S   U N I V E R S I T Y  O F  N E W  Y O R K d e [4 e D E P A R T M E N T MODlus A N D F  R I E N D s J aney  Choi, violin Roberta Crawford , viola S tephen Stalker, cello Micha el Salmirs, piano with Gabriel Boyers, violin Timoth y Perry, clarinet Sunday, F ebruary 2, 2014 3 p.m. W atters T heater �P R O GR A M Duo for Violin an d Viola....  in G Major, KV 423  Allegro A dagio Rondeau : Allegro A B O U T  T H E  P ERFORM ERS ..Wolfgang Amadeus  M ozart (1756­1791) GABRIEL BOYERS, violinist, has been praised for his ‘rock steady finger and bow technique” by New Music Connoisseur Magazine and has been described by The Boston Phoenix as an “elegant, accomplished player” and as one of “the most talented young string players in town.” As recitalist and chamber musician, Gabriel has been heard at numerous festivals and halls, including at the Sandor Vegh Institute in Prague, the Banff Centre for the Arts in Canada, Vail Valley Bravo Music Festival, the Troy Savings Bank Music Hall, and Boston’s Jordan Hall and beginning in 2013, he performs as Second violinist of the newly formed Simrock String Quartet (with Gabriela Draz. Stephanie Fong and Rafi Popper­Keizer).  Gabriel has participated in many world­premiere performances, including as concenmaster for the 2005 Carnegie Hall premiere of ”Concerto for Turntables and Orchestra” with DJ Radar, as  well as  the 2006 premiere of “F or Lou” by John Luther Adams, which he also recorded for New G abriel Boyers,  violin Roberta Crawford, viola Trio for Clarinet, Cello an d Piano .  ..  .. J ohannes  Bra hms In A Minor, Op. 114  Allegro A dagio A ndantino grazioso Allegro (1833­1897) Timoth y Perry, clarinet Stephen Stalker, cello Micha el Salmirs, piano t o   INTERMISSION  cz Piano Quintet in A Major, Op. 81... Antonin Dvorak (1841­1904) Allegro, m a  n on  tanto Dumk a : A ndante con  moto Scherzo (Furiant): M olto  v iv ace Finale : Allegro J aney Choi  a nd  G abriel Boyers,  violin Roberta Crawford , viola Stephen Stalker, cello Micha el Salmirs, piano World Records.  In 2007, Boyers was a resident artist at the “Atlantic Center for the Arts“ in Florida, where he worked with composer Lee Hyla to develop “Cadenza,” a work for solo violin based on portions of composer‘s Violin Concerto. In 2010, with pianist Keith Kirchoff, Boyers gave the world premiere of Leo Omstein’s 3rd Sonata for Violin and Piano, a newly discovered work approximately 90 years old, which they will record next year as part of a survey of Omstein’s complete works for violin and piano. Boyers holds undergraduate and graduate degrees from Tufts University and New England Conservatory, where his principal teachers were Masuko Ushioda and James Buswell.  In addition to his performing activities, Boyers is owner of Schubertiade Music & Arts (wwwschubertiadernusiccom) and deals in rare Musical Autographs and Antiquarian Music and Ephemera. Since 2011, he has directed the Primary Source Series at the Boston Goethe­Institut, a chamber music concert series where each program is built around rare musical artifacts and manuscripts. Canadian violinist, JANEY CHOI gave her Camegie Hall recital debut in 1997 as a winner of the Artists International Auditions and continues an active career performing as a soloist and with such groups as the Ardelia Trio. New York City Ballet, and the Teaching Artists Ensemble of the New York Philharmonic. The recipient of numerous awards, including National First Prize in the Canadian Music Competition, and a Performing Arts Grant from the Ontario Arts Council, she has participated in such festivals as Mostly Mozart, Norfolk, Taos. the Spoleto Festivals in the U.S  and Italy, Festival Musical de Santo Domingo, the Santa Fe Opera and the Sarasota Opera An avid inter­arts and cross­genre collaborator, she is the Music Director of Thomas/Ortiz Dance, and has performed numerous times with the Parsons Dance Co. She initiated a collaboration between the Paul Taylor Dance Company and the Binghamton University Orchestra. Her other interests have taken her to the visual arts world, developing and presenting an annual “Music + Art” show commissioning artwork based on chamber works. She has recorded and appeared with such mainstream performers as Bono (U2) and Quincy Jones, Adele. Beyonce, Aretha Franklin, Enya, Elton John, Jay­Z, Sarah McLachlan, Lenny Kravitz, and Kanye West, on the Grammys, MTV, Saturday Night Live, The Today Show, at Live 8, Radio City Music Hall and Royal Albert Hall in London, England. Dr. Choi was the youngest and only Pie­College student ever accepted by her late mentor, Joseph Fuchs at The Juilliard School, where she graduated from the accelerated BM/MM program with the Joseph Fuchs Graduation Prize.  Her other major teachers include Joel Smimoff, Victor Danchenko, Harvey Shapiro, and Arnold Steinhardt. She attained her Doctor of Musrcal Arts degree at Rutgers University with full scholarship and the Graduate Fellowship Award. She has been on the faculty of Binghamton University since 2006 and is a Teaching Artist for the New York Philharmonic and Chamber Music Society of Lincoln Center. She has presented educational workshops for the College Music Society National Conference, Tokyo College of Music and Lincoln Center Institute. In her free time, she enloys marathon and triathlon training, playing soccer and ice hockey ROBERTA CRAWFORD, violist, performs extensively as a recitalist and chamber musician, As co­artistic director and a founding member of the Finger Lakes Chamber Ensemble. Ms  Crawford has participated in over two hundred solo, chamber, and lecture­recitals presented by the ensemble since its formation in 1990 Ms  Crawford is violist with the Mobius Ensemble, resident piano quartet at Binghamton University which performs frequently on campus and throughout the region. She has performed with the Catskill Chamber Players, appeared often on the Cayuga Chamber Orchestra’s Sunday Chamber Music Series and was a guest performer with the Ariadne String Quartet. Ms. Crawford has played with the Portland and Syracuse symphonies and has served as principal violist for the Cayuga Chamber Orchestra. Recent activities include performance in the world premiere of Fault Lines for piano quartet, written by  award­winning composer, James Matheson and presented at  Comell University‘s Mayfest 2010. An advocate of new music, Ms. Crawford has premiered numerous works featuring viola and has been the dedicatee of several works written specifically for her. She has participated in music festivals throughout the United States and in the Caribbean and has appeared in live performance broadcasts for public radio and �television. A dedicated teacher, Ms. Crawford has served as clinician, coach, and adjudicator for numerous music organizations and as director of ViolaFest at Binghamton. Ms. Crawford also served for five  years as a Faculty/Artist for NSOA ASTA String Institute at Ithaca College. She has been a guest faculty member at Phillips Academy, the Quartet Program, Ithaca College, and the Eastman School of Music and is currently coordinator of strings at Binghamton University. DR. TIMOTHY PERRY, Professor of Music, is now in his twenty­eighth season as conductor/director of the orchestral program at Binghamton University. A Wisconsin native, he attended the University of Wisconsin­ Madison as a National Merit Scholar prior to graduating with distinction from the Manhattan and Yale Schools of Music. He taught in the Minnesota State University system for five years prior to joining the BU faculty in 1986. In addition to directing the University Symphony and String Orchestras, Dr. Perry also directed the BU Wind Ensemble program from 1986­2005 and served as the Music Director of the Binghamton Community Orchestra from 1994­2004. He continues to perform a wide range of orchestral, opera and musical theater repertoire as Guest Conductor with both regional and international ensembles. Since 2005, Dr. Perry has twice collaborated with New York’s renowned Paul Taylor Dance Company, and worked as Music Director with faculty and performers of DUOC in Santiago, Chile for bi­national productions of West Side Story and The Three­Penny Opera.  As BU’s Professor of Clarinet he is active throughout the world as soloist, chamber musician and teacher, including three appearances at the world conference of the Intemational Clarinet Association and touring for the Department of State as United States Musical Ambassador for Latin America and the Caribbean. He is Past President of the Northeast Division of the College Orchestra Directors’ Association, and will be a featured speaker at the National CODA Conference in January 2014. Pianist MICHAEL SALMIRS is well known as a recitalist and chamber musician. As a founding member and artistic director of the Finger Lakes Chamber Ensemble, he maintains a full season of chamber concerts and lecture recitals and recently presented a series on the last three piano sonatas of Beethoven. He has appeared as soloist with the Coming Philharmonic, Binghamton University Orchestra, Cayuga Chamber Orchestra, and was frequently a featured pianist on their Sunday Chamber Series. In addition to performing most of the standard chamber music repertoire for strings and piano, he has premiered numerous solo and chamber works, and has given the world premieres of Piano Quintets by David Liptak and Marek Harris, as well as Diego Vega’s Piano Quartet with the Finger Lakes Chamber Ensemble and Piano Quartet by Wendy Wan­ki Lee with the Binghamton University resident piano quartet, Mobius Ensemble. He has also participated in such contemporary music series as Binghamton University’s Musica Nova, Cornell University’s Ensemble X, Chiron, and has toured and recorded for the Syracuse Society for New Music. Mr. Salmirs studied at the New England Conservatory and Eastman School of Music; his teachers include pianists Leonard Shure and Rebecca Penneys and composer Karel Husa. Salmirs has taught at the Syracuse University School of Music and Hobart and William Smith Colleges. He is currently a faculty member at Binghamton University where he is Coordinator of Piano Studies. As a composer, his Silenced Voice, for Soprano, Baritone, Clarinet, and Piano Quartet, was premiered in 2010 at Binghamton University. He is presently composing a vocal chamber work on texts by Stephen Levine as well as a Piano Quintet. This season features performances of the complete works for cello and piano by Beethoven with cellist, Stefan Reuss and a piano recital at Binghamton University in April. STEPHEN  STALKER, cellist, teaches at Binghamton University. He formerly taught at Colgate University, Mansfield University, Ithaca College and the Binghamton City School District. He was the principal cellist of the Cayuga Chamber Orchestra in Ithaca, NY, and has performed extensively with the Catskill Chamber Players of Oneonta, NY, and in concerts at Binghamton University. Performing with the Catskill Chamber Players he has presented “Meet the Composer“ concerts with prominent American composers including John Cage, Virgil Thomson, Lou Harrison and George Crumb. The Chamber Players appeared at Weill Recital Hall, premiering a set of four string quartets by Henry Brant. With violinist, Janet Brady, and pianist, Walter Ponce, he performed the complete Beethoven Trio cycle at Binghamton University. He performed with Solisti New York on their Alaskan cruise of the Inner Passage from Vancouver to Juneau. As a member of the Madison String Quartet, he was a finalist in the Naumberg Chamber Music Competition in New York City and the Evian lntemational String Quartet Competition in Evian, France. He has performed in many recital appearances with pianist, Michael Salmirs. He performs regularly with the Trio Amici, Trilogy, Baroque ‘n Blue, Early On and in concerts at Binghamton University.  He is a past president of the New York State Chapter of the American String Teachers Association and was Strings Chair for the New York State School Music Association.  He is a founder of the Southern Tier Music Teachers Association and the Binghamton Cello Festival. He is a graduate of the Manhattan School of Music in New York City. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio disc Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74979">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74979</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mobius and friends  Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Mozart, Brahms, Dvořák. Held at 3:00 p.m., February 2, 2014, Watters Theater. Creator An entity primarily responsible for making the resource Choi, Janey Crawford, Roberta Stalker, Stephen Salmirs, Michael Boyers, Gabriel Perry, Timothy  Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Mozart, Wolfgang Amadeus, 1756-1791 Brahms, Johannes, 1833-1897 Dvořák, Antonín, 1841-1904 Date A point or period of time associated with an event in the lifecycle of the resource 2/2/14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/09d8b6bfb22453542d8f405c92b91716.pdf 5509806073297ff07f11fbe5b4cba10e PDF Text Text BINGHAMTON N  I V E R    S I T Y   STA TE  UN IV E R S I T Y   O F   N E W  YORK h e   ZldecC ' D E P A R T M E N T SHAK ESPE A RE: T H E I NTERNATIONAL BA RD _ M A L e a  C e l e n e ,  t e nor j o h n / [ M g p  a n o ­ R a c h e lC   ele nta no; b assoo n Satuwrdoy, Ma rch/15,  2014 3:00 p . m CMad ayu/yfl ecétwb flaw �PROGRAM TRANSLATIONS I. Trinklied, D.888 An Sylvia, D.891 Franz Schubert (1 797­1 828) Standchen, D.889 ll. Chanson de Shakespeare, Op.28 Chanson de clowns Chanson d’amour Chanson d’Ophélie .Ernest Chausson (1855­1899) Text from: Antony and Cleopatra III. Two incidental pieces from Twelfth Night..... Kom nu hit, dod Hallila, uti storm och I regn TRINKLIED (Drinking Song) Translation by: Prof. Rosmarie Morewedge Bacchus, robust lord of wine. Come with sparkling eyes May your barrel drown our cares. Fill us up until the world twirls around us Fill us up until the world twirls around us! .Jean Sibelius (1865­1957) Act II, vii Come, thou monarch of the vine Plumpy Bacchus with pink eye! In thy vats our cares be drown’d With thy grapes our hairs be crown’d; Cup us, till the world go round, Cup us, till the world go round! wlNTERMISSIONca IV. Fear no more .. Paul Schleuse (b. 1971) V. Four Shakespeare Sonnets, Op. 16.  . Richard Hugunine 1. A Woman’s Face, Sonnet #20  (b. 1953) 2. Mine Eye and Heart are at a Mortal War, Sonnet #46 3. No Longer Mourn for Me, Sonnet #71 4. My Love is as a Fever, #147 “This program is offered in partial fulfillment of the requirements f or the degree of  M asters of Music: Opera. Michael Celentano is a student of Prof. Thomas Goodheart. AN SYLVIA (To Sylvia) Translation by: Prof. Rosemarie Morewedge Pray tell, what is Sylvia like that the expansive fields sing her praise? In beauty I see her approach heavenly favor and her traces show that everything obeys her. Is she beautiful as well as good? Charm refreshes like a mild childhood. Cupid hastens to her eye to heal his blindness and linger there in sweet repose. Therefore, may song resound in Sylvia’s honor: She conquers every allure that earth can offer. Honor her with wreaths and the sound of strings! Text from: Two Gentlemen from Verona, Act IV, ii Who is Sylvia? What is she, That all our swains commend her? Holy, fair, and wise is she; The heavens such grace did lend her, That she might admired be. Is she kind as she is fair? For beauty lives with kindness. Love doth to her eyes repair, To help him of his blindness, And being helped, inhabits there Then to Sylvia let us sing, That Sylvia is excelling: She excels each mortal thing Upon this dull earth dwelling: To her let us garlands bring. STANDCHEN (Serenade) Translation by: Prof. Rosmarie Morewedge Hark, hark! The lark is in the blue air; And Helios, newly awakened, Waters his horses with the dew That covers the calyx of flowers; The bud of the marigold Opens its golden eyes: Surrounded by all that is charming Sweet girl, get up, arise Arise, arise! �Ill. TWO INCIDENTAL PIECES FROM TWELFTH NIGHT KOM NU HIT, D 6 d (Come away, death) Translation by : Max Rydqvist Come here now. come here now, death In crape preserve me well. Haste away, haste away, need Beautiful maiden has taken my soul With sweeping and boxwood on the coffins lock, keep yourself done; many faithful have died but none such as you. No rose, no rose sprinkled on my black house. No friend, no friend may disturb the rest in earth’s gravel To me lie for a thousand sighers sake. to one side where no loving one shall see my earth and weep. Come here now. come here now death. Text from: Twelfth Night Act II, iv Come away, come away, death, And in sad cypress let me be laid; Fly away, fly away, breath: I am slain by a fair cruel maid. My shroud of white, stuck all with yew, O prepare it! My part of death, no one so true Did share it. Not a flower, not a flower sweet, On my black coffin let there be strown; Not a friend, not a friend greet My poor corpse, where my bones shall be thrown: A thousand, thousand sighs to save, Lay me, o where Sad true lover never find my grave, To weep there! HALLILA, UTI STORM OCH I REGN (Hey ho, the Wind and the Rain) Translation by : Max Rydqvist And when such as I was a little small drang. Hey ho out into the storm and rain Then was to me not a bed, more than a bed, forty rains, it rains each eternal day. But when I as a man begin to live wholly large. Hey ho, out into the storm and rain Then each shut his gate for the thief, fony rains it rains each eternal day. Text from: Twelfth Night Act V, i When that I was and a little tiny boy, With a hey, ho, the wind and the rain, A foolish thing was but a toy, For the rain it raineth every day. But when I came to man’s estate, With a hey, ho, the wind and the rain, ‘Gainst knaves and thieves men shut their gate, For the rain that raineth every day. Iv. Fear No More Text from: Cymbeline Act IV, ii Fear no more the heat of the sun, Nor the furious winter’s rages, Thou thy worldly task hast done, Home art gone, and taken thy wages. Golden lads, and girls all must, As chimney­sweepers come to dust. Fear no more the frown of the great, Thou art past the tyrants stroke; Care no more to clothe and eat, To thee the reed is as the oak: The scepter, Learning, physic must, All follow this and come to dust. Fear no more the lightning flash. Nor the all­dreaded thunderstone. Fear not slander, censure rash. Thou hast finish’d joy and moan. All lovers young and lovers must, Consign to thee and come to dust. No exorcisor harme thee, Nor no witch­craft charm thee. Ghost unlain forbear thee. Nothing will come near thee. Quiet consummation have, And renowned be thy grave. V. FOUR SHAKESPEARE SONNETS 1. A WOMAN’S FACE (Sonnet #20) A woman’s face with Nature’s own hand­painted Hast thou, the master­mistress of my passion; A woman’s gentle heart, but not acquainted With shifting change, as is false woman’s fashion; An eye more bright than theirs, less false in rolling, Gilding the object whereupon it gazeth: A man in hue, all hues in his controlling, Much steals men’s eyes and women’s souls amazeth. And for a woman wert thou first created; Till Nature, as she wrought thee, fell a­doting, And by addition me of thee defeated, By adding one thing to my purpose nothing. But since she prick’d thee out for woman’s pleasure, Mine be thy love and thy love’s use their treasure. �2.  