86 10 1775 https://omeka.binghamton.edu/omeka/files/original/ce8d08e5d3f4a67a4bd3d677d5da9c98.pdf 4b8e9c2642eb8a4605e2e5f34df739f2 PDF Text Text BING HAM TON 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   NEW  Y O R K [4 1/14 /50 D E P A R T M E N T PIANO RECITAL Michae l Salmirs Sunday, April (I. 20 1 4 3 p.m. Anderson Center  Chainlw r H all �80  PROGRAM  (as Ballade No. 1 in G minor, Op. 2 3 .   La Cathédrale engloutie (from Préludes, Bk. 1)..  1mages l Reflets dans l’eau 82)  ABOUT THE PE RFORMER  (93 Frédéric Chopin (18104849) ..Claude Debussy (1862­1918) Hommage a Rameau Mouvement L’lsle joyeuse Sr) INTERMISSION (55 Sonata in B minor . Lento a ' ‘ai–Allegro energico–Andante sostenuto– Allegro energico–Andante sostenuto–Lento assai . Franz Liszt (1811­1886) Pianist  MlCHAEL  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  Corning  Philharmonic.  Binghamron  University Orchestra,  Cayuga  Chamber  Orchestra,  and  was  frequently  a featured  pianist on  their  Sunday  Chamber Series.  I n  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 Quin tet: by David Liptak and Marek Harri s, 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 Colleg e‘  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. �Bi ngham ton U n iversi ty Music Depa rt men t’s Co ming Even ts “fiéfi‘éfifiéflfléé’fiféfifibafiéfifléfbflééflfiébfifibfiéfl Tu esd ay,  April  8  –  String  Fever  (String  Classes  a nd Recital) – 8:00 p.m.  ­ Casade sus Recit al H : Il ­  free tudio  String Thursday, April  1 0 ­  Jazz Mid ­Day Concert wi th guest  art ist  ­  1 : 20 p.m. ­­  Uster ’hout Co nc ert T heater ­  (tee Th u rsd a y, April  1 0 ­  Ha rpu r J a zz E nsem ble Conc ert wi th g u est a rtist Mark o Marc ink o ­  8 :00 p.m.  ­  Osterhout (ioncer ’t  Theater ­ $7 general publ ic ; $ 5 t ac tllty/st a(Ii/sen i ors; ( t e e  ( or  students Thursday, A pril 24, M id­Day C oncert ­  1 : 20 p.m.  ­ Casade sus Recit al H all ­  Itc e Sa tu rd a y. April  2 6 ­  Senior R ecit al : K er ia n n a Krelui rheyski. .‘oprano — 8:00 p.m . ­  Casadesus Recital  Hall ~ (rec Sunday, A pril 2 7 ­  Senior R ec ital : Paul \\’ atrobsk i, c ello ­  1 :00 p.m.  ­ Casadesus Recital H all ­  tree Sunday, A pril 2 7 ­  Univer isty  Chorus and W ind Sy mphony  Conc ert: A n A merican  Mus ic Celebr at ion ~  3 :00 p.m.  ­  Osterhou t Conc ert Theater ­ S 10 general public; S7  laculty “s tall “Seniors; S5 (or students Sunday, A pril 27, M aster ’s Rec ital : Seongh yang K i m ,  piano ~ 7 : 3 0  p.m. – C asa d e sus  R ec it al H a l l  – free For  t i c k e t s   nr  I n  be  l l l l l l l t l h l fl l “   e m a i l   l i s t ,   v i s i t  a n d e r s o n . b i n g h a m t o n . e d u   c a l l  ( 6 0 7 )   ( I t A R T S .  For  A  t complete In t  of  nrn  concerts  call ( 6 0 7 )   A 1 /   2 5 0 2 ,  t a n  music.binghamton.edu  or b e c o m e  A I  f a n n   gn  [ s u ]   i  u F   a c e b o o k 8  =  [ w m ]   If  mm  were  inspired r by  ( fi n   performance,  ( n r n u l u   supporti ng  the Department   n!  M u m   w i th  a  finan c ial gift.  Your  support  helps  I n cont inue  the  w or k   n!  students,  I m u i h ,   a n d   guest  ( l l l l \ l \   and  their con tributions (u our  community.  Please  m a k e  w i n  donat ion payable  to the Bingham ton Univers ity  Music  llrrnurmrru . and send your  check (n BU  Music  Department, P.O.  Box  6000, lirrlrlltAlmlnrl,  N Y  1390.7. � 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.) 01:10:15 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75028">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75028</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 Michael Salmirs, piano recital, April 6, 2014 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Chopin, Debussy, Liszt. Held at 3:00 p.m., April 6, 2014, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Salmirs, Michael Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Chopin, Frédéric, 1810-1849 Debussy, Claude, 1862-1918  Liszt, Franz, 1811-1866 Date A point or period of time associated with an event in the lifecycle of the resource 4/6/14 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/39e1c193ee3dcac3d4fdeb14bdaca94d.pdf a4c1d9b127a1c425595456c4a0165cce PDF Text Text BINGHAMTON U N I V E R S I T Y STATE  U N I V E R S I T Y   O F   NEW  Y O R K [4 v d e o D E P A R T M E N T NEW VOICES NEW MUSIC Jacq ueline Horne r Kwiate k, voice fea turing Michael Comp itello, percussi on Daniel Thomas Davis, piano/conductor Georgetta Maiolo, flu te Timothy Perry, clarinet Margaret Reitz, piano Daniel Romberger, th eremin Xander Edwards, cello Joseph Vanderpool, v iolin Sunday, May 1 1 , 20 1 4 3:00 p.m. Casadesus Recital Hall �o­PROGRAM­a Two Rumi Songs (2014). Based on  texts by Jalal ad­Din Muhammad Rfimi(1207­1273) 1. There is a Community of the Spirit 11. I Am Part of the Load Patience (2014) . Based on texts by Mi na Ghalib (1 797­1869) Dancing Water, Swimming Shadows (2014)  Based on  texts by Jalal ad­Din Muhammad Rami (1207­1273) 1. The Ocean Moving All Night 1Vl Daring Enough to Finish V. The Shine in the Fields. P R O G R A M  T EXTS &  NOTES­6’s .Richard Hugunine Texts by Jalal ad­Din Muhammad Ri mi (1207­1273), translated by Coleman Barks David Schwartz Christian Martin INTERMISSION=& Khan Variations (200 1 )  lf Fleas Had Feelings (2014). Lost (2014) Two Dickinson Songs (20 1 4) . 1. My River Runs to Thee . Alejandro Vinao . Daniel Romberger Joseph S. Keller Emmanuel Sikora 1 1. Summer for Thee Grant 1 May Be the red wheelbarrow (2014). Two Songs from Follow Her Voice (2013) L. Slender Flowing Flame 11. Thin Fire Racing The Trees They Grow So High (1943) She Moved through the Fair Scots Song (1991) H UG U NIN E: Two Rumi Songs . Daniel Romberger . Daniel Thomas Davis arr. Benjamin Britten . Traditional Irish arr. James MacMillan The performance of compositions based on classical Persian texts and music is made possible through the generous support of the A k bar i  Persian Music Program. 1. There is a Community of The Spirit There is a community of the spirit J(  n n and feelithe delight, The delight of walking in the noisy street And being the noise, Drink all your passion And be a disgrace. Close both eyes to see with the other eye. l l .  Tam Pa rt of the Load 1 am part of the load not rightly balanced. l drop off in the grass like the old Cave Sleepers To browse wherever I fall. For Hundreds of thousands of years I have been dust grains floating and flying In the will of the air, Often forgetting ever being in that state. But in sleep I migrate back. 1 spring back from the four­branched time and space cross, This waiting room. I walk into a huge pasture. I nurse the milk of millenia. Everyone does this in different ways, Knowing that conscious decisions and Personal memory are much too small A place to live. Every human being streams at night lnto the loving nowhere Or during the day in some absorbing work. SCHWARTL: Patience Text by Mina Ghalib English Translation: A lifetime passes before a sigh shows its effects Who would wait so long to see you fixing the tangles in your hair A hundred dragon mouths create a net of waves from a single ocean Oh what a task it is for a drop to turn into a pearl Love needs patience but lust is restless What color should my heart be, till it bleeds to death I know you will not ignore me, but By the time you know of me, 1 would have turned to ash Each drop of dew is aware that it can be destroyed with the rays of the sun I will survive similarly, till you glance at me Your glances can bring my life to end As dancing sparks bring an end of a fun filled gathering Life is all suffering, Asad, it can be cured with death The candle burns in many colors till the morning comes MARTIN: Dancing Water, Swimming Shadows Texts by Jalal ad­Din Muhammad Rami (1207­12 73), translated by Coleman Barks 1. The Ocean Moving All Night Stay with us. Do not sink to the bottom like a fish going to sleep. Be with the ocean moving steadily all night, not scattered like a rainstorm. The Spring we are looking for is somewhere in this murkiness, See the night lights up there traveling together, the candle awake in its gold dish. Do not slide into the cracks of ground like spilled mercury. When the full moon comes out, look around. �ia­ABOUT THE PERFORMERS=6 Percussionist  MICHAEL  COMPITELLO is  guided  by  his  passion  to create new art through collaborations with composers, performers, actors, and  artists in all  mediums.  