MINE EYE AND HEART AREAT A MORTAL WAR (Sonnet # 46) Mine eye and heart are at a mortal war How to divide the conquet of thy sight; Mine eye my heart thy picture’s sight would bar, My heart mine eye the freedom of that right. My heart doth plead that thou in him dost lie— A closet never pierced with crystal eyes— But the defendant doth that plea deny And says in him thy fair appearance lies. To ‘cide this title is  mpaneled A quest of thoughts, all tenants to the heart, And by their verdict is determined The clear eye’s moiety and the dear heart’s part: As thus; mine eye’s due is thy outward part, And my heart’s right thy inward love of heart. 3.  N O  LONGER MOURN FOR ME (Sonnet #71) No longer mourn for me when I am dead Then you shall hear the surly sullen bell Give warning to the world, with vilest worms to dwell: Nay, if you should read this line, remember not The hand that writ it; for I love you so That l in your sweet thoughts would be forgot If thinking on me then should make you woe. O, if, I say, you look upon this verse When I perhaps compounded am with clay. Do not so much as my poor name rehearse. But let your love even with my life decay, Lest the wise world should look into your moan And mock you with me after I am gone. 4.  MYLOVE IS AS A FEVER (Sonnet #147) My love is as a fever, longing still For that which longer nurseth the preserve the ill, Th’ uncertain sickly appetite to please. My reason, the physician to my love, Angry that his prescriptions are not kept, Hath left me, and desperate now approve Desire is death, which physic did except. Past cure I am, now reason is past care, And frantic­mad with evermore unrest; My thoughts and my discourse as madmen‘s are, At random from the truth vainly expressed: For I have sworn thee fair. and thought thee bright, Who art as black as hell. as dark as night. PROGRAM NOTES Translating a nd  Setting Shakespeare : To Capture the Essen ce of a Master by Michael Celentano The act of translation is true art unto itself. It is easily forgotten that the finest literature known to man has been translated so that non­native speakers may experience the same joys in reading a  text as do  the author’s intended audience. The true burden in finding the essence of the masters, such as Pushkin, Goethe, and Shakespeare, is a two­fold task : How does one effectively capture the thoughts of such writers in another language, with its own idiosyncrasies and does one attempt to recreate  the  metrical  techniques  that  are  often  a  byproduct  of  the language of origin? Composers face the same challenges as they write to express both their and the authors thoughts about the text. In his article, “Fit Only for Barbarians: The Sound of Translated Poetry”, Keith Bosley examines two distinct camps with which translators tend to associate: Those that adhere strictly to the original meter of the piece and those who use free­verse to best capture the essence of the text. While  the  Russian­American  poet,  Joseph  Brodsky,  states  that translating into free­verse is a sign of decadence and a spiritual betrayal of the original text, the famous French translator of Shakespeare, Yves Bonnefoy argues that any attempt to “naturalize” the original and fit it into an  existing  mold  in  the  language  of  the  translator  is  doomed;  that whoever attempts it is a mere versifier and no poet. Bosley ultimately concludes that a translation should “glorify [the] original, not [the author]”. He goes on to say that “To achieve such glorification, [one] need[s] to make [the] original poet sing as though he were writing in [that other] language, which of course is impossible...". Composers  face  the  same  challenges  as  they  set  translated  texts. Concerning  Shakespeare,  three specific circumstances are examined through the recital program: Speeches in verse, incidental songs to be sung during a performance, and sonnets. Each have their own unique metrical devices that composers either chose to incorporate or  ignore depending on  the translation provided and their own sentimentalities towards Shakespeare. The settings of Schubert adhere strictly to  the Bard’s original meter and present the circumstance whereby the music can be  performed  with either the translation or  the  source material. Chausson’s choices offer a much more conversational approach to the text, using pauses in the vocal line to express emotion. Particularly in the third setting, Chanson d’Ophélie, uses a quasi­recitative approach to the text  which  allows  for  the  shaping  of  the  text  in  small  bursts,  The selections  of  Sibelius on  the  program are  unique  in  that  they  were composed specifically for a staged production of Twelfth Night in 1909. Though  composed  for  guitar  and  voice,  these  selections  will  be performed  with  harpsichord  to  achieve  a  more  haunting  effect  to contrast the comedy of the play. �Fear No More By Dr. Paul Schleuse Fear  No  More takes  its  text  from  Act  IV,  Scene  2  of Shakespeare’s Cymbeline, a play set in the semi­legendary world of pre­ Christian Britain. It is a lamenting hymn sung by the brothers Polydore and Cadwall over the corpse of Fidele, a young man who has wandered, exhausted and ill, into the cave where they live. Nothing about this scene is as it seems,  however: Fidele is really King Cymbeline’s daughter Imogen in disguise, and she is not really dead—she has drunk a potion meant to mimic death under the mistaken belief that it was medicine for her illness. Meanwhile Polydore and Cadwell, unknown to themselves. are really Guiderius and Arviragus, Cymbeline’s long­lost sons. This web of mistaken  identities threatens  to  turn  this scene into one  of  ironic comedy, but the sincerity and passion of the lament instead makes it one of  the  play’s  emotional  high points  and confirms  the brothers’ royal character. The three main stanzas of  the poem are set here as free expansions on the piano’s short introduction, with the singer intoning the words in a mixture of recitative and song. The final six lines of the poem turn from lament to  benediction, and the music takes on a  ritualistic. quasi­religious character. The song’s premiere was given by soprano Melissa Givens at Rice University in 1993; this is the first performance of a revised version. Setting a Shakespeare Sonnet By Richard Hugunine Setting a Shakespeare sonnet to music is a daunting task : First, l wanted not  to  damage  the  poetry  by  trivialization  or  by  excessive  drama. Second, I have attempted to convey my intimate emotional response to these emotion­freighted poems. Number  20, A  Woman’s  Face.  records  the  innermost  and  intimate thoughts of a man in love. He is by turns yearning, gracious. bitter. happy and also in pain. Still, he takes what little he can get, and is grateful – even if what he gets is not what he truly wants. Number 46, Mine Eye and Heart, records Shakespeare’s internal battle as to whether he loves a lady more with his eyes or more with his heart. Both ultimately win, but in different ways. Number 71, No Longer Mourn for Me is a man’s plea to his love to forget him when he is dead, to move on with her life. But we clearly hear him mourning not only for her loss of him, but mouming also for his own passing.  The extraordinary intimacy of  tragedy  is nearly unbearable.  Number  147, My  Love  is  as  a  Fever depicts  the  wild emotions that love has conjured – emotions that ultimately lead this man to demonize the woman he thought he loved. I hope I have managed to capture and express for you. if even in a small and  clumsy  manner,  a  portion  of  the  deep  emotions  Shakespeare evokes from me in these masterworks. ABOUT THE PERFORMERS MICHAEL CELENTANO, tenor is currently a candidate for the Masters of Music in Opera degree program at SUNY Binghamton University and is a resident artist of Tri­Cities Opera in Binghamton, New York. Recent appearances  include  Nemorino  in  Elisir  d’amore  with  Berks  Opera Workshop  and  Alfred  in  Die  Fledermaus  with  Bel  Cantanti  Opera. Upcoming performances include The Teapot, The Mathematician, and The Frog in Ravel’s L’Enfant et les Sortilége with Bel Cantanti Opera, the cover of Beppe in Maryland Lyric Opera’s inaugural performances of I Pagliaoci, and Goro in Berks Opera Workshop’s production of Madama Butterfly. Michael Celentano is a student of Prof. Thomas Goodheart. JOHN ISENBERG, piano a native of Endicott, NY, holds a Bachelor‘s Degree  in  Music  and  a  Master’s  Degree  in  Italian  Literature  from Binghamton  University.  He  performs  many  different  musical  genres including Opera, Art Song, Musical Theater, Gilbert and Sullivan, cabaret shows, traditional Scottish, and various styles of sacred music ranging from  Gregorian  chant  to  contemporary Praise  music.  John  formerly worked for the Tri­Cities Opera in Binghamton, NY, first as Accompanist, then additionally as Education Outreach Coordinator and Chorus Master. As part of Opera­Go­Round touring program, he accompanied over 500 performances throughout New York State and northern Pennsylvania . John  has  played for  WSKG  radio broadcasts of several Operalogue preview performances including Puccini’s Madama Butterfly, Donizetti’s Lucia di Lammermoor and Mozart’s The Magic Flute. He appeared on public television as part of a show called Sound Fusion, and during the holiday seasons. He has worked with numerous theater and musical groups in the Binghamton area. including SRO Productions, the Madrigal Choir  of  Binghamton.  the  Binghamton  Downtown  Singers  and  the Summer Savoyards.  John is currently the Organist/Pianist and Choir Director at Sarah Jane Johnson Memorial United Methodist Church in Johnson City. A native of Long Island, RACHEL CELENTANO, bassoon is a young artist  currently  attending  the  Peabody  Conservatory  of  The  Johns Hopkins University in Baltimore, Maryland, Ms. Celentano is studying with Phillip Kolker and majoring in Bassoon Performance and Music Education.  She has  won  the Long Island  Youth Orchestra  Concerto Award and has appeared as principal bassoon with New York All­State Symphonic Band, Nassau Suffolk Wind Symphony, Long Island Youth Orchestra, Peabody Wind Ensemble, and in the opera, The Merry Wives of Windsor, with the Delaware Valley Opera Company. Additionally, she has  performed  with  One  World  Symphony,  Peabody  Latin  Jazz Ensemble, and Peabody Improvisation and Multimedia Ensemble. Ms. Celentano doubles on the clarinet and alto saxophone, and teaches privately. �Binghamton University M usic Department’s Coming Events GfiMb­éhfiflflfib‘éfifl'fiié'wéfiflafib Saturday, March  15 ­  Wind Sympony Concert: Music by Numbers ­ 8:00  p.m.  ­  Anderson  Center  Chamber  Hall  ­ $7  general  public;  $5 faculty/Staff/seniors; free for students Wednesday, March 19 ­  Opera Scenes ­  8:00 p.m. ­  Anderson Center Chamber  Hall  ­  $10  general  public;  5 7   iaculty/staff/seniors;  $5  for students Thursday, March 20 – Mid­Day Concert ­  1:20 p.m. ­  Casadesus Recital Hall ­  free Thursday, March 27 ­ Mid­Day Concert ­  1:20 p.m. ­ Casadesus Recital Hall ­  free Friday, March 28 ­  Harpur Vocal Jazz ­  8:00 p.m. ­  Casadesus Recital Hall ­  free Saturday, March 29 ­ Junior Recital: Caitlin Gotimer, soprano with Jake Stamatis, bass baritone – 3:00 p.m. ­ Art Museum ­  free Saturday,  March  29  ­  Master’s  Recital:  Matthew Samluk,  baritone  ­ 8:00 p.m. ­Casadesus Recital Hall ­ free Thursday, April 3 ­­ Mid­Day Concert ­  1:20 p.m. ­  Fine Arts Room 21 ­ free Friday, April 4 ­  Opera Scenes ­  8:00 p.m. ­  Art Museum ­ $10 general public; $7 faculty/Staff/seniors; $5 for students « a w w w m m w w w a o m m For tickets or  to he  added  to  our email list, visit anderson.binghamton.edu or call (607) 777­ART S.  For  a  complete  list  of  our  concerts  call  ( 607)  7 7 7 ­ 2 5 9 2 ,   visit mustahmghamtonedu or  become a fan on  Facebook. a f .  E l f  you  were  inspired  by  this  performance,  consider supporting  the Department  of  Music  with  a  financial  gift.  Your support  helps  to continue  the wor k  of  students ,  ja mlty  and  guest  artists  and  their contributi ons  to our  community. Please make your donation payable a f   to  the  Binghamton  University  Mustc  Department,  and  send  your   usic Depart ment , P.O. Boat  6000, Binghamton, N Y check to  B U M 13902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 42:20:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75052">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75052</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Shakespeare: The International Bard Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Schubert, Chausson, Sibelius, Scheuse, Hugunine. Held at 3:00 p.m., March 15, 2014, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Celentano, Michael Isenberg, John Celentano, Rachel Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Schubert, Franz, 1797-1828 Chausson, Ernest, 1855-1899 Sibelius, Jean Schleuse, Paul Hugunine, Richard Date A point or period of time associated with an event in the lifecycle of the resource 3/15/14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/0b1e5f2ec66904608b829018173da6de.pdf 7b889c784e90d2dac4a7c1b8d739f70e PDF Text Text BINGHAMTON N I ER ITY STATE UNIVERSITY OF NEW YORK D E P A R T M E N T Binghamton University Wind Symphony presents Musicby Daniel Fabricius, conductor Saturday, M arch 15, 2014 8:00 p.m . Anderson Center Chamber Hall �PROGRAM UNIVERSITY WIND SYMPHONY Daniel Fabricius, Conductor SEVENS (2004) ... .. .. ..... ... .... ....... ............. ......... ........ .... ... .... ... ... .Samuel R. Hazo (b. 1966) FOUR SCOTTISH DANCES (1978) .................... ....... .... .......... .. Malcolm Arnold (1921-2006) Arranged by John P. Paynter PICCOLO BASS CLARINET TROMBONE Cara Natale Jamison Wezelis FLUTE BASSOON Daniel Romberger Alejandro Espinosa Patrick Jones Eleni Flo rakis Shelby Smith Devin Kasinki Brandy Greene Bailey Thomas EUPHONIUM ALTO SAXOPHONE Adam Sauer Chris Murdock QUINTOLOGY, The Science of Five (2010) ..................... .... ......... Gary D. Ziek (b. 1960) TRITTICO (1963) .... ............ ........................................... .... .... .Vaclave Nelhybel (1919-1996) FIRST SUITE IN E-FLAT (1909) .......... ..... ..... ... .. ... ...... .......... .... . Gustav Holst (1874-1934) TUBA Matthew Vegiard OBOE Allie Moskowitz Joe Kim Michael Sugarman TENOR SAXOPHONE Ju lia Dunnigan ENGLISH HORN BARITONE SAXOPHONE Jenna Graff Daniel Gross CLARINET TRUMPET Allison Battaglia Hector Mendez Sophia Schneiderman Stephanie Sheintul Diana Schwartz Jessica Siegal Brittany Sheridan Steven O'Connor Jason Boniello Brandon Young Brandon Ashley Jared Biunno Joshua Golub Bai Xue FRENCH HORN Abbey McMahon Christopher Patrizio Jeff Barker PERCUSSION Daniel Fabricius Joseph Glowienka Robert Hopkins Daniel Kim Alex Rava Char les A. Schmitz Ill Alex Valera KEYBOARD Benjamin Ca lhoun Dan iel Rosenau �PROGRAM NOTES CONDUCTOR Daniel Fabricius has been a member of the music faculty since 1992, serving as percussion instructor for twenty years before his appointment last year as conductor of the Binghamton University Wind Symphony . He holds degrees from Mansfield University and Ithaca College and has studied conducting with Donald Stanley (Mansfield University), Rodney Winther (Ithaca College), Stephen Peterson (Ithaca College), Col. Arnald Gabriel (US Air Force), and Mallory Thompson (Northwestern University) . In addition to his duties at BU, he also serves as Director of Bands at Owego Free Academy where he has developed an outstanding instrumental music program . The bands at OFA have received plenty of praises. The OFA Jazz Band was recently honored to present a concert performance at the 2013 NYSSMA Winter Conference. He is highly regarded in the region as a conductor, as a percussion performer, and as a music educator. He has been a member of the Binghamton Philharmonic percussion section since 1982 but is also comfortable performing in popular, rock, jazz, and other styles. He has played as a free -lance percussionist, accompanying national touring artists such as Michael W. Smith, Tommy Tune, Jerry Vail, Lorrie Morgan, Ringling Brothers Circus, the Smothers Brothers, and Ella Fitzgerald. Professor Fabricius has served the New York State School Music Association as an All-State Percussion adjudicator for many years. He also serves NYSSMA as the Instrumental Jazz Reviews editor of The School Music News and is the Jazz Editor for the NYSSMA Manual. In addition to his collegiate work at BU, he has also served Ithaca College as a consultant, as a member of the Summer Session faculty, and as a cooperating teacher for over 35 student teachers. He also serves the Summer Music Academy at Ithaca College as a percussion instructor and jazz ensemble conductor. He has presented many clinics at music conventions and conferences and often serves as a guest conductor for honor band festivals . SEVENS - was commiss ioned on behalf of South Caroli na's CBDNA members who contribute to the state' s Collegiate Honor Band . The world premiere was conducted by Colonel Lowell E. Graham, 0.M .A. (U.S. Air Force, Ret.). One moment in musical history, that I feel had a critical impact on modern ensemble music, was George Gershwin' s incorporation of jazz elements into the repertoire of orchestral music. Purists were appalled while listeners couldn't help but smile at these new sounds coming from a symphony orchestra . Gershwin' s j azz inspired orchestral compos ition Rhapsody in Blue was actual ly the brain chi ld of Band leader Paul Whiteman, who broached the idea to Gershwin in 1922 ( ... Figures it would be a band guy !). Whiteman wanted nothing more than to shake up the " highbrow" element that surrounded symphonic concert halls of that era. Rhapsody in Blue was written and performed in 1923. Its impact has proven to be timeless. Fast forward 81 years to 2004, the year of composition for "SEVENS" . Musical circles have grown to the point where the overlapping of musica l genres are, at the very least, acceptable and, more accurately, encouraged. When I got the ca ll from Les Hicken to write this piece, he mentioned to me that he would love it if the piece cou ld be a " barnburner." I hadn't written a piece that could be classified as a "barnburner" since I wrote a composition titled Ride. However, they are so much fun to do (even though they take forever to score), that I was happy to oblige . Shortly after Les called me, I was listening to one of my favorite musical groups, Gordon Goodwin' s Big Phat Band . I thought to myself that, at present, there' s no composit ion that I know of, that is just a straight ahead, in-your-face, Big Phat Band style composition for W ind Symphony; in other words, a true " barnburner." Perhaps a composition in that style would be j ust the right fit for this commiss ion . On ly one obstacle ... I have never written a jazz compos ition in my life. In an effort to write a modern day barnburner, as well as a tribute of appreciation to George Gershwin and Gordon Goodwin, I picked the concept that the " seventh" was the musical interval that Rhapsody in Blue kept so prominent. So, I based the entire compos it ion in sevens. Every part of this piece has a connection to the number seven. That connection could be the number of notes in the phrase, the time signature, the seventh-step chord that a phrase is based upon, etc ... Strangely enough, after I finished the entire compos ition, I discovered that my tribute to George Gershwin and Gordon Goodwin, titled Sevens, had one more symbolic turn. Both composers share the same initia ls: G.G.; coincidentally the seventh letter of the alphabet. (Notes from Samuel Hazo - www.SamuelRHazo.com) FOUR SCOTTISH DANCES - These dances were composed early in 1957 and were dedicated to the BBC Light Music Festival. They are all based on origina l melod ies, w ith the exception of one composed by Robert Burns. The first dance is in the style of a slow strathspey - a Scottish dance resembl ing, but slower than, the ree l. The dance is in 4/4 meter with many dotted notes, frequent ly in the inverted design of the "Scotch snap." The name was derived from the Strath Valley of the Spey River. The second, a lively ree l, begins in the key of E-flat and rises a semitone each time until performed by the bassoon in the key of G. The fina l statement of the dance is at the original tempo in the home key of E-flat. The third dance, in the style of a Hebridean Song, gives an impression of the sea and mounta in scenery on a ca lm summer day in the Hebrides. The last dance is a lively fling, which makes frequent use of the opening string pitches of the violin (performed by the saxophones in the band edition ). �Born in Northampton (UK) in 1921, Malcolm Arnold is one of the tower ing figures of the 20th century, with a remarkable catalogue of major concert works to his cred it, including nine symphonies, seven ba llets, two operas, one musical, over twenty concertos, two string quartets, and music for brass-band and wind-band. He also wrote one hundred thirty-two film scores . (Notes from Malcolm Arnold- www.MalcolmArnold.co.uk) QUINTOLOGY, The Science of Five - is a short concert piece for w inds and percussion . This piece explores the many possibilities of 5/4 t ime . The form of the piece is introduction, A, B, A. The A sections are built around the subdivisions of 3+3+2+2 . The B section utilizes mu ltip le layers of fives , superimposing ten quarter notes over five ha lf notes over twenty eighth notes. The piece drives to a conclusion, wh ich includes a short allusion to one of the great odd meter jazz composers, Don Ellis. Dr. Gary D. Ziek has served as Director of Bands and Professor of Trumpet at Emporia State University since 1995. He is the recipient of the Roe R. Cross Distinguished Professor Award for 2008-09. Dr. Ziek served from1982 to 1985 in the US Army and was a member of the Continental Army Band at Fort Monroe, Virginia. He taught in the Greater Latrobe School District in Pennsylvania from 1987 to 1992, and was the Associate Director of the Indiana University of Pennsylvan ia Marching Band in 1994. Dr. Ziek enjoys performing and conducting a wide variety of mus ic, from classical to jazz. He has performed and conducted in twenty states, as well as France, Germany, Switzerland, Italy, Austria and Canada . His compos itions and arrangements have been played throughout the United States, Belgium, The Netherlands, (Notes from conductor score) Japan, Singapore and Taiwan . TRITTICO - was composed in 1963 for Dr. Wi lliam D. Reve lli, who gave the first performance of the work in the Spring of 1964, in Ann Arbor, w ith the Symphonic Band of the University of Michigan . The fi rst and th ird movements are, in severa l ways, re lated to one another: the ir ma in character is brilliantly forward-moving and energetic; the main theme of the first movement reappears in the culm ination point of the third movement; and the instrumentation of the movements is identical (standard), with the individual instruments being used quite similarly. The second movement is a strongly contrast ing dramatic scene with turbulent recitatives and expressive woodwind solos, punctuated by low brass and percussion . The emphasis is on the woodwinds and the low brass; cornets and trumpets enter only at the very end w ith an extreme ly intense phrase to conclude the movement. The dramatic character is underlined by the strong use of percussion wh ich is extended by a second t impani player, piano, and ce lesta . (Notes from conductor score) Internationa lly renowned composer Vaclav Nelhybel was born on September 24, 1919, in Polanka, Czechoslovakia . He studied compos ition and conducting at the Conservatory of Music in Prague (1938-42) and musicology at Prague University and the University of Fribourg, Switzerland . After World War II , he was affiliated as composer and conductor with Swiss National Rad io and became lecturer at the University of Fribourg. In 1950, he became the first musical director of Radio Free Europe in Mun ich, Germany, a post he he ld until he imm igrated to the United States in 1957. Thereafter, he made his home in America , becoming an American citizen in 1962. After having lived for many years in New York City, he moved to Ridgefie ld and Newtown, Connecticut, and then, in 1994, to the Scranton area in Pennsylvania. During his long career in the United States, he worked as composer, conductor, teacher, and lecturer throughout the wor ld. At the t ime of his death on March 22, 1996, he was composer in residence at the University of Scranton. A prolific composer, Nelhybel left a rich body of works, among t hem concertos, operas, chamber music, and numerous compositions for symphony orchestra, symphonic band , chorus, and smaller ensembles. Over 400 of his works were published during his lifetime, and many of his over 200 unpublished compos itions are in the process of being published . (Nelhybel's passion for compos ing was all encompassing and left him little t ime for "marketing" his works; for th is reason, many of his compos it ions, though comm issioned and performed, rema ined unpublished .) Although Ne lhybel wrote the majority of his works for professional performers, he relished composing original, challenging pieces for student musicians and de lighted in ma king music with young players. Nelhybel was a synthesist and a superb craftsman who amalgamated the musical impulses of his t ime in his own expression, choos ing discri m inately from among existing systems and integrating them into his own concepts and methods. The most striking general characteristic of his music is its li near-modal orientation . His concern w ith the autonomy of melodic li ne leads to the second, and equally important characteristic, that of movement and pulsation, or rhythm and meter. The interplay between these dual aspects of motion and time, and the ir coordinated organization, resu lts in the vigorous drive so typica l of Nelhybel 's music. These elements are comp lemented in many of his works by the tension generated by accumulations of dissonance, the increasing of textura l densities, exploding dynam ics, and the massing of multi-hued sonic colors. Though frequently dissonant in texture, Nelhybel's music always gravitates toward tona l centers, which makes it so appeal ing to performers and listeners alike. (Notes from Vaclav Nelhybel Biography - www.scronton.edu ) FIRST SUITE IN E-FLAT - 2009 marked the 100th ann iversary of the First Suite in £-fla t by Gust av Hol st , now considered one of t he masterworks and cornerstones of the band literature. Although comp leted in 1909, t he su ite didn't rece ive its officia l premiere until 11 years later on June 23rd, 1920, by an ensemble of 165 musicians at the Royal M il itary School of Music at Kne ller Ha ll. However, the work w as originally conceived to be performed by ensembles significantly sma ller than the one at Kneller Hall. During th is ti me period, there was no standard ized instrumentation among the hundreds of British mil itary bands of the day, and as a result no sign ificant literature had been previously written for the band medium; most British bands up to then performed arrangements of popular orchestral pieces. In order to ensure the su ite would be accessible to as many bands as possible, Holst ingeniously scored the work so that it cou ld be played by a min imum of 19 musicians, w ith 16 add it iona l parts that cou ld be added or removed without comprom ising the integrity of the work. There are three movements in the su ite : Chaconne, Intermezzo, and March. Holst writes, "As each movement is founded on the same phrase, it is requested that the su ite be played right through w ithout a brea k." Indeed, the fi rst three notes of the Chaconne are Eb, F and C, and the fi rst three notes of t he melody when it fi rst appea rs in the Intermezzo are Eb, F, and C. In the th ird movement, March, Holst inverts the motive : The fi rst note heard in the brilliant open ing bras s med ley is an Eb, but instead of rising, it descends to a D, and then a G; the exact opposite of the fi rst t wo movements . The Chaconne begins w ith a ground bass rem iniscent of those w ritten by Henry Purcell or William Byrd . It is performed by tuba, euphonium and string bass and is repeated throughout th e ensemble sixteen fu ll t imes as vary ing inst rumenta l textures and variations of the theme are laye red w ith in it . Following a delicate ly scored chamber sett ing of the theme, the music steadi ly bu ilds to a brilliant Eb Major chord that concludes the movement. �The Intermezzo is light and brisk and features soloistic passages for the cornet, oboe and clarinet. Holst prominently displays the agility and sensitivity of the wind band through transparent textures and passages where the melody and accompaniment are woven into a variety of instrumental settings. The March begins suddenly. It consists of two themes, the first of which, performed by brass choir and percussion, is a march light in character. The second theme is dominated by the woodwinds and is composed of a long, lyrical line remin iscent of the original Chaconne melody. The movement concludes with both themes intertwining as the band crescendos to a climax. Gustav Holst, of Scandinavian ancestry on his father's side, was born in the English spa town of Cheltenham in 1874 and studied music at the Roya l College in London. A formidable trombonist, he spent time performing with the Scottish Symphony and various seaside bands. He later became director of music at St. Pau l's Girls' School, retaining this connection until the end of his life. Holst wrote a number of works for the theater, their subjects reflecting his varied interests, from Hindu mythology to Shakespeare and the medieval world of the Wandering Scholar. He also composed a considerable amount of choral music, accompanied and unaccompanied, including arrangements of folk songs, and a smaller number of solo songs. His most famous instrumental work is The Planets, but he is also fond ly remembered for his St. Paul's Suite for string orchestra, the two suites for military band, and Hammersmith, based on the district of London bearing the works name. (Notes from Esmail Kha lili - www.windrep.org). Binghamton University Department of Music Coming Events Wednesdav, March 19 pera cen s p.m. - Anderson gen ral public; 7 fac ulty/staff/seniors; $5 5 fo r students Thursday, M arch 20 - Mid-Day 10 n ere - I: 20 p. m. - Cas s adesus Re ital Hall - fr Thursday, March 27 - Mid-Day Concert - 1:20p.m. Friday, March 28 - Harpur nter Chamber Hall - VocalJazz - :00 p.m. - rurdav, March 29 - Junior Recital: baritone- 3:00 p.m. - Art Museum - free . sade sus Re ital Hall - free . sade sus R citalHall - free aitlin G rimer, oprano with Jake aturday, March 29 - Master's Recital: Matthew Recital Hall - free tamatis, bass amluk, baritone- 8:00 p.m. - Casadesus Thursday, April 3 - Mid-Day once rt - I :20 p.m. - Fine Arts Room 21 - free Friday, April 4 - pera n s - p.m. - Art Museum - 10 ge neral public; 7 fac ulty/staff/seniors; 5 fo r students For tickets or ro be a ded to our email list, visitanderson.binghamton.edu or call (607) 777-ARTS. For a complete list of our concerts call (607) 777-2592, visit music.binghamton. edu or become a fan on Fa ebook. If you were inspired by this performance,, consider supporting the Department of Music with a financial gift. Yoursupport helps to continue the work of students, faculty, and guest artists and their contributions to our community. Please make your donanon payable to the Binghamton UniversityMusic Department, and send your check to BL' Music Department, P.O. Box 6 0 , Binghamton,NY 13902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 57:20:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75049">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75049</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. 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Creator An entity primarily responsible for making the resource University Wind Symphony Fabricius, Daniel   Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Hazo, Samuel R., (b. 1966) Arnold, Malcolm, (1921-2006) Ziek, Gary D., (b. 1960) Nelhybel, Vaclave, (1919-1996) Holst, Gustav, 1874-1934. Date A point or period of time associated with an event in the lifecycle of the resource 3/15/14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/ddd2c82db25873c00d3934452740fdea.pdf a490fab33d16ed20f5673fca9a32caab PDF Text Text BINGHAMTON U N I V E R S I T Y S T A T E   UNIVERSITY O F  N E W  Y O R K [4 vodeo D E P A R T M E N T E p e s  fea t» I I.”  ­§ o l  r o u p {   I ;   D 2 )    o  h " ?   I ,   .  0 ' ,‘, ' i .­ _ , '   t  d E x  i  .  q   :  .  A g ” n 2 ) 2  5  = v ] ,  Q 8 ! ­ MID­DAY CONCERT Thursday, March 27, 201 4 1 :20 p.m. Casadesus Recital Hall �ea­  PROGRAM ass Passacaglia on an Old English Tune Justin Lafond, viola Margaret Reitz, piano Suite No. 2 in D minor, B WV 1008.  Prelude  Gigue J. S. Bach (1685­1750) Sonata for Cello and Piano, Op. 40..  Allegro  Dmitri Shostakovich (1906–1975) Hannah Watrobski, viola .. Be’la Bartok (1881­1945) Romanian F olk Dances.  Jocul cu bata  Braul Pe loc Buciumeana Poarga Romaneasca Maruntel Rebecca Clarke (1886­1979) Paul Watrobski, cello Margaret Reitz, piano Quintet in E flat Major, Op. 44  .  Allegro Brilliante  Sara Kohtz, violin Margaret Reitz, piano Suite populaire espagnole ..  El pafio moruno  Nana Cancion J ota Xander Edwards, cello Margaret Reitz, piano Kol Nidrei.  Eleanor Krasner, violin Margaret Reitz, piano Manuel de Falla (1876­1946) . Max Bruch (1838­1920) .Robert Schumann (1810­1856) Alexio Chang and Kieran Murphy, violin Justin Lafond, viola Xander Edwards, cello Natasha Talukdar, piano �Binghamton University Music Dep artment Coming Events V O W W M W   e b ­ Friday, March 28 – Har pur Vocal Jazz – 7:00 p.m.  ~ Casadesus Recital Hall – free Saturday, March 29 – Junior Recital : Caitlin Gotimer, soprano with Jake Stamatis, bass baritone– 3:00 p.m. – Art Museum – free Saturday, March 29 – Master’s Recital : Matthew Samluk, baritone – 8:00 p.m. – Casadesus Recital Hall – free Thursday, April 3 – Mid­Day Concert – 1:20 p.m. – Fine Arts Room 21 – free Friday, April 4 –  Opera Scenes  – 8  p.m.  – Art  Museum – $10  general public; $7 faculty/stafflseniors ; $5 for students Saturday, April 5 – Flute Tr io Recital – 3:00 p.m. – Casadesus Recital Hall free —  Saturday, April 5 – Junior Recital : Christina Santa Maria, so prano and Cole Tornberg, tenor – 8 :00 p.m. – Casadesus Recital Hall – free Sunday, April 6 ­­  Faculty Recital : Michael Salmirs, piano – 3 :00 p.m. – Anderson Center Chamber Hall – $10 general public; $7 faculty/staff/seniors; $5 students Tuesday, April 8 – String Fever (String Classes and Studio String Recital) – 8:00 p.m. – Casadesus Recital Hall – free Thursday, April 1 0 – Jazz Mid­Day Concert with guest artist – 1 :20 p.m. – Osterhout Concert Theater –  free Thursday, April 10 – Harpur Jazz Ensemble Concert wit h guest artist – 8:00 p.m. – Osterhout Concert Theater – $7 general public; $ 5 faculty/staff/seniors; free for students fi w w m m m w w w 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  (60 7)  7 77­25 92,  visit music.binghamton.edu or become a fan on Facebook. –  [ = ]   a f .  If you  were inspired by this performance, consider supporting the = [ m ]   Department of Music  with  a financial gift.  Your support helps to continue the work of students, facu lty, and guest artists and their   contributions to our community. Please make your donation payable to  the  Binghamton  University  Music  Department,  and  send  your check  to  BU  Music  Department, P.O.  Box  6000, Binghamton, NY 13902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 47:48:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE69128">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE69128</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mid-day concert, Thursday, March 27, 2014 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Bartók, Falla, Bruch, Bach, Shostakovich, Schumann. Held at 1:20 p.m., March 27, 2014, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Lafond, Justin Reitz, Margaret Kohtz, Sara Edwards, Xander Krasner, Eleanor Watrobski, Hannah Watrobski, Paul Chang, Alexio Murphy, Kieran Talukdar, Natasha Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Bartók, Béla, 1881-1945 Falla, Manuel de, 1876-1946 Bruch, Max, 1838-1920 Bach, Johann Sebastian, 1685-1750 Shostakovich, Dmitri Schumann, Robert, 1810-1856 Date A point or period of time associated with an event in the lifecycle of the resource 3/27/14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 40:50:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74964">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74964</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Harpur Vocal jazz concert Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Held at 7:00 p.m., March 28, 2014, Casadesus Recital Hall. Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 3/28/14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/d0a23a904b1236309ad3db236cfb097f.pdf 239660c4dffc18ccad1476a9cee70929 PDF Text Text BINGHAMTON U N I V E R S I T Y STATE  U N I V ER S I T Y   OF  N E W   Y O R K Ld v d e e D E P A R T M E N T :  ( ­ q  fi v a n y d f   N      3 5 :m  '  ,(‘;J"J’  o n y l  A  ‘  ‘ l u O   Q ’   g‘gl’g“  X : ‘ 4  “ f y ” ” a 3  b  o ) J  o i   l y   S a y {   S oY,e5  MID­DAY CONCER T Thursday, March 6, 201 4 1:20 p.m. Casadesus Recital Hall �sing ing 31­3 ; s t a r s !   PROGRAM  «6 & @ Johannes Brahms Rhapsody in G minor, Op. 79, No. 2...  Benjamin Calhoun, piano Sing not, bea utiful maiden, Op. 4, No. 4 . They Answered, Op. 21, No. 4 Spring Tor rents, Op, 1 4, No. 1 1 (1833­1897) .. Sergei Rachma ninoff (1873­1943) Canzonctta.  (1863­1937) Ma ry McGahay, clarinet Margaret Reitz, piano ' g d p i r . Gabriel Pierné   J b  L P _ . l u F \    i a  i j w i fi i g a n s .  Bn  s t e roid a l»  “l, C & =   w i th I odeICelebritiu Tri­Cities Dpsra S’tars­wrllbitpal’ed w  in duets from Opera, Broadway anthibie eI Theater! S a t u r d a y,  M a r c h  8  * 8 : 0 0 p m .F.A. Guilmanr (1837­191 1) Morceau Symp ho nique . »  » 4  ,  Thom Baker, tenor Ma rga ret Reitz, pia no Christopher Beard, trombone Ma rga ret Reitz, pia no . Dmitri Shostakovich Sonata in d minor, Op. 40  (1906­1975) Largo  Stephen Stalker, cello Tri­Cities Opera Center 3 1 5  Cl int on Stre et » B inghamt on, NY For details about VIP ticketing options, which include a cocktail hour before the show, reserved seating and special onstage seating, call 60 7­7 72­0400 or visit us online at tricitiesopera.com. Ma rga ret Reitz, pia no .Darius Milhaud (1892­1974) Duo Concerta nte . Skylar Buono, clarinet Ma rga ret Reitz, pia no Ernest Chausson Chansons dc Shakespeare . Chanson dc clown Chanson d’amour Cha nson d ‘op hélie , , , ,   ,  ~ 7   . i   ,  C o u n c  o f .   . . ,   “ . i  (1855­1899) 2  Michael Celenta no John Isenberg, piano L AR L Y    L M A V R Vos  or  i :]g  oa s l �Bingha mto n U nive rsi ty  Depa rtme nt of Music Coming Events m m 5 6 ­ W W W Saturday, March 8 ­  Harpur Chorale and Women’s Chorus – 3 :00 p.m. – Anderson Center Chamber Hall – free Sunda y, March 8 ­  TriCi ties Opera presen ts  “Singing wth the  Stars ” fundra iser– 8:00 p.m. – Opera Center, 3 1 5 Clinton Street  – call (607)772­ 0400 for tickets Sunday, March 9  – Master ’s Recital: Thom Baker, tenor– 3 :00 p.m. – Casadesus Recital Hall – free Th ursday, March 1 3  – Mid­Da y C o ncer t –  1:30 p.m. – Casadesus Recital Hall – free Saturday, March 15 – Master ’s Recital: Michael Celentano, baritone – 3 :00 p.m. – Casadesus Recital Hall – free Saturday, March 15 – Wind Sympony Concert: Music by Numbers – 8:00  p.m.  –  Anderson  Center  Chamber  Hall  ­  $7  general  public;  $5 faculty/staff/ seniors; free for students Wednesday, March 19 ­  Opera  Scenes –  8:00 p.m.  –  Anderson  Center Chamber Hall ­ $ 1 0 general public; $ 7 faculty/staff/ seniors; $5 for students Thursday, March 20 – Mid­Day Concer t– 1:20 p.m. – Casadesus  Recital Hall – free Th ursday, March 27 – Mid­Day C o ncer t –  1:20 p.m. – Casadesus Recital Hall – free Friday, March 2 8  – Harpur Vocallazz –  8:00 p.m.  –  Casadesus  Recital Hall – free W M O a f p 0 4  =   W é M fi ­ fi fi fl For  tickets  or  to be added  to  our email  list, visit anderson.binghamton.edu  or  call (607) 777­ ete  list of our concern ml! (60 7 ) 7 7 7­2592, visit music.binghamton.edu  or   ARTS. Fora compl become a fan on  Faceboolc i f  you  were inspired  by  this performa nce, consider supporting the Department of  Music with a financial gift. Your support helps to continue the work  of students, faculty, and  guest artists and their contributions  to our community.  Please  make  your donation  payable  to the Binghamton   usic Department, P.O. Box  6000, University Music Department, and  send your check to B U M Binghamton, NY  13902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 49:48:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE69125">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE69125</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mid-day concert, Thursday, March 6, 2014 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Brahms, Rachmaninoff, Pierné, Guilmant, Shostakovich, Milhaud, Chausson. Held at 1:20 p.m., March 6, 2014, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Calhoun, Benjamin Baker, Thom Reitz, Margaret McGahay, Mary Beard, Christopher Stalker, Stephen Buono, Skylar Celentano, Michael Isenberg, John Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Brahms, Johannes, 1833-1897 Rachmaninoff, Sergei, 1873-1943 Pierné, Gabriel, 1863-1937 Guilmant, Alexandre, 1837-1911 Shostakovich, Dmitriĭ Dmitrievich, 1906-1975 Milhaud, Darius, 1892-1974 Chausson, Ernest, 1855-1899 Date A point or period of time associated with an event in the lifecycle of the resource 3/6/14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/f58f83b9dff38c3d6541f4a6e200377f.pdf e09db26e5c0a0f7fee053eef2c9511c2 PDF Text Text BINGHAMTON U N I V E R S I T Y S ’ A I E  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 RICHES FROM THE EAST Choral M usic of Asia a n d t h e Sou th Pacific T HE WOMEN’S CHORUS Bruce Borton, conductor Assisted by W illiam Lawson, piano THE HARPUR CHORALE Peter Browne, conductor Assisted by Michelle Li,flute Saturday, March 8, 201 4 3:00 p.m. Anderson Center Chamber Hall �I I .  T H E  H ARPUR C HORALE PROGRAM I.  T HE WOMEN’S CHORUS odi 011i  . Tamil Song Arr. Stephen Hatfield The  Tamil people are widespread throughout  southern  Asia and  their language is one of fourteen official languages of India.  The chant­like melody is sung above a three tone drone typical of this music.  The text: “Untold millions o f p eople run and run, constantly seeking, grow desperate and die looking for the light that is within them.” Kashiri. . Tae Kyun Ham (btl936) Tae Kyun Ham is Professor of Music at Kunsan National University, Korea. Kashiri was commissioned for the 16!” Seoul Music Festival in 1984.  The text is a traditional Korean lyric poem: ”Are you going away, indeed? Are you going away leaving me behind? Without caring whether i can live on, are you going away? Though i wish to hold you here, I fear you will leave never to return.  Now I let you go, though grief­stricken; Come back to me as quickly as you are leaving.” Kaming Mag ma mani (Selling Peanuts) peanuts, poor and wretched with nothing to boast about.  We have only fragrant, ripe peanuts, and peanuts strung together to make necklaces, rings and earrings.” Traditional Chinese grea t sea, i still wa nt to fly to your place.” .Victor Paranjoti (India) This wordless piece embodies traces of ragas from the Carnatic music of South India, but also bears a resemblance to Hindustani classical music which  uses  Persian  and  Arabic  phonemes  as  nonsense  syllables. “Dravidian” refers to the languages o f South India while “Dithyramb” is a Greek term for a wild, passionate hymn. [anger  Traditional Balinese Folksong Arr. Budi Susanto Yohanes Janger is traditionally sung while dancing. often to the accompaniment of instruments from the gamelan. In this arrangement, the voices sometimes imitate the sounds ofthe instruments. Chinese Folksong Arr. Philip Lawson Mo Li Hua  Mo Li Hua (Jasmine Flower) is a traditional song about the fragrance and beauty of the iasmine flower.  The arrangement i s by Philip Lawson of The King’s Singers. Arirang.  Korean Folksong Arr. Sonia Poorman and Jonathan W. Lim Michelle Li, flute Arirang  is a widely  known  Korean  folksong telling the story  of a love doomed to a tragic end. . Inner Mongolian Folksong Arr. Yongrub Dorven Dalai.  Dorven Dalai is a joyful song which urges everyone to rejoice and sing ­ “Let‘s raise our wine cups, rejoice and sing, and enjoy this happy moment together.” Japanese Folksongs Arr. Misuzu McManus Itsukino Komoriuta. “There is a distant, distant place. A small stream hahhles and the wind ripples; A  kite with a broken string soars  freely; It gently  flies into the distance, A tropical place.  Even after passing over high mountains, Even after crossing the Dravidian Dithyramb.  Patang Padi is an arrangement of an old Malay  folksong about the rice ha rvest, a time for singing and dancing. Traditional Philippines in this traditional song, the plight of the poor farmer is accompanied by voices  mitating  instruments :  “We  are  a  group  o f farmers  who  grow Yo gay au yuen (A Tropical Place) Felicia Wang, soloist Malay Folksong Arr. Juliette Lai Potong Padi .  Takeda no Komoriuta Michelle Li, flute ltsukino Komoriuta and Takeda no Komoriuta are lapanese lullabies, the second o f which is sung by a baby­sitter anxious to finish with her duties and return home, Siksik Si Batu Manikkam.  Tapanuli Traditional Song (Sumatra) Arr. Pontas Purba Rachel Young, Daniela Rivera, Matthew Pedersen, solo trio Siksik Si Baru Mamkkam is a setting o fa  pantun, a traditional Malay poetic form often used in courting songs sung by groups of young men searching for lovers or e ven wives. �WOMEN’S CHORUS Bruce Barton, conductor Sop ra no 1 Stacey Davis Alexandra Leslie Nicole Meeker lillian Robertson Calli Seigart Brianna VanOsdol Felicia Wang Jamila Gordon Karima Jibril Kate Sherwood Altos Alexa Bruck Linda Melissa Cruz Kaitlyn Kang Laura Keim Soprano ll Kaitlin Biagiotti Rachel Blaifeder lzabelle Lawston Urenna Nwogwugwu Laura Sonnenberg Kimberly Torres Alida Cooke Alexa Dicken H ARPUR C HORALE Peter Browne, conductor Sop ra nos Carrie Buck Deanna Feuerbach Michelle Goldrich Kerianna Krebushevski Lauren Silberstein Rachel Young Tenors Ten­Young Guh Feng Nan Matthew Pedersen lay Rosser Joshua Rovou Jin­Ki Seong Altos Rachel Graham Shoshana May lnez Nelson Daniela Rivera Basses Thom Furey Jibron Harris Joseph Keller Thomas Sinclair Kerr Max Rydqvist S P E C I A L  T H A N K S To Chai­Kyou Mallinson for help with Korean pronunciation. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 42:40:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74973">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74973</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Women's Chorus presents Riches from the East: Choral music of Asia and the South Pacific   Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Ham, Paranjoti. Held at 3:00 p.m., March 8, 2014, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Women's Chorus Borton, Bruce Lawson, William The Harpur Chorale Browne, Peter Li, Michelle Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Ham, Tae Kyun, (b. 1936) Paranjoti, Victor Date A point or period of time associated with an event in the lifecycle of the resource 3/8/14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/c052243191ddd628c461602620dc0b37.pdf b63b8456fe1f13a4e2996f4fd17360c6 PDF Text Text BINGH AM TON U N I V E R S I T Y S T A ’ E   U N W E R ’ S I N   OF  N t v .   Y O R K d  ze dec D E P A R T M E N T MASTER’S RECITAL Thom Baker, tenor Margaret Reitz, piano Sunday, March 9, 20 14 3:00 p.m. Casadesus Recital H all �&  PROGRAM  «5 ib­  ABOU T THE PERFORMER « 6 L’honesta negli’ amori: Gia 11 sole dal Gange . .Alessandro Scatlatti ( 1 6601 725) Caro mio ben. .Tonunzuo Giordani (C.1730–1806) Paride ed  Elena: O del mio dolce ardor . . Christoph Willibald Gluck An die ferne Geliebte, Op. 98  1. Auf dem Hiigel sitz’ ich  2. Wo die Berge so blau 3. Leichte Segler in den Hohen 4. Diese Wolken in den Hohen 5. Es keh ret der Maien 6. Nimm sie hin, denn .  Ludwig van Beethoven (1770­18 27) (1714­1787) io­ INTE RMISSI ON «& Trois chansons de troubadours, Op. 152b.  I.  Rassa, ma dame  II.  Belle dame de mon émoi IIL.  Je suis tombé .Darius Milhaud (1882­1974) Three Poems of Paul Goodman.  g  1. For Susan  2. Clouds 3. What Sparks and Wiry Cries ,  Do Not Sing, My Beauty, Op 4 no. 4  .  They Replied, Op 2 1 no. 4  Spring Torrents, Op 14 no. 1 1 .  Sergei Rachmaninoff (1873­1943) Ned Roreni (b.l923) “Bpecially pleasing,” were die fitkt words used by  The New York Times to describe the singing of tenor  Thom Baker.  