Currently Director of Percussion at  Cornell University, Michael has worked with composers David Lang, John Luther JACQUELIN E  HORN ER­KWIATEK  is  a  member  of  the  world­ renowned  vocal  quartet  Anonymous  4.  She  has  recorded  ten  award­ winning  CD’s  with  the  group,  including  American  Angels  which  twice topped Billboard’s classical music charts, and The  Cherry  Tree, one of the top  selling  classical  CDs  of  2010.  A4  has  collaborated  with  such distinguished  artists  such  as  the  Chilingirian  string  quartet,  harpist Andrew  Lawrence­King,  writer  Toni  Morrison,  composers  Steve  Reich, Richard  Einhorn, Sir Peter Maxwell­Davies, Sir John  Tavener and  David Lang and tours extensively throughout the US, Europe and the Far East. Anonymous 4’s collaboration with composer Christopher Tin, singing the Irish lament “Caoineadh” on his album Calling All Dawns, with Jacqueline as featured soloist, led to a Grammy Award. In  addition to her work with Anonymous 4 she has a reputation as a versatile and accomplished soloist, specializing in early and new music. Praised for her “glowing” voice by the New York Times, Jacqueline has appeared with many early music ensembles both in Europe and the US, including  The Washington Bach Consort DC, The Bach Sinfonia, Carmel Bach Festival,St Thomas Church NYC, Bach Vespers  at  Holy  Trinity Lutheran NYC, The Baltimore  Consort, Armonia Nova,The Folger Consort, Parthenia, Sonnambula, Abendmusik and The Sixteen. Her work in new music has led to collaborations with composers Judith Weir, Karlheinz Stockhausen, Luciano Berio, Orlando Gough,  Richard  Einhorn,  Andrew  Toovey,  Louis  Conti,  and  Andrew Lovett,  singing  with  such  distinguished  new  music  ensembles  such  as Ensemble  Modern  Frankfurt,  Ensemble  Intercontemporian  Paris, Singcircle,Continuum,  Ixion and  the  Locrian Chamber  Ensemble.  She has premiered roles in several operas, including Bacchant in The Bacchae (John Buller) for English National Opera, Mon k in Gawain (Sir  Harrison Birtwistle) for  The Royal Opera Covent Garden, Jeannie  in The Juniper Tree (Andrew Toovey) for Broomhill International Opera, Jackie Kennedy in  Jackie  K (Andrew  Lovett)  for  English  National  Opera  Contemporary Opera Studio, and Eliza Doolittle/ Scheherazade in The Loathly Lady (Paul Richards) at University of Pennsylvania. Adams,  Martin  Bresnick,  Helmut  Lachenmann,  Alejandro  Vinao,  and Marc Applebaum on  premieres and  performances of new works, and  has performed as a chamber musician and soloist in diverse locations such as the Darmstadt Summer Course, the LA Phil’s Green Umbrella Series, the I nternational  Festival  of  A rts  a nd  Ideas,  the  N orfolk  Chamber  Music Festival,  and  the  Ku rt  Weill  Festival.  From  2009  to  2010,  Michael performed and studied contemporary chamber music with the Ensemble Modern and the International Ensemble Modern Academy in Frankfurt, Germany  on  a  Fulbright  Grant  from  the  US  Department  of  State. Michael’s  interest  in  interdisciplinary  collaboration  has  led  to performances at the Yale Repertory Theater and the Yale Cabaret, where he  helped  create  “Basement  Hades,”  a  multimedia  musical  drama featuring his duo New Morse Code, composer Dan Schlosberg, students from the Yale School of Drama, and director Ethan Heard.  As a student of  Robert van  Sice,  Michael  earned  an  MM  and  MMA from  the  Yale School of Music,  and  a BM  from  the  Peabody  Conservatory.  He  was Interim Lecturer in Percussion at UMass Amherst in the fall of 20 1 2. Composer DANIEL THOMAS DAVIS’ wide  range of musical activities has  taken him  from  the  stages  of Carnegie Hall and  the Royal Opera House  to  monasteries  in  the  Horn  of  Africa  to  directing  new­music festivals  in  the  rural  South.  His  music  has  been  performed  and/or recorded  by  cellist  Lynn  Harrell,  the  Detroit  Symphony,  London Sinfonietta,  Lontano  Ensemble,  Charlotte  Symphony,  Lexington Philharmonic,  Ossian  Ensemble,  Latvia  International  Festival,  BBC Singers, Back Bay Chorale, and eighth blackbird. Other performers of his music have included members of the Chamber Music Society of Lincoln Center  and  Anonymous  4,  as  well  as  performers  from  the  Chicago Symphony,  Berlin  Philharmonic,  Philadelphia,  London  Symphony, London  Philharmonic  and  Los Angeles  Philharmonic Orchestras.  Davis has received fellowships from the British Government (Marshall Scholar), the Bogliasco Foundation and the Yaddo Colony, and has been honored by awards from BMI and ASCAP. Davis holds degrees from the University of Michigan, Royal Academy of Music, School of Oriental and African Studies,  Peabody  Institute, and  Johns  Hopkins University.  Continually fascinated by the intricacies and idiosyncrasies of the human voice, Davis has also studied ethnomusicology and several East African vocal traditions. As Assistant Professor of Music at Binghamton University, Davis directs the department’s program in music composition. �GEORGETTA  MAIOLO  is  a  member  of  the  faculty  of  Binghamton University  and  Broome  Community  College,  teaching  flute  and  directing flute  ensembles.  From  1977  to  1996,  she  held  the  position  of  assistant professor of flute at Ithaca College. She also taught flu te at Hartwick College and West Virginia  University. Maiolo  is a graduate of Duquesne University and attended graduate school at West Virginia  University. She studied with Bernard  Goldberg,  principal  flutist  of  the  Pittsburgh  Symphony,  Marcel Moyse at Marlboro School of Music and Victor Saudek. At the age of 1 5, she made her solo debut with  the  Pittsburgh Symphony. She is  the  recipient of numerous honors, including the Very Reverend Thomas J. Quigley Award,‘ the  NCMEA National  Music Award,  the  Pittsburgh  Tuesday Musical Club Award,  the  Enola  M.  Lewis  Scholarship  and  the  Mu  Phi  Epsilon  Sterling Achievement Award. Clarinetist and conductor TIMOTHY PERRY is currently the director of the University Symphony and  Chamber  Orchestras.  Professor  Perry joined  the Binghamton University faculty in  1986, became Professor of Music in  2002 and received  the SUNY Chancellor’s Award  for Creative Activities in  2005. Prior  to  coming  to  Binghamton  Dr.  Perry  taught  at  Bemidji (MN) State University from  1981­1986 and was a  member of the Catskill Conservatory (Oneonta, NY) from  1979­1981. Dr. Perry holds the DMA, MMA and  MM degrees  from  the  Yale School of Music  where he  studied conducting with Otto­Werner Mueller, John Mauceri and Arthur Weisberg and Clarinet with Keith Wilson. He holds the B. Mus. degree in Clarine t Performance from the Manhattan School of Music where he was a pupil o f Leon Russionoff, and attended the University of Wisconsin as a pupil of Glenn Bowen. As Music Director, Dr. Perry has directed the University Orchestra since 1986, directed the  University  Wind  Ensemble  from  1986­2005  and  led  the  Binghamton Community Orchestra  from  1994­2004. As Clarinetist he served as United States Musical Ambassador and has presented at three world conferences of the International Clarinet Association. MARGARET  REITZ,  pianist,  is  a  native  of  the  Binghamton  area.  She received her bachelor and master of music degrees in piano performance with accompanying  emphasis.  She  attended  Boston  University,  New  England Conservatory and Binghamton University. She has s tudied piano with Jean Casadesus,  Victor  Rosenbaum,  Seymour  Fink  and  Walter  Ponce  and accompanying  with  Allen  Rogers.  She  has  accompanied  throughout  the United  States,  in  England,  South  America,  Spain  and  at  the  American Institute of Musical Studies in Graz, Austria. She was a winner of the Artistic Ambassadors  Program  by  the  United  States  Information  Agency  in partnership with the John F. Kennedy Center for the Performing Arts. She has been on  the  faculty at  Binghamton University since  1991, and Ithaca College School of Music since 1999. � 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.) 01:15:37 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74937">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74937</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 New voices, new music: Jacqueline Horner Kwiatek, voice, featuring Michael Compitello, percussion  Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Muhammad Rūmī, Hugunine, Schwartz, Martin, Viñao, Romberger, Keller, Sikora, Davis. Held at 3:00 p.m., May 11, 2014, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Davis, Daniel Thomas Maiolo, Georgetta Perry, Timothy Reitz, Margaret Romberger, Daniel Edwards, Xander Vanderpool, Joseph Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Muhammad Rūmī, Jalāl ad-Dīn, (1207-1273) Hugunine, Richard Schwartz, David Martin, Christian Viñao, Alejandro Romberger, Daniel Keller, Joseph S Sikora, Emmanuel J Davis, Daniel Thomas Date A point or period of time associated with an event in the lifecycle of the resource 5/11/14 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/b333fb7f413b97245c7d86016fe53fe5.pdf a60fad15f51b6705a45f0aa7cf8eaca1 PDF Text Text BINGHAMTON U N I V E R S I T Y STATE  U N I V E R S I T Y  OF  NEW  Y O R K fad/£0 D E P A R I . M  E N T MELOD IENS TRAUSS A BOUQU ET OF LIEDER & ARIAS GERMAN LYRIC DICTION CLASS RECITAL J u d y  B erry, instructor Michael Lewis, accomp anist Wednesday, May 14, 3014 8:00 p.m. Casntlcsus Recital H all �so  PROGRAM  03 lch bin der Welt abhanden gekommen Tom Curry, baritone Gustav Mahler ( 1 860­1 9 1  l ) Meine Liebeistgriin.. Jenny Gag. soprano Johannes Brahms (1833­1897) Gruppe aus dem Tartarus Matthew Samluk, bass­baritone .Franz Schubert (1797­1828) Zigeunerlieder.... Ich Lade gern mir Giste ein (Die Fledermaus).... .. J. Strauss Emily Geller, mezzo­soprano (1864­1949) Fahrt zum Hades Matthew Samluk, bass­baritone ....Franz Schubert (1797­1828) Liebst du um Schénheir................................ Gustav Mahler Jenny Gag, soprano (1860­1911) ....Johannes Brahms VII  Kommr dir manchmal in den Sinn (1833­1897) Harlekin’s Aria (Ariadne auf Naxos) . Tom Curry, baritone Das Tal Dies Bildnis ist bezauberd schon (Die Zauberflote) . WA .  Mozart . WA .  Mozart (1864­1949) O Isis und Osiris (Die Zaube ldte) . Jake Stamatis, bass­bartione Franz Lehar Ach, ich fiihl’s (Die Zauben‘lote) Emily Geller, mezzo­soprano ...Richard Strauss Jake Stamatis, bass­baritone Morgen...  ...  Meroé  AdeelJ, soprano (1864­1949) . Dein ist mein games Herz (Das  Land des  Licheln) Michael Celentano, tenor EOINTERMISSIONOS Richard Strauss (1870­1948) Michael Celentano, tenor Meroé  Adeeb, soprano .Richard Strauss (1864­1949) (1756­1791) (1756­1791) W.A. Mozart (1756­1791) �80  TRANSLATIONS 08 ICH BIN DER WELT ABHANDEN GEKOMMEN (I am lost to the world) Ich bin der Welt abhanden gekommen, Mit der ich sonst viele Zeit verdorben; Sie hat so lange nichts von mir vernommen, Sie mag wohl glauben, Ich sei gestorben! Es ist mir auch gar nichts daran gelegen‘ Ob sie mich fur gestorben hilt. Ich kann auch gar nichts sagen dagegen, Den qirklich bin ich gestorben, gestorben der Welt. lch bin gestorben dem Welt getfimmel und ruh’ in einem stillen Gebiet. lch leb’ allein in meinem Himmel, in meinem Lieben, in meinem Liebe. in meinem Lied. I’am lost to the world, With which l used to waste so much time: i t has heard nothing from me for so long, That it may very well believe that I am G R U P (Group in Tamrua) P E Horch ­ wie Murmeln des empérten MRI’CS. Wie dutch hohler Felsen Becken weint ein Bach, Stohnt dort dumpfigrief ein schweres, leeres Qualerprefites Ach! Listen, like the murmuring of an enraged sea, As through the hollow rock basins cries a river, There groan a deep. heavy, empty wail of torment! I cannot deny it. For I really am dead to the world. I am dead to the world’s tumult, Schmerz verzerret lhr Gesicht, Verzweiflung sperret lhren Rachen fluchend auf. Hohl sind ihre Augen, ihre Blicke Spahen bang nach des Cocytus Brilclte, Folgen rrinend seinem Trauerlauf. Grief distorts their faces, Despair nvists open their mouths with cursing. Their hollow eyes peer anxiously toward The bridge over the Coctus. And tearfully follow the way of mourning In  my song. Fragen sich einander angstlich leise. Ob noch nicht Vollendung sei! With low uneasy voices they ask each other if the end has not yet come Eternity circles over them, Breaking Saturn’s scythe in two. dead! It is of no consequence to me whether it thinks me dead. And 1 rest in a quiet realm. I live alone in my heaven, In my love, in my love, Ewigkeit schwmgr fiber ihnen Kreise, Bricht die Sense des Saturns enuwei. MEINE LIEBE IST GRUN (My love is green) Meine Liebe ist grun wie der Fliederbusch, und mein Lieb ist schon wie die Sonne, die glanzt wohl herab auf den Fliederbusch und fullt ihn mit Duft und mir Wonne. Meine Seele hat Schwingen der Nachrigall, und wiegt sich in bliihendem Flieder, und jauchzet und singet vom Duft berauscht viel liebestrunkene Lieder. My love is green like the lilac bush, And my love is as fair as the sun, Gleaming down on the Lilac bush and fills it with fragrance and with bliss. My heart has wings like the nightingale, and rocks itself in the blooming lilac. and shouts and sings from the intoxicating fragrance many love­drunk songs. K M   DIR  (Art thou thinking often now) N  Kommt dir manchmal in den Sinn. mein siifles Lieb, Was du einst mit heil’gem Eide mir 7 gelobt?  Tausch mich nicht, verlaR mich nicht, Du weiflt nicht, wie lieb ich dich hab, Lieb du mich, wie ich dich, Dann stromt Gones Huld auf dich herab! N 1 Art thou thinking often now, sweetheart, my love, What thou once with holy vow to me hast sworn? Leave me  not. deceive me not. Thou know’st not how dear thou art to me; Love’st thou me as l thee. Then God’s smile shall crown thee graciously. �MQRQEE DAS THAL (The Valley) Wie willst du dich mir offenbaren, 7 Wie ungewohnt, geliebtes Thal.  Nut in den frithsten Jugendjahren Etschienst du so mir manches Mal. Die Sonne schon hinabgegangen, Doch aus den Bachen klarer Schein; Kein Luftchen spielt mir um die Wangen, Doch sanftes Rauschen in dem Hain. Es duftet wieder alte Liebe, Es grunet wieder alte Lust; (Morning) How will  you present yourself to me, so unatpectedly. my beloved valley? Only in my early youth I often saw you like today. Und morgen wird die Sonne wieder scheinen, The sun has already descended, inmitten dieser sonnenatmcndcn Erde und auf dem Wage, den ich gehen werde, wird uns, die Seligen, sie wieder einen Yet  there is a glitter o ff  t he stream; No breath of wind caresses my cheek, Yet there’s a soft rustle in the green. Ir smells again of past love, Und zu dem Strand, dem weiten. wogenblauen, werden wit still und langsam niedersteigen, stumm werden wir uns in die Augen Ja, selbst die alten Liedertriebe Beleben diese kalte Brust. Past desire sprouts again; Yes, even  the old creativity schauen, Comes back to revitalise this old body. Natur, wohl braucht es solcher Stunden, So innig, so liebevoll, Wenn dieses arme Herz gesunden, Das welkende genesen solI. Nature, it takes her hours, so tender, so lovingly. to nurse this poor heart back to health, to recover what has wilted. W Bedringt mich einst die Welt noch banger, So such’ ich wieder dich mein Thal, Empfange dann den kranken Sanger Mit solcher Milde noch einmal. And if one day the world begins to press on me. I ’ll  again turn to you my valley, To embrace the sick singer With such kindness once again, Und sink’ ich dann ermartet nieder, So 6ffne leise deinen Grund Und nimm mich auf und schliefi' ihn wieder Und grime frohlich und gesund. And when I finally weakly sink down, Do open quietly your ground And take me in and close above me And grow happy, and healthy und auf uns sinkt des Gluckes grosses Schweigen.  . (You are my whole heart) And tomorrow the sun wi ll  shine again, and on the path I will take, it will unite us again, we happy ones, upon this sun­breathing earth... And to the shore, the wide shore with blue waves, we will descend quietly and slowly; we will look mutely into each other’s eyes and the silence of happiness will  settle upon us. M Dein ist mein ganzes Hen! Wo du nicht bist, kann ich nicht sein. So, wie die Blume welkr, wenn sie nicht kussr der Sonnenschein! Dein ist mein schonstes Lied, weil es allein aus der Liebe erbluht. Sag mir noch einmal, mein einzig Lieb, oh sag noch einmal mir: Ich hab dich Iieb! Wohin ich immer gehe, ich fithle deine Nahe. lch mochte deinen Atem trinken You are my whole heart! Where you are not, I cannot be. Just as the flower fades, if they do not kiss the sunshine! You are my most beautiful song, because it blossomed out of love. Tell me once again, my only love, oh tell me once again: I have your love! Wherever I am, I feel you are near. I want to drink your breath und betend dir zu Fassen sinken, dir. dir allein! Wie wunderbar ist dein leuchtendes Haar! Traumschon und sehnsuchtsbang ist dein strahlender Blick. Hor ich der Stimme Klang, and kneel adoringly at your feet, you, you alone! How wonderful is your shining hair! Dream and full of longing is your radiant look. ist es so wie Musik, is it like music. Dein ist mein ganzes Herz! Wo du nicht bist, kann ich nicht sein. So, wie die Blume welkt. wenn sie nicht kilsst der Sonnenschein! You are my whole heart! Dein ist mein schonstes Lied, weil es allein aus der Liebe erbliiht. Sag mir noch einmal, mein einzig Lieb, oh sag noch einmal mir: Ich hab dich  lieb! I hear the voice sound Where you are not, I cannot be. Just as the flower fades, if they do not kiss the sunshine You are my most beautiful song, because it blossomed out of love. Tell me once again, my only love, oh tell me once again: I have your love! �W W (I like to invite my guests) Ich lade gern mir Gaste ein, man leht bei mir recht fein, man unterhilt sich, wie man mag, oft bis zum hellen Tag. Zwar langweil’ ich mich stets dabei, was man auch treibt und sprich 1 like to invite my guests, One lives with me quite fine, We enjoy talking, as one might Often until daylight. Although l am always bored here. What drives you and also speaks; frei, liberty indes, was mir als Wirt steht duld’ ich bei Gasten nicht! Und sehe ich. es ennuyiert sich jemand hier bei mir, so pack’ ich ihn ganz ungeniett. werf’ ihn hinaus zur Tut. Und fragen Sie, ich bitte, warum ich das denn tu'.’ ‘S ist mal bei mir so Sitte. chacun a son gout! Wenn ich mit andern sitz’ beim Wein und Flasch’ urn Flasche leet'. muB jeder mit mir durstig sein, sonst werde grab ich sehr. Und schenke Glas um Glas ich ein, duld’ ich nicht Widerspruch; nicht leiden kann ich’s, wenn sie schrein: lch will nicht. hab’ genug! Wet mir beim Trinken nicht pariert, sich zieret wie ein Tropf, dem werfe ich ganz ungeniert die Flasche an den Kopf. Und fragen Sie, ich bitte, warum ich das denn tu”?7  ‘S ist mal bei mir so Sitte, chacun a’ son gout! However. what i as host allow myself i give no patience with that in guests! And should I see any of my guests looking bored Someone here with me in my home, So I pack their things quite openly, and throw him out the door. And you wonder, and ask me. Why do 1 do this? Because for me, this is simply my custom To each his own taste! When l sit with others and drink wine, And empty one bottle a fter another, With me everybody needs to be thirsty Otherwise I will become very offensive. And give glass afterglass to me, Patience I have not for contradiction; i can not stand when they scream: 1 did not want to, l’ve had enough! Who can not keep up with my drinking Adorns himself like a ineffectual person, I throw, quite unabashedly, The bottle at his head. And you wonder, and ask me, Why do i do (hisl Because for me, this is simply my custom To each his own taste! A F H T R (Journey to Hades) Der Nachen dtohnt, Cypressen flistern, Horch, Geister reden schaurig drein; Bald werd’ ich am Gestad', dem dustern, Weit von der schone Erde sein. The dory creaks, cypresses whisper; hear, there, spirits’ eerie cries. Soon i will be on the gloomy shore far removed from beauti ful Earth. Da leuchten Sonne nicht, noch Sterne, Da rant kein Lied, das ist kein Freund. Emprfang die letzte Trane. o Feme, Die dieses mude Auge weint. Sunlight, starlight, neither shines there. no song sounds, no friend is found. Schon schau’ ich die blassen Danaiden, Den fluchbeladnen Tantalus; Es murmelr todesschwangern Frieden, Vergessenheit, dein alter Flufit Already i see the Danaids, and curse­burdened Tantalus; heavy with death’s stillness. your ageold river, Oblivion, murmurs. Vergessen nenn’ ich twiefach Sterben, Was ich mir hochster Kraft gewann, Verlieren, wieder es erwerben ­ Warm enden diese Qualen? Wann. 1 call forgetting a second death. To lose what I spent utmost strength to win, and then repeat the struggle ~ When will these tortures end?  When! L I E B W i t t ! ) S Take, o distant land, these final tears my eyes have left to shed. T Liebst du um Schonheit, O nicht nuch liebe! Liebe die Sonne, Sie trigt ein gold’nes Haar! l f  you love for beauty, O do not love me! Love the sun, She wears golden hair! Liebst du um Jugend, O nicht mich liebe! Liebe den Fruhling. Der iung ist jedes Jahr! If you love for youth, O do not love me! Love the spring, Its youth is every year! Liebst du um Schitze, O nicht mich liebe. Liebe die Meerfrau, Sie hat vieI Perlen klar. I f y ou love for treasure, O do not love me! Love the mermaid, She has many clear pearls. Llebst du um Liebe, O ia. mich liebe! I f  you love for love, O, yes, Love me! Liebe mich immer, Dich lieb’ ich immerdar. Love me always, l will  love you always more. �HARLEKIN’S ARIA (Love, Hate, Hope. Despair) Lieben, Haw­h, Hoffen, Zagen, alle Lust und alle Qual, alles kann ein Herz ertragen einmal um das andre Mal. Aber weder Lust noch Schmerzen, abgestorben auch der Pein, das is totlich d e ine m  Herzen, un d   mu fl t  d u  m ir  n ic ht  sein! CH  ICH FUHL” (Ah, I feel it) Love,  Hate, Hope,  Despair, a ll  the Lust and a ll  the agony, A c h ,  I \ I \  fi t h l s ,  us   thu heart  ca n  bare  a ll  u i  these  things  at E w i g  [1111  \ I \ ' I ’   [  I fi l ‘ K ’  K i l l l t h Former gone love’s happiness! unu  ( line . Nimmer kommt ihr \\ unm m im ic Nevermore will  come the hour of bliss [ h i t  n e i t h e r  l u s t  n o r  [ ‘ . \ I l \ . Meinem  H erzen  mehr zuriick! Back to my  heart! versc h w un de n, Ah, I feel it, it has disappeared Death, even the pain that u deadly to your heart, Sieh ’,  i  ll ii l ’ i  ._  diese   i tunun . See,  T a m i no ,  these  tears, A n d  so you must not be this way! Flie R en,   Trauter, d ir  alle in! Flowi ng ,  I ‘ clo \ m l.  i n t  you  alone! Muse dich aus dem Dunkel heben auch um  neue Q ilul ‘ Leben muse  du, liebes Leben, leben You must rise out u i  the darkness even Fithlst du  niche der Liebe  Sehner I t  y o u  don ’ t  fee l  t h e  l o n gi n g  u t  l ove tn e x perience  nun  agony ! St>\\lhIRIII\!IIHT11.IL'~\HI. Then thure wi ll  be peace in death! noch dies eine Mul unh this once. You must i nc .  dear  li fe, live DIES BILDN IS I S T  BEZAL’BE RD SCHON ( This likeness is enchantingiv lovely) Dies Bildnis ist bezaubernd schon W ie noch Lem Auge je geseh’n! I1hiiihl ’o,n ’1u dies Gotterbild Mein Herz mit neuer Regung fullt. Dies’ etwas Lunn ich zwar nicht nennen, Doch fithl’ ichs hier wie Feuer I‘runnun Soll  die Empfindung Liebe scin.‘ i.i. ja, die Liebe ist’s allein. O, wenn ich sie nur finden konnte! O, wenn sie doch schon vor ntit stinde! I c h  \ \ ' I I h I L ' ,  n ’ t i t t i u .  w a r m  t i m l  r e i n , Was wiirde ich.