Considered  by some as  an  expert in choral arts and period performance practice, the lion’s share of Baker’s career has been performing and recording as soloist and choral artist with earlymusic ensembles including Musica Sacra, New York’s Ensemble (or Early Music, Voices of Ascension, the  G regg Smith Singers and AmorArtis, to mention a few. The tenor ’s first longtime  musical  guide  was  the  late  tenor  Charles  Btessler,  an  original  member  of  Noah Greenberg’s New York Pro Musica, a grand­parent of period performance practice in the United States. Mr.  Baker continues his seventeen­year relationship with the Grammy­nominated vocal ensemble Pomerium, with which he has traveled E urope and the Far East and recorded (as late as February 20 14) several programs of virtuoso Renaissance polyphony, the enseinble’s specialty. He has also recorded Stravinsky  with the  composer’s arrienuenris. Robert Craft, and appears on Bobby  McFerrin’s  VOCAbuLAn‘eS,  also  Grammy­nominated.  In  2010,  Mr.  Baker  began  to perform on  the other side of the pod ium as a choral conductor. In that year, he assem bled and prepared  a  choir  for  performances of  Monteverdi  and  Carissimi  with  NYS Baroque.  Darid Alminu, the Syracuse­based music cr itic, wrote that Vocannir , Baker’s choir, “...delivered...alertly and with great enthusiasm, achieving a good blend of vocal timbre and delivering  their words with mpetb  diction,” singing  the final movement  of Carissimi‘s  Historia  de  Jepthe, “with great poigimiq­ a nd minim o i ecprressiun.” bcl rogv . c  a f e m o n u i s  The 1Hi8eA  Gay Men’s Chorus hired  Mr.  Baker  as  Music  Director  in  that  year  and  he  immediately  diversified  the  group’s repertoire and expanded public appearances from two annual concerts to over twenty events per year.  in February of 2011, Baker became the Choir Director and Music Coordinator for the First Unitarian Society of Ithaca.  In  August  of  2013, SU NY Broonie  Community College engaged Thom Baker as Director of Choral Activities. As such, he conducted the SU NY Broome College Chair’s Masterworks Concert in November, performing Vivaldi’s Gloria and  Handel’s Ode on St. Cecilia ’s  Day.  Thom  Baker  is  pursuing  a  Master’s  of  Music  at  Binghaniton  University, anticipating his degree in May of 201 4. Under the tutelage of Professors Mary Burgess and Bruce Borton, he pursues a degree in two specialties, Vocal Performance and Choral Conducting MARGARET (Pei! REITZ,  pianist,  is  a native  of  the  Binghamton  Area.  She  received  her Bachelor and Master of  Music degrees in  piano performance with accompanying emphasis.  She attended  Boston University, New  England Conservatory a nd Binghamton  University.  She  has studied piano with Jean Casadesus, Victor  Rosenbaunr. Seymour  Fink and Walter Ponce  and accompanying  with  Allen  Rogers.  She  has  accompanied  throughout  the  United  States,  in England,  South  America,  Spain  and  at  the  American  Institute  of  Musical Studies  in  Graz, Austria.  She was a winner of the Artistic Ambassadors  Program by the United States infomianon Agency in  partnership with  the John  F. Kennedy Center  for  the  performing arts. She was  an official  accompanist  for  the  MTNA State  and  Eastern  Division  Competition  held  at  Ithaca College  She has been  a guest chamber music artist in Morges, Switzerland.  She also was selected to attend the Accompanying Workshop for Singers and Pianists held at Northwestern University with Chicago Lyric Opera Faculty a nd Coaches. She was  united to  the International  Clarinet Conference  to  play a  recital  in Tokyo, Ja pan  She was a guest artist on the Cornell  Summer Series.  She  was  an  official  pianist  at  the  Internationa l  Double  Reed  Competition  and Convention at Ithaca  College and was irm’red to play the Convention in Birmingham, England with the Glickman Ense mble.  She was selected tn accompanying at the Interpretation of Spanish Music in conjunction with Universi ty of Madrid in Grenada, Spain coached by  Teresa Berganza and at  Mannes School of Music. She will  he a guest a rtist perform ing at  The  Breakers on  the Newport Music Festival J uly 2014.  She is curren tly on the fa culty at Binghamton University since 1991 and Ithaca College  School of M usic since  1999.  She is  treasurer of the local District VII Music  Teachers  Association  and  is  an  active  adjudicator  for  the  National  Piano  Guild Organization. �@ &   TRANSLATIONS «5 Gia il sole dal Gange Already the sun over the Ganges shines more brightly, and dries every teardrop from the weeping dawn. With golden rays it bejewels every stem. and draws on the meadow the stars in heaven. Caro mio ben My dear darling, believe at last that without you my heart languishes. Your faithful one continually sighs. End, cruel one, such stubbornness. O del mio dolce a rdor O, my sweet passion’s coveted theme. the air which your breathe I finally take in. Anywhere I turn my glance, your elusive likeness is outlined. my thoughts so dissemble the most blissful hopes; and within the craving that fills my heart, I search and call, hope and stgh. An die ferne Geliebte To the Distant Beloved (Original German text by Alois Isidor Jeitteles) l .  I sit on the hill peering out into the blue mist­laden land, searching for the far­off meadows where I found you, beloved. I am widely separated from you; mountains and valleys lie as a barrier between us and our peace. out happiness and our sorrow. Alas, you cannot see my glances hastening to you so ardently, and my sighs die away in the space that separates us. Will nothing more, then, reach you.’ W ill  nothing he love’s messenger! I w ill  sing, sing songs that will complain to you of my grief! Before the music of song all space and all time flee and a loving heart attains 3. You, that sail easily in  the heights above, and you small, narrow brook, i f you can catch sight of my darling, greet her a thousand times from me. If you clouds then see her walking, lost in thought, in the quiet valley, let me image arise before her in the airy hall of the skies. where the clouds cover the sky – that is where I would like to be! There in the calm valley, Now the wedded ones live together faithfully; those that winter separated. me, complain to her, birds, of my sorrow! it knows how to join those who love. Soft west winds, in your blowing May is returning, the meadow deliver to my heart’s choice my sighs, which perish like the last ray of sun. V’hisper my supplicarion of love to her, small and narrow brook. let her see faithfully reflected in your When the spring joins all  who love, only for our love does no spring appear, and tears are all that is attains. waters my tears without number. 4. These clouds in the heights above, the merry pageant of songbirds w ill  see you, graceful one, Take me along in your easy flight! These west winds w ill  play and sport around your cheeks and breast, w ill  ruffle your silken tresses, Could I but share this with all ofyou! quietly meditates among the rocks, where the wind blows so softly ­ that  where I would lilte to be! This little brook busily hastens I am urged by love, by inner grief. Ah, I could not be drawn away, beloved, if I could be with you forever, the spring has now united; blossoms, The breezes are blowing so gentle and warm; only I cannot leave this place. pains and sorrow are silent. There where the primrose O ff t o the contemplative forest The swallow retums to the hospitable roof, it builds its bridal chamber so diligently; love will dwell therein. lt busily brings from here and there many a soft bit for the nuptial bed, many a warm morsel for the little ones. I f  she then stands by the bushes. now discolored and bare. complain to her of what has become of what a loving heart has consecrated! 2. Where the mountains so blue peer out from the misty gray. where the sun ceases glowing, The breezes ate blowing so gentle and warm; the brooks now mu. chattering. toward her from those hills. If her image is reflected in there. then flow back without delay! 5. May is  returning, the meadow blossoms. 6. Ta ke them then, these songs, beloved, which I have sung to you; then sing them again the evening to the sweet sound of the lure! When the red of sunset then moves toward the quiet blue lake and its last ray goes out behind that mountain peak, and you sing what I sang, what rang out from the fullness of my heart without ostentation of art, with consciousness only of longing: Then, in the face of these songs. all that has separated us so widely will yield. and a loving heart will attain what a loving heart has consecrated! �Trois Chansons de Troubadour (Original poems by J ean Valmy­Baisse) IL  Rassa, my lady is unsullied and refined, And young and charming and affectionate. She is blonde and of high mien And her skin, refined by her race. Has obscured with white ermine The pallor of the hawthorn flower. For her refined and unspotted color, For her celebrity and her honor. These qualities, prized most by connoisseurs. These range among the finest. You see where I have put my heart. H .  Lovely lady of my craving, Who can listen to your voice Or see your eyes wrthout being 7 Crazy in love of your whole being.  Alas, your heart is so cold. It gives to no man its feeling. But I will sustain my own malady Until each man whom you love Will suffer as do L No lady should have my heart So fragile in its vigor. I see her joyful and flirtatious, Availing herself to all tributes Instead of guarding her favors For the sole ma n that she has named Within her heart. I will love better the un ruly savoir I I I. Ihaye fallen into a grievous sickness by following my heart which leads me and never will unravel the snares of the net where my lady took me the this time and chained me. She pleases with these spear­like glances shot in bias, this lively and charming Helen. I ended my confinement and made Lana my only queen. Nothing in her beauty deceives, no subtlety touches her jor. Her young body, so graceful. inspiring love and blossoming youth­scented and breaking misfortune. Cheerful is the man to whom it is unveiled at the hour when the day dies in his in his abode, because his eyes w ill  see a better li fe. Th ree Poems of Pau l Goodman 1 .  For Susan How like a wild­flower untended among garden flower. no fairer are Susan and these kempt children beauties all! Surely a wild strain of blood and wit, as well as we know, is in her : fitful, fearful, willful, gay. and tearful All  these: yet persevering like the corn flower, the daisy, and never w ill  agree to take a fatal loss. Praise God. somehow in our disastrous homes the sun and rain and fresh winds blow. and these nourish our darling. 2.  Clouds So effortlessly we are not given to move on earth as these in heaven clouds, nor without desire to tend whither the airs conspire. The clouds exaggerate and pile into heights of mile on mile. In  the breathing o’ the universe they drift asunder and disperse. 3 .  Wha t Sparks and Wi ry Cries What sparks and wiry cries shall I 7 strike first upon the iron strings’  for I have got a pick of flint and I have learnt a skirl of glee, I’ll say the love I had a little and the longing like a block of ice, for never never never again shall we two meet. My blood stood still, my sparkling hair rose up in fright as wide between us grew the space now fixed. Oh! brilliant more than fire is the song of the heart undivided by hope or fear: the string that sounds again is tangled with a furious joy. So, next rhis drizzling war I ’ll keen, that no one wills and all  desire. Do not sing, mv benutv (Original Russian text by Alexander Sergeyn’ich Pushkin) Don   ot sing, m y  beauty. to me your sad songs of Georgia; they remind me of that other li fe and distant shore. Alas, they remind me. your cruel melodies. of the steppe, the night and moonlit features of a poor, distant maiden! Thar sweer and fateful apparition I forger when you appear; but you sing, and before me 1 picture that image anew. Do not sing, my beauty, to me your sad songs of Georgia; they remind me of that other life and distant shore. They Replied (Original French text by Victor Hugo Translated into Russian by Lev Alexandrovich Mey) “How,” asked the men, “can we flee the Spanish police in our small boats.” “Row,” replied the women. “How,” asked the men, “can we forget strife, misery and da nger” “Sleep,” replied the women. “How,” asked the men, “can we enchant beautiful women without love potions.” “Love,” replied the women. Spring Torrents (Original Russian text by Fyodor Ivanovich Tyutchev) The fields are still covered with white snow. But the streams are already rising in a spring mood, Running and awakening the sleepy shore, Running and sparkling and exclaiming loudly. They are announcing loudly to every corner: “Spring is coming, Spring is coming! We are the messengers of young Spring. She has sent us forth, Spring is coming, Spring is comingl And the quiet, warm May days Follow, squeezed happily Into the rosy, bright dancing crowd.” �Binghamton University  Department of Music Coming Events W W W Thursday, March 13  ­  Mid­Day Con cert ­  1:30  p.m. ­  Casadesus Recital  Hall ­ free Saturday, March 1 5  – Master’s Reci tal: Michael Celentano, baritone ­  3:00 p.m. – Casadesus Recital Hall – free Saturday, Alarcb 15  ­  Wind Swnpony Concert: Music by Nu mbers ­  8:00 p.m. – Anderson Center Chamber Hall  ­ $ 7 general  public;  $ 5 faculty/sta /seniors;  free for students Wednesday, March 1 9  ­  Opera Scenes ­  8:00 p.m. ­  Anderson Center Chamber Hall ­ $ 1 0 general  public, $ 7 faculty/sta /seniors; $ 5 for students Thursday, March 20 – Alid­Da  Con cert ­  1:20 p.m. – Casadesus Recital Hall – free Thursday, March 2 7 – Mid­Day Concert  ­  1:20 p.m. ­  Casadesus Recital Hall – free Friday, March 28  – H ar pur  P o m / j a z z  – 8 :00 p.m. – Casadesus Recital Hall – free Saturday, March 29  ­  Ju nior Reci tal: Caitlin  Go t imer, soprano with  Jake Starnatis, bass baritone – 3 :00 p.m. ~ Art Museum – free Saturday, March 29 – Mas ter’s Reci tal: Ata tdew Samluk, bari tone – 8:00 p.m. ­Casadesus Recital  Hall  ­  free Thursday, Apri l 3 ­ M d D ay Con c er t ­  1:20 p.m. ­  Fine Arts Room 21  ­ free a l; w e m m w m w w e b For tickets  or  to  be added  to  our  email  list,  visit  andersonbmghamtonedu or  call (607) 7 7 7­ARTS.  For a  complete  list  of  our  concerts  call (607) 777­2592.  visit musi c. 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  hel ps  to  continue  the  work of  students, faculty, and  guest  artists  and  their  contributions  to  our  community.  Please  make your donation  payable  to  the  Binghamton  University Music Department. and  send your check to  B L '  Music Department, P. O . Box 0000. Binghamton. N Y 1  3902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 47:23:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74970">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74970</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Master's recital with Thom Baker, March 9, 2014 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Scarlatti, Giordani, Gluck, Beethoven, Milhaud, Rorem, Rachmaninoff. Held at 3:00 p.m., March 9, 2014, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Baker, Thom Reitz, Margaret Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Scarlatti, Alessandro, 1660-1725 Giordani, Tommaso, 1733-1806 Gluck, Christoph Willibald Beethoven, Ludwig van, 1770-1827 Milhaud, Darius, 1892-1974 Rorem, Ned, 1923- Rachmaninoff, Sergei , 1873-1943 Date A point or period of time associated with an event in the lifecycle of the resource 3/9/14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/2c78834137ed6575df3790b520019fbf.pdf f2612d96efefc47d770cf716902a693c PDF Text Text BINGHAMTON U N I V E R S I T Y S T A T E   U N I V E R S I T Y   O F   N E W  V O R ­ D E P A R T M E N T U NIVERSITY SYMPHONY ORCHESTR A Timothy Perry, music director and conductor WITH WINNERS OF THE 2013 – 2014 u s o  Concerto AND ARIA COMPETITION Annie Tao, piano Caitlin Gotimer, soprano Emily Sui, violin Jake Stamatis, bass ­baritone Saturday, March 1, 2014 3:00 p.m. Osterhout Concert Theater �PROGRAM Concerto for Piano and Orchestra.  .  .  .  . Edvard Grieg in A minor, Op. 16  (1843­1907) I. Allegro molto moderato – Animato – Piu lento Annie Tao, piano Rondo di Fiordiligi: “Per pieta, ben mio".  .  from Casi fan Tutte  .  .. W.A. Mozart (1756­1791) .  Samuel Barber Caitlin Gotimer, soprano Concerto for Violin and Orchestra, Op.14  Ii  Allegro  (1910­1981) Emily Sui, violin Arias di Figaro, from Le Nozze di Figaro  Aria: “Non piu andrai, farfallone amoroso”  . W.A. Mozart (1756­1791) Recitative and Aria: “Tutto e disposto – Aprite un po’ quegl’occhi” Jake Stamatis, bass­baritone Ma Vlast: No. 2 – The  Moldau (Vlatava)...  