‘ [ch wiirde sie voll Entziicken An diesen heissen Busen driicken I ‘ m i  ewig nute sie dann mein. This likeness is enchantingly lovely, A» nu  eye has ever beheld! I  tu t ­ l   i t  a s  t h i s  l tu . i \ t ­ t \ l \   p i c t u r e . \ i t   h u u r t  \ \ l l i \  n e w  c t t t u t i u n  ( i l l s , This something I cannot name, Yet  I  feel it here like fire burning Y es, yes, love  it is alone. O, ti unh I could find her! E O ,  i i  u n h  shu were  standing be fore me! I would,  would  warm ly  and chastely, Wha t  would  I do? I  would,  nil  her wi th rapt ure a n d  press h e r  t o  m \ slowing bosom And eternally then she would be mine T Quality P i   F o u r  H a n d s ­ lenker, u i  ne w  wis do m  ( u  thu pair. Th u w  who wander  in your tuutstcps, StJtiKt inlt ( Geduld sie in s t r e n g t h e n  tin­111  w i t h  p a t i e n t s  i n ( h i  (ht danger L a ft  sie der I ’ t im in   Friichte sehen, Let them w e  the fruits ut their trial. Doch sollen sie zu Grabe gehen, So lulint der i n nd kithnen But, it thc\  \I\u»\lltl go  tu their  grave, L au f, rewarded, Nehmt sic in euren Wohnsitz auf. Receive them in your house. Th e n ,  the  valien t  c ourse  u i  v irtue E T R I W C I Tpresents I E S  O P E R A t 65 O  I\\\ and  Osiris, give  the spirit u n d O   s l   ,whun‘sur d e r  W e i s h e i t  ( i u u t  Aun t  n c l t u n  l ‘ u u t ? i ‘ i c  l h t  A c t  W a n d r ’ e r  S c t é é ­ é é ­ é b fi b é b fi b é b é b é é n é b é b é fi ­ C a n  the  feeling  be  luru ‘ O ISIS L’ND OSIRIS (O Isis and Osiris) Ol This concert is sponsored by the Binghamton University Department of Music. Thank you for coming! Tri Cuties Opera 315 Clinton Street Binghamton, NY, 13905 Call Our Bout Offlre n  (60  Saturday, May 17lh at 7pm Sunday, May 18m at 3pm Each Show is  Unique... Come to both! 7 )  (MUG to rm prw  your ntkpts tnday’ �T R l ‘ i Z C l T l E S  O P E R A ,  presents 4  y ,  D  ‘  '  ,  ‘ H ' ¥ _ _ I _ ‘    1’ A T E3 wn The Irghts of Br oadway  shine on the Clinton Street Stage for a night of songs and ensembles from your favorite Broadway shows,  performed by  TCO’s own stars –the members of  the Resident Artist Training Program! Thurs d a y,  M a y  22 th, 2014 a t 7   :00pm Tri ­ C i tles  O pera  C en ter,  315 C lin ton  S tr ee t Binghamton, NY 13905 Call the  TCO Box Office (607) 772­0400  or  visit www_tricitiesopera.com to purchase online. Downtown Sir I l t o n A n n u a l  S p r i n g  Co n ce r t  a t r law ­.".4  and  Soloisn M a r y  B u r ge s s   soprano  *  Kasey  St ewa r t  mezzo soprine “ N a – fi r m : +    Timothy  LeFebyee  '  Anton fl r m  h w fi   w  e *  M a n ­ A dr e n a – Ralph \ aughan Williams’ ‘  Te D e u m   Leonard Bernstein’s ‘  ' . 1 : .   .  0 Chichester Palms mu g – 1 mm Saturday May  31, 2014 * 8pm Sarah Jane Johnson Memorial  rm!  V a i n ­ J un  bumh 308 M a i n  Street * [ J u n ­ “ 1  m  New  York A nnu al II­ln/Irl'; Messiah Friday  ex  \uur.h\ » December  19h t  :. 3m:  m u i l ’ i i ’ n i l n u n n n x a u n t – x x – . l – l l l l “ /'   x  Buy One Ticket ­ Get One F RE E   x  N a tma n ­ ‘ m m h m w   I  o  " ronda.  t ee n   X Coupon redeemable on concert days unh at mu  concert­site box office  Valid for any 3 0 1 a « [k ar ma  ­ ' Singers mmrrr rickets  l  & 4  \ I Lo www.downtownsingers.org * D T S J ‘ n m rrlwr    uny rmom  * 607.648.5032  — — — — — — — — — — — — — — — l l U K I I fl I — I . — — — — — — . ' — ' = — — J � 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.) 52:52:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74934">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74934</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 Melodienstrauss: a bouquet of lieder & arias: German Lyric Diction class recital  Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Mahler, Schubert, Brahms, Strauss, Mozart,  Held at 8:00 p.m., May 14, 2014, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Berry, Judy Lewis, Michael Curry, Tom Gac, Jenny̧ Samluk, Matthew Geller, Emily Stamatis, Jake Adeeb, Meroë Celentano, Michael  Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Mahler, Gustav, 1860-1911 Schubert, Franz, 1797-1828 Brahms, Johannes, 1833-1897 Strauss, Richard, 1864-1949 Lehár, Franz, 1870-1948 Strauss, Johann, 1825-1899 Mozart, Wolfgang Amadeus, 1756-1791 Date A point or period of time associated with an event in the lifecycle of the resource 5/14/14 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/615a86c7cfade828fac9740acba30851.pdf aac6e2139c0487cac38763629451f98b PDF Text Text BING HAM TON U N I V E R S I T Y STATE  U N I V E R S I T Y   O F  NEW  Y O R K W [4 0 D E P A R T M E N T F LUT E S TUD IO A N D FLUTE CHAMBER CON CER T o N 6 h 1 7 —— ,  _  f a ’ /   ’ / w”  — 5 Dp  “ o f ­ 4 5 6 5 j /  / . / / Friday, May 2, 2014 11:00 a.m. Casadesus Recital Hall : , . ­ , ­ , /  ' �&  PROGRAM  «6 Sonatina for Flute and Piano .  Andantino  Allegro moderato Devin Kasinki, flute Chai­Kyou Mallinson, piano Suite in a minor ..  (1681­1767) Brandy Greene, flute Chai­Kyou Mallinson, piano Suite de Ballett for Flute and Piano  Improvisation  Humoresque Gavotte Passepied Ralph Vaughan Williams (1872­1958) (b. 1953) Jacqueline Robins, flute Chai­Kyou Mallinson, piano Allegro  Andante molto Allegro molto (1830­1914) Cara Natale, flute Chia­Kyou Mallinson, piano ..Camille Saint­Saens Michelle Li, flute Chai­Kyou Mallinson, piano Entree  Kohar Bedonian flute Chai­Kyou Mallinson, piano (1929­2010) Jacqueline Robins, flute Jessica Biagiott’i Cara Natale Jacqueline Robins .. Gabriel Fauré Ensuite? for Flute and Piano  Robert Muczynski Einabemtenllnizeniuflmelug Eleni Florakis, flute Chai­Kyou Mallinson, piano Air De Ballet from “Ascanio” . Eldin Burton (1913­1979) . Richard Hugunine Three Preludes for Flute Alone, Opus 18.  Sicilienne, Op. 78 for Flute and Piano.  Sarabande Diverti Adagio, Flute Music No. 1, Opus IOb ..  Georg Philipp Telemann Overture  Menuet Arnold Cooke (1906–2005) Sonatina for Flute and Piano  Allegretto grazioso  Andantino Sognando Allegro giocoso Jessica Biagiotti, flute Chai­Kyou Mallinson, piano (1835­1921) . Pierre Ma Dubois (1837­1924) Flute Trio with Piano, No. 1, Opus 14.  Richard Hugunine (b. 1953) Four English Madrigals.  Thomas Weelkes Strike it Up, Tabor  (1576­1632) Though Philomela Lost Her Love  Since Robin Hood  The Nightingale Edited and Arranged by Jonathan G. Bayley Circus March .  ...Ricky Lombardo (b. 1946) Flutists are from the Flute Studio o f G   eorgetta Maiolo G M M M M Q O �Bingha mton U niversity  Depart men t of Music Coming Events ewee­eo­ee­ee­«ee­«ee­ee­ee­ewe­«m­ Friday, May 2–  String Orchestra Concert­ 4:00 p.m. – Grand Corridor ­ free Friday, May3 – University Symphony Orchestra: Symphonic Sm orgasbord – 3 :00  plm. – Osterhout Concert Theater  ­ $ 7 general  public;  $5  faculty/staff/seniors; free for studenu Saturday,  Alay 3  –  Senior Rec ital: Xander Edwards, cello  – 8:00  p.m.  – Casadesus Recital Hall ­  free Sunday, May 4 – Tri ­Cities Opera presents Strauss ’ Die  Fledermaus ­  3:00 p.m. – The Forum Theatre – call (607 ) 7 72­0400 for tickets Tuesday, May 6 ­ Perc ussion Ensemble Concert – 8:00 p.m.  ­  Anderson Center  . Chamber Hall ­ $ 7 general public; $5 faculty/staff/seniors; free for students Thursday,  May 7  ­  Nukporfe African Drumming and Dance Ensemble ­­ 7:00 p.m. – Watters Theater ­ $5 general admission at the door Thursday,  May 8  ­  Student Recognition  Mid­Day  Concert –  1:20  p.m.  – Casadesus Recital Hall – free Thursday, May 8 – Harpur Chr oale and Women is Chorus Spring Concert – 8:00  p.m.  ­  Anderson  Center  Chamber  Hall  ­  $7  general  public;  $5 faculty/staff/seniors; free for students Frida y, May 9 – Brass Ens e m ble C on cert – 5:00 p.m. – Casadesus Recital Hall – free Sunday, May 11  ­  Grammy A ward  Winning vocal guest  artist Jacqueline Horner­Kw ia tek ­  3:00 p.m. – Casadesus  Recital  Hall ­ $5 general  public; free  for students For tickets or to be added to our email list, visit anderson.binghamton.edu or call (607) [ = ] [ = ] E    ‘ ­ ­ E For  a  complete  list  of  our  concerts  call  (60 7)  7 7 7­2592,  visit   777­ARTS.  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  worlt  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 ent, P.O. Box 6000, Binghamton, NY 1390 2,   check to B U Music Departm � 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.) 109:18:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74949">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74949</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 Flute studio and flute chamber concert, May 2, 2014, Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Cooke, Telemann, Williams, Faure, Saint-Saëns, Dubois, Burton, Hugunine, Muczynski, Lombardo. Held at 11:00 a.m., May 2, 2014, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Kasinski, Devin Mallinson, Chai-Kyou Greene, Brandy Florakis, Eleni Natale, Cara Li, Michelle Bedonian, Kohar Biagiotti, Jessica Robins, Jacqueline Benjamin, Richard Maiolo, Georgetta Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Cooke, Arnold Telemann, Georg Philipp, 1681-1767 Vaughan Williams, Ralph, 1872-1958 Faure, Gabriel, 1845-1924 Saint-Saëns, Camille, 1835-1921 Dubois, Pierre Max Burton, Eldin Hugunine, Richard Muczynski, Robert, 1929-2010 Weelkes, Thomas, approximately 1575-1623 Lombardo, Ricky Date A point or period of time associated with an event in the lifecycle of the resource 5/2/14 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/722c1f7368d92e748f7169c623ce6a41.pdf 9837aa31d1cf3f36a4e911bd2d38e91a 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 IT Y   O F   N E W   YORK D E P A R T M E N T UNIVERSITY SYMPHONY ORCHESTRA T i mo th y  Perry, music director and conductor ‘A Symphonic Smorgasbo rd” Th e  S ympho n y  i n  the  Early T w en tie th  C entury S a turda y, May 3, 2014 3:00 p. m. O s terhout  C oncer t  Thea ter �lc­ABOUT  T H E  MUSIC~s ~PROGRAM~ S ymphon y  N o. 2 i n D    Ma j or , Op. 4 3 (1902 )  1. Allegretto  “ N ew  E ngland  H olida ys ”  S ymphon y   ll. Decoration Day (c. 1912)  .. J ean S ibelius (1865­1957) . Charles Ives (1874­1954) Svmphonv No. 2 “London ” ( 1912­1920)  Ralph Vaughan Williams I11. Scherzo­N octurne  (187 2­1958) JEAN SIBELIUS completed  his Second Symphony in 1902, during a period when he created some of his most enduring and popular compositions: Finlandia (1899), the First Symphony (1899), and the Violin Concerto (1903). The Second Symphony received both extravagant praise and savage criticism in its day, demonstrating the degree to which Sibelius  confused  his  contemporaries  with  his  simultaneously  avant­garde  and conservative treatment of symphonic form, orchestration, and philosophy of musical content. Careful analysis reveals a degree of structural logic that, like the works of Brahms, carries the immense weight of Beethoven’s legacy but transforms the equations used to organize the musical material. The Second Symphony exhibits an undeniably pastoral character in the references to folk dances and songs, which are wedded  to several hallmarks of the composer’s  style that came ­ for better  or worse – to define the ‘Finnish’ sound: an expansive lyricism marked by relatively spare orchestral textures (including lengthy sections of choral homophony and passages for solo instruments); relatively slow­moving, even  static, harmonic change; and a tonally based key structure that nevertheless is rich with temporary dissonances of the tritone, seventh, and ninth. Furthermore,  this  opening movement of  the  Second Symphony is viewed as  the beginning of the composer’s expression of a new type of sonata form, in which the atomic structure of its thematic material (here, a scalar melodic third) is introduced at the outset.  but  the  various  motives  derived  from  this  germinal  idea  are  presented sequentially and assembled  only during the recapitula tion as a culminating form of resolution. S v mphon v  N o. 5 i n  D m i n or ,  O p. 4 7 (1937).....Dmitri Sh osta kovich IV. (Finale) Allegro non troppo  ( 1900­1975) Perhaps the most independent and iconoclastic of American composers, CHARLES IVES worked successfully in  the insurance industry while quietly creating a large body of (long unper formed) music that anticipated almost every musical innovation of the next half century: pclytcnality, polyrhythms, atonality, tone clusters, chance music, and much more. His father. a Civil War bandmaster. had imbued the young Charles with a taste for ­ and a keen sensitivity to­ all manner of natural and mechanical sounds, as well as the prodigious ability to set them  into a musical score. Ives’s music, like America of the early 1900’s, is filled with independence and strength. Ubiquitous borrowings from America’s Than k You for attend ing today’s concert in su pport of our ouumndmg student­musicians. We t hank and congratulate our grruluating seniors, and bam­dance medleys, and  any type of sound that might attend a local, regional, or national holiday or celebration. His music is always rich, usually complex, and ­ as with today’s work ­  simultaneously abstract and narrative. Decoration Day (the holiday now called Memorial Day) was written in 1912 (but not published until 1989) and eventually jorned three other pieces that were issued as A Symphony: New England Holidays. These works share only their subject and were never intended by the composer to be a set. much less a symphony in the traditional sense. Decoration Day begins with an extended meditative section, mostly for strings, symbolizing morning and “the awakening of memory.” The music slowly unfolds, dreamlike, from an English horn theme that is invite you to  join us next season for m ore exciting orchestral music! For informat i on on  u pcom ing per formances,  visit us at music.binghamton.edu or scan here – )   [ E l y E E cultural past and present include hymn­tunes, military marches, camp­meeting songs, probably a setting of the words “Decoration Day.” Separated from the orchestra, one instrument (keyboard) plays  a ghostly “shadow line” a semitone off from the violins. The theme sufiuses the first half of the work in a mix of major and minor keys, as citizens gather flowers to decorate the graves. Ives then begins to incorporate his own memories of Decoration Day into the piece by transforming “Marching through Georgia” into the moumful “Tenting on the Old Campground.” �At this point in the cbservances. his father’s marching band stops in the cemetery. Distant  church  bells ring,  and  the  hymn  ‘Adeste  Fideles”  in  an  eerie minor  key underscores what would have been the religious service, as mourners recall bits of tunes from the lifetimes of the departed. As a boy Ives had played “Taps” for the service, and he writes the fanfare into the score, coupled with a shivering rendition of “Nearer, My God, to Thee“ played by the strings. On the last note of “Taps,” the music begins to surge into a drumbeat that crescendos and then suddenly cuts to the pealing melody of the “Second Connecticut Regimental March”, which marks the end of the services and the celebrants’ return to town. Ives follows this jubilation with a brief coda recapitulating the reflective music from the beginning of the piece. According to Ives, “In the silence of the shadow of the early moming a flower­song rises over the Town, and the sunset behind the West Mountain breathes its benediction.” in 1913, RALPH  VAUGHAN  WILLIAMS  finished his  Second  Symphony,  subtitled “London.” Although it was received as a programmatic work, the piece was instead meant to reflect the composer’s impressions of a day in the life of the capital city. By this time,  Vaughan  Williams had  achieved  fame  through his  First  Symphony  ( A  Sea Symphony) and the Fantasia on a Theme of Thomas Tel/is, both from 1910. Like Grieg, Holst, Kodaly,  and Bartok, Vaughan  Wiliams discovered his  compositional calling through his direct involvement in collecting native folk­tunes during an era when localized folk­music was rapidly disappearing. However, each of his nine symphonies is endowed with  strong  structural  bones  and  addresses  larger  musical  issues  in  a  highly individualistic manner. The third movement of the “London” Symphony is designated as both a scherzo and a noctume, an odd pairing whose second title seems to reference the time of action ­  early evening into night ­  rather than designate its musical form, The movement bounces