Bedrich Smetana The Twin Sources of the Moldau – Forest Hunt  (1824­1884) Peasant Wedding – Nymphs’ Moonlight Dance – St. John’s Rapids ­ The Moldau at its Full Breadth The University Symphony Orchestra ’s fi nal concert for 2013 – 2014 will be a “Symphonic Smorgasboard” on Saturday, May 3 at3pm in Osterhout Concert Theater. The program will include four symphonic movements from twentieth­century masterworks by Sibelius, Vaughan William, Ives and Shostakovich, with commentary by Timothy Perry. �PROGRAM NOTES I. Edvard Grieg was only twenty­five in 1868 when he completed his only Piano  Concerto,  which  was  to  remain  the  only  work  he  completed  in a standard large­form during almost forty years of composition. After leaving the Leipzig conservatory, where his training had been heavily influenced by modeling Schumann and Mendelssohn, Grieg underwent his creative epiphany between 1865 and 1867,  when his discovery of Norwegian folk­music and dances led to his first great success, the 1867 Lyric Pieces, Op. 12 for piano solo. Encouraged by the success of his Violin Sonata in F, Grieg traveled to Rome where he brought the draft of the Concerto for Piano to present to the grand eminence, Franz Liszt. Liszt was impressed, making only a few (somewhat bizarre) suggestions for orchestration changes, and encouraged the young Norwegian to continue his writing “without fear”. The Concerto was premiered in 1869 in Copenhagen, where its success was immediate with both critics and the public. it remained among the most performed of all piano concertos for nearly a hundred years thereafter. Grieg is at his best as a miniaturist, and his concerto has long been criticized as more  of a pastiche  of  pretty melodies than a  work  whose  materials  are thoroughly  developed  and  interconnected  in  the  Germanic  manner.  No matter, Grieg’s gift for song­form has carried the day. The piano dominates the concerto, development is minimal, but the orchestra contributes some moving and occasionally original flashes of color to the enterprise. The fanfare which opens the first movement,  shocking  in its day (although Grieg  had Beethoven‘s Emperor concerto as a model) was copied by dozens of other composers,  and  the  first  movement  cadenza  is  among  the  best  of  the nineteenth century. His deft command of harmonic dissonance leaves just enough  acerbic  Scandinavian  ‘bite’  in  his  music  to  counterbalance  what Debussy called a sonority “like that of a rose­colored sweet coated in snow.” II. W.A. Mozart Fiordiligi’s Aria : Per pieta, ben mio, from Cosifan tutte In a cafe, Don Alfonso lays a wager with Ferrando and Guglielmo (two officers) on  whether  their  fiancées  (Dorabella  and  Fiordiligi,  respectively)  will  be eternally faithful. Don Alfonso claims he can prove in a day’s time that those two, like all women, are fickle. After all: Cosi fan tutte — “All women are like that.” The two officers pretend to have been called off to war, then return in disguise and each attempts to seduce the other’s lover. In Act Il, Guglielmo has managed to  woo  Dorabella,  who gives him a medallion.  Ferrando is less successful with Fiordiligi, who sings ‘Per pieta, ben mio, perdona’ ("please, my beloved, forgive"). Aria In the name of pity, my beloved, pardon the error ofa loving soul; Among these shadows and these groves, oh God, it will always be hidden! My courage and my constancy will destroy this wicked desire, and will erase the memory that makes me feel shame and horror. To whom did this vain, ungrateful heart fail in loyalty? You were owed a better recompense, my dearest, for your purity. Translation by Rebecca Burstein lll. Samuel Barber stands with Aaron Copland at the pinnacle of twentieth­ century American composers. David Ewen‘s summation is: “Of Barber’s many admirable qualities – his fine sense of musical design; the economy of his means; the inexorable logic of his thinking ­ the most significant perhaps is his highly  developed lyricism.”  Showing  remarkable  gifts  from  an  early  age, Barber was in one of the earliest classes educated at Philadelphia’s Curtis Institute. He won a Pulitzer Fellowship and the coveted Prix de Rome by age twenty­seven, and by 1940, when the Violin Concerto was composed, he had already completed several orchestral masterworks including the Overture to the School for Scandal, the Symphony No. 1, the Adagio for Strings, and the First Essay/or Orchestra.  Completed in the summer of 191.0 while at Pocono Lake Preserve,  the  Violin  Concerto  is  replete  with  the  compositional  virtues mentioned above. The first movement combines elements of both sonata and free rhapsody forms without descending into a muddle, suffused with a rich palette  of  harmonies organized around the solo line. The second subject, introduced by the clarinet, has been characterized as ‘jazzy’ although it is at least as ‘Celtic’ with its prominent Scotch snap rhythms. The solo part, while challenging, is warmly gracious and never virtuosic for its own sake ­ at least not until the brilliant perpetuum mobile of the third movement. There are a few moments  of  real  tension,  but  these  are  quickly  resolved  back  into  a comfortable level of consonance by turns soothing and insouciant. Even the cadenza is replaced by a short recitative, maintaining a relative modesty that is winning in its simplicity and honest sentiment. IV. W .A. Mozart: Two Figaro Arias Act I finale: #9 Aria; Non piu andrai At  the  end  of  the  first  act,  Count  Almaviva  finds  the  adolescent  (and oversexed) page  Cherubino  hiding  in  Susanna’s  quarters.  The  Count  was already suspicious that Cherubino had designs on his wife, Countess Rosina, and overall disapproves  of  the boy’s unbridled promiscuity. However,  the Count cannot punish Cherubino, as he himself was only just in  Susanna’s quarters to proposition her. Instead, the Count sends Cherubino away to serve in  his  regiment  in  Seville.  In  this  aria,  Figaro,  not  displeased  with  the development,  teases  Cherubino  about  a  Spartan  military  future  in  stark contrast with the carefree and flirtatious life he has enjoyed in the Count’s palace. �FIGARO (to Cherubino) No more you‘ll wander, my amorous little butterfly, flitting about by day and night Disturbing the rest of all those pretty women, little Narcissus, young Adonis of Love. No more you’ll have these pretty little feathers, this smart and jaunty cap, Those curls, that lively air, those rosy, girlish cheeks. You‘ll be among soldiers, by Bacchus! Great moustaches, a heavy well­provisioned knapsack A gun at your shoulder, a sabre at your side, head held high, bold of face A great helmet, or a big turban; plenty of honor, (but not much money), And instead of dancing the fandango, a forced march through the swamp! Over mountains, through the valleys, in the snow and burning sun To the music of trumpets, Of shells and cannon­balls whistling past, Making your ear sing! Cherubino, to victory and military glory! (They exit, marching the horrified Cherubino out in military style.) Act IV : Recitative and Aria  Tutto é disposto  Aprite un po’ quegli occhi Thinking that Susanna is meeting the Count behind his back, (a trap laid by the Countess and Susanna to catch the philandering royal) Figaro complains to his mother, and swears to be avenged on the Count, Susanna, and all unfaithful wives. FIGARO Recitative: Everything‘s ready: the hour must be near; I hear someone! It’s her! ...no, it’s no one. The night is dark...and now l begin to ply the wretched trade of a husband. Ungrateful woman! in the middle of my ceremonies He read  it  with  pleasure, and seeing  it,  i  laughed at  myself,  without knowing it. Oh Susanna, SusannaI What pains you cost me, with that ingenuous face ...with those innocent eyes...who’d have believed it? Ah, Ah, to trust in a woman is always folly! Aria: Open your eyes a little, you incautious and stupid men, look at these women, look at what they are! These, whom you name goddesses, deceived in your senses, to whom you burn incense, feeble in your wits: They‘re witches who enchant us, to cause us pain, Sirens that sing to us, to land us on the rocks, Owls who allure us, to pluck out our feathers, Comets that shine on u s, t o burn out our eyes; They’re thorny roses, they’re charming vixens, They’re smiling bears, cruel doves, masters of intrigue, Friends of trouble, who feign, lie, They feel no love, they feel no pity, no, no, no, no! I I won’t say the rest, everyone knows it alread   y! V. Bedrich Smetana is immortalized as ‘the Father of Czech music’ although he  is  more  correctly  the Father  of  Bohemian  classical  music,  since  the formation of a Czech nation was in his day still a half­century in the future. Smetana returned to Prague from Sweden after Bohemia’s Austrian overlords granted the region political autonomy in 186o. By 1862, Prague had a National Theater, and the next year Smetana composed hisfirst opera (in Bohemian) on a theme of Bohemian rebellion against Teutonic invasions.  That early score foreshadowed a combination of German Romanticism with native Bohemian folk music, history, and legend that soon became the core of the indigenous musical culture. By 1866, Smetana had finished his operatic masterpiece The Bartered  Bride  and  had  begun  composing  symphonic  poems  on Bohemian/Czech themes that culminated in Ma Viast (My Fatherland). These six compositions, written between 1871. and 1879 (even as Smetana suffered through increasing and eventually total deafness), drew on Bohemian history, legend, and geography to celebrate the native culture. By far the most popular of the set is the second, Vlatava, ironically better known through its German title, The Moldau.  The poem charts the progress of Bohemia’s principal river from a source in tiny twin forest springs (portrayed by a duo offlutes) through its growth in size, power and majesty – a stand­in for the nation itself. Along the way the river passes scenes of Bohemian life – a forest hunt (dominated by horn calls); a peasant wedding (with clarinets leading the dance­music); a magical moonlit night where water­nymphs (strings) hold court in shimmering waves as the ghosts of famous  warriors (brass) parade  past; through  the tempestuous St. John‘s rapids; and eventually passing through Prague itself under the shadow of the castle of Vysehrad, whose theme, recapitulated here in grand style, dominates the first tone  poem of the cycle. Once past its climactic appearance in the capital, the river makes its way towards the sea, its sounds fading away as it flows out of sight. T. Perry, February 2011, �‘THE PERFORMERS CAITLIN GOTIMER, soprano, is currently a junior at Binghamton University pursuing a Bachelor of Music in Vocal Performance. She has performed several times in the Tri­Cities Opera Chorus and sang the role of the Second Spirit in their 2012 production of The Magic Flute. She sang the role of the Mother in Binghamton University’s production of Hansel and Gretel for two consecutive years. Caitlin won first place in her division of the 2013 NATS Eastern Regional Conference and recently was the National Anthem soloist  when President Obama  came  to Binghamton  for his  College  Affordability  Tour.  She  is  a student of ProfessorThomas Goodheart. Acclaimed  as  a  “budding  professional”  the  young  operatic  bass,  JAKE STAMATIS, is on the cusp of an exciting and fruitful career! Hailing  from scenic  Tunkhannock,  Pennsylvania,  Stamatis  showed  great  talent  and expressive ability at an early age. He went on to hone his skills at Susquehanna University where he earned a Bachelor in Music degree in Vocal Performance. While there, Stamatis studied privately with Professor Jeffrey Fahnestock. His first year, he was cast as Death in Viktor Ullman’s The Emperor of  Atlantis, his first exposure to opera. Stamatis went on to perform as the Vicar in Britten ’s Albert Herring, Bartolo in Rossini‘s The Barber of Seville, and Frank in Strauss’ Die  Fledermaus.  Now  pursuing  an  MM  in  Opera  degree  at  Binghamton University in conjunction with Tri­Cities Opera Company‘s (TCO’s) Resident Artist  Training  Program,  he  continues  his  vocal  studies  under  Professor Thomas Goodheart. Stamatis made his TCO debut this fall as Zuniga in Bizet’s Carmen under the baton of Maestro Scott Bergeson. Most recently he played Leporello  in  TCO’s production of Don  Giovanni. The  Broome  County  Arts Council  reviewed  the  performance  saying,  “The  performance,  by  Jake Stamatis, was one ofthe highlights of the evening...” EMILY SUI is a native of Rochester, New York, where she began receiving violin lessons at the age of four. During her high school  years, she was a member of the Rochester Philharmonic  Youth Orchestra and also the NY Conference All­State Orchestra. She is currently a sophomore at Binghamton University as a Graphic Design major and pursuing a minor in Korean Studies. Emily has been a member of the Binghamton University Symphony Orchestra since her freshman year. She has also since been a student in the violin studio of  Dr.  Janey  Choi.  Emily  would  like  to  thank  the  Binghamton  Music Department for this opportunity, her past and present violin teachers for their guidance, and her family and friends for their overwhelming support. ANNIE TAO is a junior at Binghamton University. She is a psychology major and a music performance minor. She began her training with Ms. Gao Fei in her local town, where she received two golden ribbon awards for outstanding performance in piano by the Rockland County Teacher’s Guild. She completed the NYSSMA piano auditions through level 6 with a perfect score. She was selected to perform in the piano showcase at the Rochester winter conference in 2010. She also completed the associated board of the Royal School of Music with distinction and participated  in  the  “high  score ” recital. In  2010,  she entered Manhattan School of Music precollege division, where she studied with  Ms.  Elena Belli.  She  also  participated  in  the  NYYS  Chamber  music program. She played in a piano trio and was selected to perform in Symphony Space. She participated annually in the Music Marathon for the United Hospice of Rockland County, a fundraising  event for their music  therapy program. Music  has always been a huge part of her life.  She currently  studies with Michael  Salmirs at  Binghamton  University, and hopes  to  eventually  teach piano students. �singin V122 s t a r s ! U N IV E R S I T Y  S Y M P H O N Y  ORCHES TR A Timothy Perry, conductor Flute  Jessica Biagiotti  Kohar Bedonian  Michelle Li  Christina Dinella  Piccolo  Christina Dinella  Oboe  Rebecca Marwin  Taylor Morgen  Clarinet  George Deutsch  Justin K im  Mary Mc Gahay  Skylar O. Buono  Trombone  Christopher Beard  Jacob Strohrn  Joshua Yamuder  Tuba  Carter McGriff Timpani/ Percussion  Benjamin Rothschild  Steve Olson  K ey board  Dan Malinovsky  French Horn  Abbie McMahon  Matt McAuliffe  Daniel Muller  David Luther  V iolinl  Kieran Murphy  Joseph Vanderpool  Cameron D ’Auria  Jody Bach Rebecca Sgroi  Anna Li  Nate Christman  Emma Lecarie  Yuansi Du  Paul McHugh  Alan Thi  Brian Phung  Karen Fu  Trumpet  Anne Taylor  Violin I I   Eleanor Krasner  Bassoon  Bailey Thomas  John Voigt  Natalie Spitzer  Junbo Yan  Thomas Parker  Ife Samms  Gabrielle Maire Natalie Bock V iolin II izanrmuedi Ben Posthill Abirarne Gunuparan Simon Benarie Sara Kohtz Maya Orlofsky Viola Hannah Watrobski Max Stein Jillian Chen Justin Lafond Harrison Dulin Lindsay Covington Daniel Rodabaugh Sharon Graziano Alex Szigethy Mimi Nam Jaya Rao +»  — +  8  ¢ b fl fl ~   f  &  Contrabass Ro bert Durante Nicholas Hoyos The University Symphony Orchestra employs rotating seating, Woodwmds, Brass, and Percussion rotate by composition and are listed alphabetically. Strings rotate by concert and are listed by searing >  I <  P g e A   N a \ \   a ”a  2  r.  — s =   e S YA E    D — Hr’if  ““ Think “Dancing with the Stars” on steroids!  Tri­Cities Opera Stars will be paired with local Celebrities in duets from Opera. Broadway and Musical Theater!      »* 8 : 0 0 p m S a t u r d a y ,  M a r c h 8 Tri ­ C ities O p era  C e nt e r 3 15 C linton Street » Bing hamton, N Y Violoncello Mary Spencer Deborah Mariottini Emily Mockler Xander Edwards Alan Wang Kelly Mercer Ryan Hogan Charlie Miller \  +  f “   2  2  Q\  “i,  For details a bo ut  V I P t ic k e t ing op tions, whic h include a cock tail hour  be fore  t he  show, reserved seating and special onstage seating, call 607 ­ 77 2 ­0400 or  visit us online at tricitiesopera.com ,  ' s­“s  ‘  “ k g  y mTRI­CITIES  5 5   TNT, O I . i v   o 1920­2014  =  k . a & ‘   7   F? m m m — m p n n m m u m u m A n i ­ m n w n m m m n n v — m n w m q — q w e w o m o m u ­ w e — u u — m m ­ m m – u u o u q n m (infirm,  assassin“ D i e F  l e d e r m a u s +  K iE  \ The Forum Theatre . �Binghamton Uni versity Music Department’s Coming Events M M Saturday, March 1—Master‘s Recital: Emily Geller, mezzo­soprano–8:0 0 p.m.—Casadesus Recital Hall—free Thursday, March 6—Mid­Day Concert — 1 :20 p.m.—Casadesus Recital Hall— free Saturday, March 8—Harpur Chorale  and Women ’s Chorus —3:00  p.m.— Andewrson C enter Chamber Hall – $7 general public; $5 faculty/staff/seniors ; free for students Saturday, March 8—Tri­ Cities  Opera pres ents “Singing  with the St ars ” fundraiser—8:00 p.m.