merrily along, with intermittent interruptions by snatches of folk­tunes and possible allusions (from the trombones) to the stately River Thames flowing through the core of the city. Whatever the time of day, there is abundant action throughout, and the composer employs constantly shifting phrase­lengths to highlight the chaotic mix of people going about their business. The ear does not lack for a change of aural scenery; we are treated to bell­ringing, an accordion, and a street­per former’s tune. The music of the  scherzo  seems not  so much  descriptive  in its  own right  as  supportive and ‘environmental’ ­  evoking the air, the river, and the bustle of the city with its countless inhabitants. The darkening timbre of the coda was characterized by Eric Coates as the “evening fog” moving out from the river into the town, gradually obscuring the views as we are left to observe a few last individuals making their way home for the night. DMITRI  SHOSTAKOVICH’S  Fifth  Symphony  is probably  the single most politically charged and problematic work among the composer’s fifteen examples of the form, coming as it did after Stalin’s denunciation of Shostakovich’s opera Lady Macbeth (although reviews had initially praised the work as “the result of the general success of Socialist construction, of the correct policy of the Party”) and the subsequent suppression of his Fourth Symphony as Stalin’s “Great  Terror” reached its most horrific stage. Shostakovich, having withdrawn the Fourth S ymphony, produced his Fifth Symphony between April and July of 1937. It was an immediate success with the public and the official critics, the latter perhaps pleased by a statement attributed to the composer that described the work as “a Soviet artist’s creative response to justified criticism.” However, from the first, there was disagreement about whether this piece represented genuine revisionism or an elaborate parody in the manner of Mahler’s Fourth Symphony. The final movement includes potentially inflammatory quotations from a Shostakovich song “Vozrozhdenije” (“Rebirth”), Op.  46, No. 1, on a text by Pushkin that speaks of “A Barbarian Painter” who “blackens the painting of a genius.“ Is this a reference to Stalin and Shostakovich, respectively? Even more problematic, a statement in Shostakovich’s Testimony memoirs seems to reject the straightforwardly triumphant interpretations of most modern conductors, beginning with the highly popular 1959 recording by Leonard Bernstein. Shostakovich’s artificially slow tempo  written in the score for the final fanfare was described by the composer thus: The rejoicing is forced, created under threat, as in Bone Godunov. It’s as if someone were beefing you  with  a stick  and  saying,  Y “ our business is rejoicing, your business is rejoicing, ' and you rise, shaky, and  go  marching  ofi‘,  muttering,  O “ ur  business is rejoicing,  our business is rejoicing.” One problem with such an interpretation is that the accuracy ­and even the authenticity­ of the Testimony has been doubted, stimulating one of the most heated musicological disputes of recent decades. Another major per formance problem has been posed by the tempi (twelve different markings are stipulated) of the finale, Shostakovich admitted that his metronome had been somewhat dysfunctional for many years, but in  the forty years between the premiere of his Fifth Symphony and his death, he never disavowed his original tempi. Thus,  two  opposing  camps  exist  on  the  parodistic  intent  of  the  composer. Not surprisingly,  the  musical  results  differ  considerably  depending  upon  whether  the composer’s metronome marks are observed (a ttempted in recordings only in the past twenty years).  Today  we play  the work as  notated by  Shostakovich, with slight adjustments to the tempo markings, but adhering closely to the original. The effect, as you shall hear, is at once brilliant and ‘not quite right,” particularly at the ending fanfare. Given the gift for parody that the composer demonstrated in many other works, it is, in my opinion, more likely that he intended a searing comment on Soviet brutalism than that he wrote in a flawed manner, or kowtowed to official artistic orthodoxy. Like many challenges presented in other symphonies of the past century, questions linger. What seems clear is that the modern listener. like the artists, must now fully participate in the great issues of our times. We  hope that today’s work not only delight and entertain, but enlighten and challenge the mind and spirit. ­T. Perry, April 2014 �&UNIVERSITY SYMPHONY O R C H E S T R A T i mo th y  P erry, conductor FLUTE Jessica Bingiorri Kohar Bedonian Michelle Li Christina Dinella TROMBONE V I O L I N  1 1 ( CON TINUED) C hristopher Beard J a cob  S tro hm * J oshua Ya mu der Karen  Fu * B rian Phung A n na  L i E I I I I I I R  L E C A R I E TUBA Piccoro Christina Dinella Carter Mc Gri ff TIMP ANI Ben ja min  R othschild* OBOE Rebecca Marwin Taylor Morgen PERCUSSION EF LAT CLARINET Steve O lson Da n  M alinovsky Justin Kim KEYBO ARD CLARINET Da n  M alinovsky Natasha Talu k dar Justin Kim Mary McGahay Skylar O.  Buono BASSOON Bailey Thomas John Voigt Natalie Spitzer* FRENCH  HORN Abbie McMahon Chris Patrizio Daniel Muller David Lurher Mart McAuliffe* TRUMPET Anne Taylor Junbo Yan Thomas Parker V lol A H a nna h  W nrrohsk i jusrin La fond Max S tein D l niel  R odaba ugh* Alex Stigerhy H arrison  D u lin L indsa y  C c mngton jillinn C hen* Sharon  G raziano Mimi Nam* Jaya Rao V i o u n 1 Bass/CONTRA CLARINET J a m i s o n  W e z e l i s Alan  Thi E mily S ui Ca meron  D ’ A uria A le x io  C hang I f e  S amms+ K ieran  M urphy Na ta lie  B ock * Gabrielle Maire+ Ben Posrhill E leanor Krasner Ahlrnrne G unupara n Sara Kohtz Ma ya Orlofsky S i m o n  Benarie * V i o u N I  I Rebecca  Seroi* J ose ph V a nderpool jody Bach Pnul Mc H ugh Nnre C hristman VIOLONCELLO X a nder  E dwards+ Pa ul Watrobski+ Mary  S pencer Ala n  W ang+ Deborah Mario ttini Charlie M iller E mily Mockler Kelly Mercer R yan H oga n CUN TRABASS R obert Durante Nicholas H oyos Special Thanks to our ‘  4­year l USO  mem bers * 3qear USO mem bers Y u R l b ’ I  D u * The University Symphony Orchestra employs muumx searing. Woodwinds,  Brass. and Percussion rotate by eomposuinn and are listed alpha bet ically . Strings rotate l’ry concert unul rue listed by searing Its­ABOUT THE ORCHESTRA­m The  Binghamton  University  Symphony  Orchestra  has  been  an integral  part  of  Binghamton  University since  small  instrumental ensembles of a half­dozen string players were organized in the  late 1950’s  under  the  direction  of Professor  Harry Lincoln  to support the performance of works for small orchestra and chorus. After the U niversity mo ved  from  E ndicott  t o  its  present Vestal  ca mpus, the orchestra saw rapid growth as a student club and became a member organization  of  the  Student  Association  in  1965.  The  orchestra coun ts  a mong  the  lis t  o f i ts  past resident  M usic D irectors  Professors H arry  L incol n, David Buttolph, a nd  Pa ul J ordan, as well  as ad junct Protessors  S tefan  Ba uer­Mengelberg,  Charles  Sch neider,  J u dith Somogyi. and Marietta Cheng. Since September 1986, the orchestra has been  directed by  Dr. T imothy  Perry, under  whose ba ton the ensemble  has re presented the  De partment o f  M usic i n  U niversity­ wide  cultural  festivals on  Northern  Ireland, Scotland  and  Greece, work ing  wi th  the B ritish C ouncil, composers James MacMillan a nd Edward  McGuire,  members  of  the  Royal  Scottish  Ballet,  and outstanding  soloists i n v  iolin,  piano  a nd  voice selected b y  the Greek M inistry o f C   ulture. I n  colla bora tion  wi th  the  Thea ter De partment ofD   UOC (U niversidad Catolica ) i n  S an Carlos de Apo quindo  a nd Escuela ‘ProJazz”  in  Santiago,  the  orchestra  collaborated  in  2006 a nd   2008  wi th   the   De partment  o f  Thea ter  for   B i­ national productions  o f  West Side Story a nd  The  Three­Penny O pera produced i n  bo th  B ingha m ton  a nd  S antiago .  