—Opera Center, 315 Clinton St.—call (607) 772­0400 for tickets Sunday,  March  g—Master’s  Recital:  Thom  Baker,  tenor —3:oo  p.m.— Casadesus R ecital Hall—free Thrusday,  March  13—Mid­Day  Concert—1:20  p.m.—Anderson  Center Chamber Hall—free Saturday, March 15—Ma ster’s Recita l : Michael Ce lentano, baritone —3:oo p.m.—Casadesus Recital Hall—free Saturday, March 15—W ind Symphony Concert:  Music by Numbers—8:00 p.m.—Anderson  Center  Chamber  Hall­­s7  general  public;  $5 faculty/staff/ seniors; free  for students Wednesday,  March  19—Opera  Scenes–8 :00  p.m.—Anderson  Center Chamber Hall­­s10 general public; $7 faculty/staff/ seniors; $5 for students Thursday, March zo—Mid­Day Concert —1:20 p.m.—Casadesus Recital Hall— free Thursday, March 20 – Harpur Chorale and Women ’s Chorus –  8:00 p.m. ­­ Anderson Center Chamber Hall – $6 general public; $3 faculty/staff/seniors; free for students M 0  .  — E W W M For tickets or to be added to our email list, visit anderson.bing hamton.edu or call (607) 777 ­ARTS. For a complete list of our concerts call (607) 777­2592, v isit 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 a nd their contributions to our community.  Please  make  your  donation  payable  to  the  Binghamton University  Music  Department,  and  send  your  check  to  BU  Music Department, P.O. Box 6000, Binghamton, NY 13902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 54m 1s Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75058">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75058</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. 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Title A name given to the resource University String Orchestra, March 1, 2014 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 3/1/14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/f4f245a718999486c20771e401c08472.pdf e5e987fac7859013afdd4bc7cc33f11b PDF Text Text BINGHAMTON U  N  I  V  E  R  S  l  T  Y S TATE  UN 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 STUDENT RECITAL EMILY GELLER, Mezzo ­SOPRANO widv Pg’fieétg; piano­ an d harpsichord and Hakan Tayga­Hromek; cello­ Saturday, Marci/1”, 2014 8 p .m   Casadesus H a l l �GeolgeFrider­ic Handel (1685­1759) fromAIcina  Verdi prati  Sta nelrircana II. Zigeunerilieder, 0p.103.  1. He, Zigeuner, greife in die Satan ein  2. Hochgetfirrnte Rimatht 3.Wisst ihr, wann mein Kindchen 4. Lieber Gott, du weisst 5. Brauner Bursche fiihrt zum Tanze Johannes Brahms (1833­1897) from Toic’ e st moi.  C‘est ga la vie, c’est ga I’amour  Half­Minute Songs.  1. Making the Best of It  2. First Ask Yourself 3. To Understand 4. Doan’ Yo’ Lis’n 5. How to Find Success 6. The Pleasure of Giving 7. Answer the First Rap 8. A Good Exercise 9. A Present from Yourself 10. Now and Then 11 When They Say the Unkind Things 12. Keep Awake V. from Kiss Me, Kate  So In Love  Thank You So Much Missus Lowsborough­Goodby from Nymph Errant The Physician from Panama Hattie Make It Another Old Fashioned, Please opportunities for elaborate staging and special eflects that were immensely popula has not yet been transformed and is besottad with the sultry Alcina. Living in sin with her, he has forgotten his betrothal to Bradamante, who has pursued him to the island disguised ®INTERMISSIONcs Youkali (Tango Habanera).  supernatural elernens than his earlier operas. This type d mafical opera providesr with them before she transforms them into boulders, trees, straarns, or wild animals. Her latest captive Is the knight Ruggiero (originally a castrato role, today sung by mezzo­soprano). He 7. Kommt dir manchmal in den Sinn 8. Rote Abendwolken ziehn III. constructed Covent Garden Theatre on A prils.1735.1 he anonymous libretto was based on two cantos lrorn Italian poet Ludovico Ariosto’s Orlando Iurioso (1 516) about the adventures of paladins In Charlemagne’s court. Alcina was so popular that there was a revival of the work just a year after its premiere. At this point In his career. Handel had the lreedorn to choose from a wider range of librettos; this explains why Alcina contains more Handel’s audiences. The opera focuses the sorceress Alcina. who lures brave men to her island, seducing 6. Rbslein dreie in der Reihe from Chants populaires.  Chanson espagnole  andel composed works in almost every musical genre, 1mm George Frlderlc H orchestral b vocal pieces, chlnber music to oraorio. Alcina was presented at the newly­ .  Joseph­Maurice Ravel (1875­1937) .Kurt Weill (1900­1950) .  Moses Simons (1889­1945) . Carrie Jacobs­Bond (1889­1945) .  .Coie Porter (1891­1964) as a young man. Eventually Ruggiero succeeds in destroying Alcina’s magic powers. All the enchanted heroes are restored to their human form and Ruggiero ls reunited with Bradamante. Both “Verdi prati” and “Sta neil rcana’ are sung by Ruggiero, but they could not be larther apart in character; the first ls ethereal and introspective, the other bold and aggressive. ‘Verdl prati is known  one of Handel’s most beautiful arias, although Carestini, the castrato who first sang Ruggiero, initially rejected it because of its simplicity. From Act II it loreshadows Alcina’s coming defeat and eventual vengeance with the world. As Ruggiero emerges from his entrapment, he comes to accept the island’s real, horrid aspect and bids twewell to Alcina’s magic island. Caught in an emotional tug­of­war between Alcina and his abandoned fiancée Bradamante, Ruggiero presents a largely passive figure until emerging In his rollicking final Act III aria “Sta nell’lrcana.” This aria resumes his heroic stance just after he escapes cina’s Alcina’s spell, solidifying him as a heroic warrior. After breaking away from Al enchantment, Ruggiero abandons her to return to his fiancée. Alcina pleads with Ruggiero to come back, but he instead breaks the urn that contains her power. The energy and excitement of “Sta nell’Ircana” is  manifested in the fiery accom paniment, which when performed with full orchestra, features horns and quick repeated notes In the strings. I. Verdi Pratt (Green Meadows)  Green meadows, charming woods, you will  lose your beauty.  Lovely flowers, flowing streams, your  charm, your beauty,  will soon be changed.  Sta ne  Teena (In her rocky Hyrcanlan lair) In her rocky Hyrcanian lair. lurks an angry tigress, unsure whether to run or await the hunter. She wants to save herself from his arrow, And as every lovely object changes,  everything within this place will return to the  but that would mean leaving  her young in danger. horror of its former appearance.  She shivers, torn between bloodlust and maternal devotion, the victor is  love. Johannes Brahms’s place as one of the great song composers of the nineteenth century and one of the maior German song composers Is untispuled. His works are chaaclarizad  by both strictness and freedom in form, line, texture, and rhythm. Considering himself a self­taught composer, he wrote approximately 380 songs for one, two, three and tour voices, including nearly 100 arrangements of lolk songs and children’s songs. Brahms‘s lundamental interest in folk music permeated his musical aesthetic. His great respect and admiration for classical forms manifested itself in musical symmetry, which is always found in his songs. This, coupled with his strong lyric gift, gives his Lieder a high degree of emotional intensity  and expressive impact. �Throughout his tile. Brahms was fascinated with the music of the Hungarian Gypsies. These songs are rearrangements from the eleven vocal quartets composed In 1887 as Zigeuneriieder for four voices. In the solo version, published in 1889, there we eight songs encompassing an array of emotions from exuberant joy to melancholy. Dance rhythms are found in the piano and also in the rhythms of the vocal lines of some of the songs. Brahms begins and ends this set with strongly accented. broad­lined songs. The Indigenous quality of Hungarian vocal music lacks upbeats. Although all eight songs are in simple dupie meter, variety is created by use of syncopations, triplets, and dotted patterns. ­attributed to Carol Kimball II. 1.He, Zlgeuner, greife In die Salton Hey, Gypsy, play your violin! Play the song of the unfaithful gri! Let the strings weep, lament. sadly and anxiously, until hot tears moisten my cheek! 2. Hochgetirnm Rimaflut River Rima with your towering banks, how troubled you are; by its edge I loudly moan for you. my love! Waves dash by, waves rush along and rumble up to the riverbank where i stand; by the banks of the Rima let me weep eternally for her! 3. Wlsst Ihr, warm meln K indchen Do you know when my darling is most beautiful? When her sweet little mouth iokes and laughs and kisses. Dear little girl, you are mine. I kiss you fervently; loving heaven created you for me alone! Do you know when I like my sweetheart best? When he holds me close in his arms. Dear lover, you are mine, I kiss you fervently; loving heaven created you for me alone! 4. Lieber Gott, du welsst Dear God, you know often I have regretted the kiss I once gave my sweetheart. My heart commanded me to kiss him; I will think about that first kiss as long as I live. Dear God, you know how often in the silence of the night I have thought about my loved one in pleasure and pain. Love is sweet. even if r epentance is bitter,  atr rtwill remain eternally, my poor he eternally true to him. 5. Brauner Bursche fiihrt tum  Tanze A suntanned lad leads his beautiful blue­ eyed sweemeart to the dance; he boldly strikes his spurs together; a czardas melody begins; he kisses and caresses his sweet loved one; turns her around. leads her, rejoices and leaps: he throws three bright silver coins onto the cimbalom to make It twang. 6. Roslein dreie In der Raine Threelitflerosesina row blossom so  red; there‘s no law  against a young man’s visiting a young girl! Dear God, if  that were forbidden, the beautiful, wide world would have been gone long ago: to remain unmarried Is a sin! The prettiest little town In Alféld Is Kecskemét; there, there are really a lot of good­looking and nice girls! Friends, find yourselves a bride there, ask for her hand and establish your household; drain the cup of joy! 7. Kommt dlr manchmal In  den Slnn Do you sometimes recall to mind. my darling, what you once promised me with sacred oath? Don’t deceive me, don’t abandon me; you don’t know how much I love you; love meas  much as I love you, and then God’s g’ace will pour down on you! 8. Rote Abendwolken xlehn Red evening clouds pass by in the firmament; my heart burns longingly for you, my darling. The sky beams in glowing splendor, and I dream, by day and night, only of my sweet lover. All three of these French songs have a “Spanish flair” through dance rhythms. French composer Maurice Ravel once commented that he did not want his music to be interpreted, but performed. The Chants populaires Is one of four prize­winning folk song amrangements designed to promotethe awareness and performance of international folk song. A relentless militant rhythm (similar to Bolero) underlies a bitter comment in the text   pon a man’s soul. about the hardening effect d w a u Kun Weil ’s persistent experimentation with hybrid toms of musical theater produced some of the most stimulating, expressive. and enduring works for musical theater in the last century. German­born, Weill wrote ‘Youkdi:Tango Habanera‘ while in Paris. The French text was later added by Roger Fernay. “Youkali” is languid and nostalgic, written in strophic form. It contains Weill’s trademark of  major­minor alternation. Its narrative stanzas are set In a tango rhythm but the habanera is heard in the refrain. Weil’s major­minor ventilation is used ironically here; the final phrase migrates to the major key as hope for finding the dream of Youkali s crushed Moisés Simons was a leading Cuban composer, pianist. and conductor. After having built his career in Cuba, he composed one of the most lamous pieces of Cuban music. “El Manisero (The Peanut Vendor).” Its success led to a “rumba craze” In the US and Europe which lasted until the 1940s. In Paris, he wrote the operetta Toi, c’est Moiwith popular French novelist, Henri Duvernois. It consists of a series of extremely varied numbers punctuated by humorous comedy scenes. The CubaHaern musicologist Alejo Carpentier praised Simons’ excellent musical and technical accomplishment saying that Toi C’esl Moi Simons’ creative career. “C’est la vie” is an arresting take on the   was b l e the peak of  Carmen story in which Carmen kills a cheating Escamillo. III. Chanson espagnole (Spanish Song) F zeweil. go, my husband, farewell; Since they have taken you for the war There is no longer on earth Alas! for me, neither laughter. nor fun! Vouknli (Tango Habanera) It was almost to the end of the world That my wandering boat Straying at the will of the waves Led me one day The Isle is very small But the kind fairy that lives there Invites us to take a look around. Youkali is the land of our desires Youkali is happiness, pleasure Youkali Is the land where we forget all our worries It Is in our night, like a bright rift the star we follow, it is Youkail Youkali Is the respect of all vows emhanged Youkali is the land of love returned II is the hope that Is in every human heart The deliverance we await for tomorrow Youkali Is the land of our desires Youkali is happiness, pleasure Bu t i t isa tt  dream,  a folly There is no Youkali. Castille takes our boys To make her cause triumphant, They go off as soft as rose petals, They return hard as  thistles. And life carries us along Tediously, day by day But the poor human soul Seeking forgetfulness everywhere Has, in order to escape the world Managed to find the mystery In which our dreams burrow themselves In some Youkali. Youkali is the land of our desires Youkeli is happiness, pleasure Youkdi is the land where we forget all our worries It is in our night, like a bright rift the star we follow, it is Youkali Youkali is the respect of all vows emhanged Youkali is the land of love returned It “s the hope that is in every human heart The deliverance we await lor tomorrow Youkali is the land of our desires Youkali is happiness, pleasure But it is a dream, a folly There is no Youkali. �C’sst ca la  vie (That’s Life) Carmen the gypsy loved the handsome Escamillo; She swore to love the Toreador forever. But all men are the same, He tired of her kisses. He deceived her, she reproached him. He left her! That’s Me. that’s love! Here a little embarrassment one gets into, One falls in love one night, the next day it’ goodbye. That’s life. that’s love. Carmen the gypsy returned to the Toreador; She forgave him, wanting him to adore her again, But all men are the same, Escamillo deceived her again. The gypsy seized his dagger, And killed him! That’s life. that’s love! Here a little embarrassment one gets Into. We love one night, one day we kill. That’s life, that’s love. Carrie Jacobs­Bond was a piano prodigy, but did not pursue music professionally until after the death of her second husband. Having lost nearly everything, she fought poverty for years and provided for herself and her son by writing, selling. and performing songs ‘unpretentious as a wild rose.” She suffered stage fright and was criticized for being “plain and angular.”  As an untrained singer. she courageously performed her songs on her own due to financial trouble. Ultimately she became quite successful, allowing for her music to have professional performances. Upon hearing her most famous song, ”At the End of a Perfect Day” in concert. a Viennese composer visiting the United States stood up, thinking it was the national anthem. It is easy to imagine Jacobs­Bond delivering the pearls of wisdom in “The Half­Minute Songs.” They are infused with her quirkiness and forthrightness. “I wonder what the world would be like if  there were nobody to do the simple things!” Bond wrote. “I wonder how folks would get along without snappers, and hooks and eyes, and pins. Nothing could be much commoner than they are, but they fill a very much­needed place. You see, lots of folks can get along without a point lace collar, but I should hate to see folks try to get along without the other commodities I’ve spoken of. And sometimes songs (simple songs) like pins keep folks together.” ­Adapted from Briana Sekamcto N. 1. M aking the Bes t  o f  It. What you can’t help, What you can’t help. What you can’t help. Forget! 2. First Ask  Yourself. Before you have said It about them, Ask yourself if you’d like them to know you said it. 3. To Understand. To understand a sorrow, You must have one all your own. Cole Porter is a world famous composer and lyricist, who had such an individuality of style that a genre known  “the Cole Porter song” emerged. The hallmarks of a typical Porter song are suave and witty lyrics and melodies with a sinuous, brooding quality. Richard Rodgers said, “Few people realize how architecturally excellent his music is. There’s a foundation, a structure and an embellishment. Then you add the emotion he’s put in and the result is Cole Porter.“ In 1937, Porter was thrown from a horse, breaking both his legs and danaging his nervous system. For the rest of his life, Porter in constant pain and became a virtual recluse. Kiss Me, Kate is one of Cote Porter’s most loved musicals. It opens with the cast of a musical version of William Shakespeare’s The Taming afthe Shrew rehearsing for opening night. Egotistical Fred Graham is the director/producer/starring as Petruchio, while his movie­star ex­wife, Lilli Vanessi, ls playing Katherine. Although they seem to be constantly arguing, Lilli receives a flower arrangement, identical to her wedding bouquet, with a card from Fred. She sings, “So In Love", remembering why she fell in love with him to begin with. Her rekindling love for Fred dies when she finds out the flowers were not intended for her. just delivered to the wrong dressing room. Some of Porter’s most unique and hilarious songs come from musicals rarely done today. Nymph Emant, once considered controversial, tells the story of a young English lady. Evangeline, intent on losing her virginity, Evangeline is sold and married into a harem, but she complains to the harem keeper about the lack of intimacy with her new husband, who she has yet to meet. He asks if  she has ever been in love. and she tells him of a crush she once had in, “The Physician.” Porter considered this score his best because of its worldliness and sexual sophistication. The World War II musical, Panama Hattie tells the story of Hattie Maloney, a gaudy, good­hearted nightclub singer who tends to love above her station. In “Make It Another Old F ashioned, Please” Hattie tries to swear off  liquor with little success. The Broadway premiere starred Ethel Merman as Hattie. One of Porter’s rare independent songs, “Thank you So Much Missus Lowsborough Goodby” was inspired by an invitation to a country house. A typescript of  the lyric was found among the unused lyrics of ‘Anything Goes’, indicating that Porter might have contemplated using it in that show. ­Am’buted to The Associated Press, New York Times V. 6. The Pleasure of  G iving I’d rather say “You’re welcome” once, then “Thank you” a thousand times. 7. Answer the First Rap. Opportunity may knock often, but it’s  better to answer the first rap! 8. A Good Exercise. With evil things you’ll always find It’s best to be deaf. dumb and blind. 9. A Present from Y ourself. A friend is a present you give yourself 4.Doan’ Yo’ Lls‘n. No mattah w’at dey said. Keep a­walkin’ straight ahaid, W’y dey’ll praise yo’ when yo’ daid, But doan’ yo’ lis’n. 10. Now and Then. The “lucky” fellow gets up at five (AM.), And gen’rally works till ten (P.M.); But the other fellow not quite so ”lucky.” Works hard­just now and then! 5. How to F ind Success. The man who finds success looks sometimes when he‘s tired, When he’s tired. when he’s tired. Looks sometimes when he’s tired. 11. When They Say  the Unklnd Things. Ain’t it gay that what “they say” Can’t hurt you unless it’s true? 12. Keep Awake. Success never comes to the sleeping. So In L ove Strange dear, but true dear, When I’m close to you, dear, The stars fill the sky, So in love with you am I. Even without you, My arms told about you, You know darling why, So In love with you am I. In love with the nightmysterious. The night when you first were there, In love with myjoy delirious, When I knew that you could care. So taunt me, and hurt me, Deceive me, desert me, I’m  yours, till I die So In love, So in love, So In love with you. my love, am I �Thank You So Much Missus Lowsborough­Goodby Mlssus Lowsborough­Goodby gives weekends. and her weekends are not a success, but she asks you so often you finally soften and end by answering “Yes.” When I left Missus Lowsborough­Goodby’s The letter I wrote was polite But ltwould have been bliss Had I dared write her this, The letter I wanted to write: Thank you so much Missus Lowsborough­ Goodby, Thank you so much. Thank you so much for that infinite weekend with you. Thank you a lot. Mlssus Lowsborough­ Goodby. Thank you a lot. And don’t be surprised if  you suddenly should be quietly shot. For the clinging perfume And that damp little room, For those cocktails so hot And the bath that was not, For those guests so amusing and mentally bracing Who talked about racing and racing and racing. For the ptomaine I got from your famous tin salmon, For the fortune I lost when you taught me backgammon. For those momings I spent with your dear but deal mother. For those evenings I passed with that bounder, your brother, And for making me swear to myself there and then Never to go for a weekend again. Thank you so much. Missus Lowsborough­ Goodby, Thank you. thank you so much. The Physician Once I loved such a shattering physician, Quite the best­looking doctor In the state. He looked alter my physical condition, And his bedside manner was great. When I’d gaze up and see him there above me, Looking less like a doctor than a Turk, I w  tempted to whisper, “Do you love me. Or do you merely love your work?” He said my bronchial tubes were entrancing, My epiglottis filled him with glee, He simply loved my larynx And went wild about my pharynx, But he never said he loved me. He said my epidermis was darling, And found my blood as blue as could be, He went through wild ecstatics, When l showed him my lymphatics, But he never said he loved me. And though. no doubt, It was not very smart of me, I kept on a­wracking my soul To figure out Why he loved ev’ry part of me, And yet not me as a whole. With my esophagus he was ravished. Enthusiastic to a degree, He said “twas iust enormous, My appendix vermiformis, But he never said he loved me. He said my vertebrae were “sehr schone,” And cdled my coccyx “plus oue gentil,” He murmured “molto bells.” When I sat on his patella, But he never said he loved me. He took a fleeting look at my thorax, And started singing slightly off key, He did a double hurdle when I shook my pelvic girdle, But he never said he loved me. As it was dark, I suggested we walk about Before he returned to his post. Once in the park. I induced him to talk about The thing I wanted the most. He lingered on with me until morning, Yet when I tried to pay him his fee, He said. “Why, don’t be funny, It is I who owe you money,” But he never said he loved me.” Make It Another Old F ashioned, Please Make it another old­fashioned, please. Make it another. double, old­fashioned, please. Make it let one who’s due tojdn the disillusion crew Make it for one of love’s new refugees. Once high in my castle, I reigned supreme, and oh what a castle, built on a heavenly dream. Then quick as a lightning flash, that castle began to crash So, make it another old­fashioned, please Leave out the cherry, Leave out the orange, Leave out the bitters Just make it straight rye. ABOUT THE PERFORMERS Hailing from Long Island, Mezzo­soprano Emily  G eller is urrrently a Resident Artist with Tri­Cities Opera. Most recently she performed Mercedes in Carmen, Lola in Cavelleria rusllcene and Ines In Il trovatore. Before TCO, she was a Tyler Young Artist with Opera on the James where she covered Giannetta In Lelisir d’emore and performed The Wife In The Music Shop. She has been noted as “outstanding”, “delightfully over the top,” and “most enjoyable to watch and listen to.” Ms. Geller has performed lead roles with numerous regional companies, Including C­R Productions at Cohoes Music Hall, One World Symphony, Amore Opera. Regina Opera. NY Lyric Opera Theater. Staten Island Philharmonic. Village Light Opera Group and The Harvard­Radcliffe Gilbert and Sullivan Players. During the summer, she has performed with such festivals as Music Theater Bavaria, Intermezzo Opera Theater. Rising Star Opera Theater. College Light Opera Company and Boston University Tanglewood Institute. Favorite roles performed include Third Lady in Die Zauberfiéute, La Voix in Les contes dHoffmann, Mrs. Anderson In A Little Night Music, Mere Marie in Dialogues des Carmelites, Miss Todd in The Old Maid and the Thief, La maestra delle novizie in Sour Angelica and Mrs. Herring in Albert Herring. Having an affinity for Gilbert and Sullivan operettas, Ms. Geller has extensively performed Katisha in The Mikado throughout the Northeast. Other G&S roles include Pitti­sing in The Mikado, Cousin Hebe in HMS Hrrafore. Kate In Pirates dPenzrrnce. Duchess of Plaza­torn in The Gondoliers and lolanthe and Queen of the F airies In lolanthe. Outside of opera, Ms. Geller’s solo experience include Mendelssohn’s Elijah. Vivaldi’s Gloria, Dumfle’s Requiem, Debussy’s Trois Chansons, Britten’s Rejoice in the Lamb, Bach’s Christmas Oratorio and Handel’s Messiah. Ms. Geller is currently a Master of Music student in Opera at Binghamlon University with a full assistantship under the tutelage of Prof. Mary Burgess. She received her Bachelors of Music in Vocal Performance from New England Conservatory earning the Ruth S. Morse Scholarship, the NYSTEA Award of Excellence for Exceptional Work in Theater and the Emmett Quinton Scholarship for Theater. While at Binghanton University, she performed Hansel in Hansel and Gretel in The Anderson Center Chamber Hall. Upcoming performances include “Country Nights to New York Lights“ a concert of American Opera and Musical Theater with Opera North in Wilder, VT March 8 ” and 9th. With Tri­Cities Opera. she will be performing in a brand new production of  Die Fledermaus as Prince Orlofsky, May 2™ and 4 “ a  t The Forum Theater. This summer. Ms. Geller will return to Opera North as  a Young Artist. performing Mrs. Emma Jones in Weill’s Street Scene and covering F lora Bervoix in Verdi’s La Traviata. �Pej Rcitz. pianist, is a native of the Binghamton Area. She received her Bachelor and Master of Music degrees in piano perlormance with accompanying emphasis. She attended Boston University, New England Conservatory and Binghamlori University She has studied piano with Jean Casadesus, Victor Rosenbaurn. Seymour Fink and Walter Ponce and accompanying with Allen Rogers She has accompanied throughout the United States, in England, South America. Spain and at the American Institute of Musical Studies in Graz. Austria. She was a winner of the Artistic Ambassadors Program by the United S tates Information Agency in partnership with the John F .  K ennedy Center for the performing arts. She was an official accom panist for the MTNA Sta te and Eastern Division Competition held at Ithaca College. She has been  a guest chamber music artist in  Morges, Simtzerland. She also was selected to attend the Accompanying  Workshop for Singers and Pianists held at Northwestern University with Chicago  Lyric Opera F aculty and Coaches. She was invited to the International Clarinet Conference to play a recital in Tokyo, Japan. She was an official pianist at the  International Double Reed Competition and Convention in at Ithaca College and  was invited to play at the Convention in Birmingham. England with the Glickman  Ensemble She recorded several CD’s with the Glickman Ensemble in   Englewood, NJ. She will  perform with the Glickman Ensemble on the Cornell  Summer Series in July. She was selected to accompanying at the Interpretation of  Spanish Music in conjunction with University of Madrid in Grenada, Spain  coached by Teresa Berganza and at Mannes School of Music . She was a Guest  Artist playing two concerts in Granada, Spain and accompanied the Barcelona  Song F estival . She soloed with  the Catskill Symphony at the Otesaga in  Cooperstown, NY under the direction of Charles Schneider. She has  accompanied at The International Spanish Music F estival in Madrid, Spain. She is  the pianist for Theater Street Productions and will perform on the Newport Music F estival and International G & S F estival in England this summer  i  She is currently on the faculty at Binghamton University since 1991 and Ithaca  College School of Music since 1999. She is the treasurer of the local District VII Music Teachers Associa tion and is an active adjudicator for the National Piano Guild Organization.  Hakan Tayga­Hromek, cellist. trained in Music Performance at Ithaca College, SUNY­  Purchase and Binghamton University  An active orchestral cellis t, Hakan currently serves   as Principal Cellist of the Binghamton Philharmonic and the Tri­Cities Opera Orchestra.  Other orchestral and chamber experience has included Kenai Peninsula Music F estival in  Alaska. S yracuse S ymphony (S ymphoria), Northern Tier S ymphony An avid chamber  musician collaborations have included working with BU F aculty. artists in the Central NY  Region. novodtet. DeVere Quartet. and Convivium Plano Trio. Of special interest, the  Novodtet has recorded W illiam H. Wegel Dance Suite (String Quartet #2) in2012. Teachers and Artists that have had great influence have included Peter Wiley. Daniel Phillips, Manon Feldman, Stephen Stalker, Einar Jeff  Holm, and Fritz Wallenoerg ­ “W“"em’e’  t l W =  +  4 t  h  J wk  y   h e !  N < NM FARA ' y '  £ = = T h i n k  “ D a n   fi C lho  w i t h t h e  S t a r  %o  n s  t eroi ds! Tri ­ C i t ios ­ D per a  S t a r s  w i l l b  e p  a i r e d  w i t h l o c a l  C el e bri t i es _ ­  cd "  a   u s i c a l  T h o a ‘ " ! i ” d  u e t s  f r o m  O p ‘ r a ’  B r o a d w a y  a n d M S a t u r  d a y ’ m  M a   r c h .  8    . 8 : 0 0 p m T r i ­ C i t i e s  O p e r a C  e n t e r 3 1 5  C l i n t o n  S tr ee t  » B i n g h a m t o n ,  N Y For details  a bout  V IP tic k e ting  options, .  which  include a cock tail hour before  the  show, r .  ­  r eser v ed  s e a t i n g  a n d  s pec i a l  on S tag e  sea t in g , f ,   p i .   ca ll  607»772­0400 o r  v isi t  us on l in e  a t  tric i t iesoper a x om . ’ p  _ y  ,  :',  CLAD   fo . , '   2 ) , 1ri « [ : l  Emily would like to thank everyonefor coming out tonight. Moist especially,  herdevatedparents, fr1endsandfamilyfrom/aruway, suppomvecolleogues  andprofessars andloving boyfriend, Travis, for agreeing to be part of  this  fey ­  940­3014  N 4_§~§­._§;r Laat  RELI  l ­  S u l a   ,  4 S  n  r” ‘ O A “ fi gs , '  ,  i  fi fi r h r . fi “ ' ‘  f . , .  v»,  . . u... v 1 55575 fi t   n fi ? : ­1 3 9   “1 1.5: .'  h m 1.11 .,    a m a  c fi ‘ fi p r ‘ o g r     ­ )  sh Urfatd  ru n s 121.132}:­  bl: ‘  :  a t   ­ r  fl fi l   {ll  M  ,  fl  i  r ­ ' F } .  il‘ii’Tr r m us,  .: c 3  4 $55,541 ,' llél‘j 1 )  I’t’{  Johann  I~»'ii':‘ii§’i7:‘: ' ' " rllil ’ v is i ‘ t illlu tli t ­ " i i ? “   ' “k �Bingbam ton University Music Department’s Coming Events M M M M M W M Thursday, March 6—Ml’aLDay Concert (Peny)—I:20 p.m.—Casadesus Recital Hall—free Saturday. March 8­Harpur Chorale and Women '.r Chorus—3:00 p.m.— Andewrson Center Chamber Hall–$7 general public; $5 faculty/staft/seniors; free for students Saturday. March 8—Td­Clrle’ Opera preremr  “Singing with the Stars” fundraiser– 8:00 p.m.—Opera Center, 315 Clinton Sn—ca/I (607) 772­0400 for ticket; Sunday, March Sit–Muster? Recital: Thom Baker, tenor (tentaflve)—3:00 p.m.— Casadesus Recital Hall—flee Thrusday, March I3–MJ‘d­Day Concert (Goodheart)–1:20 p.m.—Ander_ron Center Chamber Hall–free Saturday. March 15­Master’s  Recital: Michael Celentano. baritone (tentative)— 3:00 p. m . —Ca:ade.rur Recital Hall—flee Saturday. March I5—Mnd Symphony Concert: Music by Numbers—8:00 p.m.— Anderson Center Chamber Hall­­$ 7 general public; $5 faculty/rtafflreniom free for students Wednesday, March 19­Opera Scenes–8:00 p.m.—Anderron Center Chamber Hal « 5 IO general public: $7 faculty/staff/seniors; $5 for n‘udentr Thursday, March 20—Mld­Day Concert (Schlewe)—l:20 p. m. —Caraderu.r Recital Hall­free Thursday, March 20 – Harpur Chorale and Women s’  Chorus ­ 8:00 p. m. – Anderson Center Chamber Hall – $6 general public; $3 faculty/staff/seniors; free for students M E  =  M M M M M M 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  mu:ic.binghamton.edu or become a fan on Faaebook. If  you  were  inspired  by  this  performance,  consider  supporting  the Department  of Music  with  a  financial  gift.  Your  rapport  help:  to continue  the  work  of  students,  faculty.  and guest  artists and  their contributions to our community. Please make your donation payable to the Binghamton University Music Department. and rend your check to   3902. BU Muric Department. P.O. Box 6000, Binghamton, N Y 1 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 50m 37s Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75055">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75055</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Student recital, Emily Geller, March 1, 2014 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Handel,  Brahms,  Ravel, Weill, Simons. Porter. Held at 3:00 p.m., March 1, 2014, Casadesus Recital Hall.  Creator An entity primarily responsible for making the resource Geller, Emily Publisher An entity responsible for making the resource available Binghamton University Libraries In copyright Binghamton University Contributor An entity responsible for making contributions to the resource Handel, George Frideric, 1685-1759 Brahms, Johannes, 1833-1897  Ravel, Maurice  Weill, Kurt, 1900-1950 Simons, Moisés Date A point or period of time associated with an event in the lifecycle of the resource 3/1/14 Type The nature or genre of the resource sound