Most recently,  i n  2009 a nd 2012 Dr. Perry a nd  the  BUSO beca me  only  the  second  U niversity ensemble to be selected to perform live with New York’s legendary Pa ul Ta ylor Dance C ompany. Toda y  the  orchestra continues  to  see k t o  present  a  wide   a nd  educa tiona lly   balanced  range  o f  events inclu ding  children’s concerts, work s  w i th  chorus, holida y  concerts, its  biennia l  S tu dent  C oncerto  a nd  A ria   progra m,  a nd  concerts spa nning  the  history  o f  orchestral re pertoire. Its  membership ,  80­ 90%  o f  wh o m  do  n o t  ma j or i n  music  ( in a n  average  year,  2 1 different majors are re presented), are drawn  from  talented students from  across  the  U niversity  who  are  selected  each  fa ll  i n  o pen compe titive  a u ditions, rehearse twice  wee k ly, a nd  present  a season o f  four  ma j or concerts per  a cademic year. �Binghamton University M usic Department ’s Coming Events G m fl fi w é fl fi é b fi b é é fl fi b m w b fi b Saturday,  May  3  –  Senior  Recital :  Xander  Edwards,  cello  ­  8:00  p.m.  ­ Casadesus Recital Hall ­  free Sunday, May 4 – Tri­C ities Opera presents Strauss’ Die Flederma us ­  3:00 p.m. ­  The Forum Theatre ­ call (607) 772­0400 for rickets Monday, May 5 – Mas ter’s Recital : Denise Bassen, organ  ­  8 p.m. ­  FAZI  ­  free Tuesday, May 6 ­  Percussion Ensemble Concert ­  8:00 p.m. ­  Anderson Center Chamber Hall ­  $7 general public; $5 faculty/ s taff/ seniors; free for students Wednesday, May 7 – N ukporfe African Drum ming and Dance Ensemble ­  7:00 p.m. ­  Watters Theater ­  $5 general admission a t the door Thursday, May 8 – Student Recognition M id­Day Concert (Burns) ­  1:20 p.m. ­  Casadesus Recital Hall ­  free Thursday, May 8 ­  Ha rpu r Chorale and Wome n’s Chorus Spring Concert  ­ 8:00  p.m.  ­  Anderson  Center  Chamber  Hall  ­  $7  general  public;  $5 fa culty / s ta ff / seniors ;  free  for  stu dents Friday, May 9 – String Orchestra Concert ­  4:00 p.m. ­  Grand Corridor ­  free Friday, May 9 ­  Brass Ensemble Concert ­  5:00 p.m. ­  Casadesus Recital Hall ­ free Sunday,  May  1 1   –  G ram my­Awa rd  Win ning  vocal  guest  a rtist  J acqueline Horner­Kwiatek ­  3:00 p.m. ­  Casadesus Recital Hall ­ $5 general public; free for students Wednesday, May 1 4  –  German Diction Class Recital ­  8:00 p.m. ­  Casadesus Recital Hall ­  free M M For tickets or  to be added  to  our email list, visit  anderson.binghamton.edu or call (607)  777­ ARTS  For a complete list O f our concerts call (6071 777­2 502, t lSll music.binghamton.edu or become a f an on Facebook. E —   [ s u ]   I f  you  w ere  inspired  by  this  performanc e,  consider  su p port ing  the Department  of  Mustc  with  a  financial  gift.  Your  support  helps  to c on t in u e  t he  w o r k  o f   stu dents,  f a c u l t y,  a n d   gu est  a rt ists  a n d   t he i r c on t r i but i ons to  o ur  co m m uni t y . Please m a ke  y o ur d on at i on  pay a b le to t he B ingha mt on U ni wrsu j r  M u si c  De pa r t me n t , and  send y o ur c hec k to BU  M usic Depart ment , P.O. Box 6000, Bingha mton, 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.) 01:10:46 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75012">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75012</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 A Symphonic Smörgåsbord: The symphony in the early twentieth century Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Sibelius, Ives, Williams, Shostakovich. Held at 3:00 p.m., May 3, 2014, Osterhout Concert Theater. Creator An entity primarily responsible for making the resource University Symphony Orchestra Perry, Timothy B   Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Sibelius, Jean, 1865-1957 Ives, Charles, 1874-1954 Vaughan Williams, Ralph, 1872-1958 Shostakovich, Dmitriĭ Dmitrievich, 1906-1975 Date A point or period of time associated with an event in the lifecycle of the resource 5/3/14 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/d474c6c25afa4525b45521774be443cb.pdf 869843e41d44ea08d0933ec92a69828f PDF Text Text BINGHAMTON U N I V E R S I T Y STATE  U N I V E R S I T Y   OF  NEW  Y O R K [4 w d e e D E P A R T M E N T SENIOR RECITAL XANDE R EDWARDS, CELLO ' PAUL WATROBSKI, VIOLONCELLO MARGARET REITZ, PIANO Saturday, May 3, 2014 8:00 p.m. Casadesus Recital Hall �as­  ABOUT THE PERFORMER  «6 «b­  PROGRAM  «6 Manuel de Falla (1876­1946) Suite populaire espangnole  1.  El pafio moruno  2.  Nana 3. Cancion 4.  Polo 5.  Asturiana 6. Jota Margaret Reitz, piano Cello Duet, Opus 22, No. 3 .   1. Allegro  Friedrich August Kummer 2.  Variations on a Swiss Theme (1797­1879) Paul Watrobski, violoncello @»  INTERM lSSlON eds Cello Sonata No. 1 in E minor, Op. 38  1. Allegro non troppo  2.  Allegretto quasi Menuetto 3.  Allegro Margaret Reitz, piano Johannes Brahms (1833­1897) Starting his musical career at a young age. Xander began studying privately with George Tuefel when he was 5. When he was 11 he joined the Syracuse Symphony Youth String Orchestra. and in high school, the Syracuse Symphony Youth Orchestra. Almost every summer, he attended music camps, including the Suzuki Institute and Chamber Music Institute at I thaca College, and the Music at Port Milford Chamber Music Festival in Ontario.  In  both  his  junior  and  senior  years  of  high  school  he  was  selected  to participate in the NYSSMA Conference All­State String and Symphony Orchestras. I n his time as  a student at  Binghamton University, Xander has studied privately with Professor Stephen Stalker and  has been a member of numerous ensembles including the  Binghamton  University Symphony Orchestra,  Alla  Corda String Quartet.  and Quintessential Piano Quintet. PAUL WATROBSKI started  his study  in  violoncello  under  Pam  Rieben­Facklam when he was six years old.  In  middle school he began private study under Janneke Hoogland.  By ninth grade he completed the Suzuki method and began studying other music.  Throughout  middle  and  high  school  Paul was a  member  of the Hochstein Youth Symphony Orchestra in Rochester, NY, at one point going on tour in Germany and  the Czech  Republic.  One  summer  after  ninth  grade  Paul  went  on  a  music exchange program to the Dominican Republic spreading the love and joy of music to those  less  fortunate.  During  high  school  he  was  also  the  youngest  member  of Amanticello, a cello quartet, performing in a variety of venues. Paul has been studying under  Professor  Stephen  Stalker  since  his  freshman  year  at  Binghamton.  He  has participated in  numerous ensembles including the Binghamton Symphony Orchestra, Harpur Jazz Ensemble, and many smaller ensembles both classical and jazz.  He will be graduating  in  May  2014  from  the  Watson  School  of  Engineering with  his  BS  in Computer Engineering and will be continuing into his MS in Electrical Engineering a t Binghamton in the fall. He was also a Watson Peer Advisor, an RA in Cascade Hall and was the Vice President of Tau Beta Pi. 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  and Binghamton  University.  She  has  smdied  piano  with  Jean  Casadesus,  Victor Rosenbaum, Seymour Fink and Walter Ponce and accompanying with Allen Rogers. She has accompanied throughout the United States, in England, South America, Spain and at the American lnstiture of Musical Studies in Graz, Austria.  She was a winner of the  Artistic  Ambassadors  Program  by  the  United  States  lnformacion  Agency  in partnership with the John F. Kennedy Center for the performing arts.  She was invited to the lntemational Clarinet Conference to play a recital in Tokyo, Japan. She was a guest artist on the Cornell Summer Series.  She will be a guest artist performing at The Breakers on the Newport Music Festival July 2014.  She is currently on the faculty at Binghamton University since 1991 and Ithaca College School of Music since 1999. She is  treasurer  of  the  local  District  VII  Music  Teachers  Association  and  is  an  active adjudicator for the National Piano Guild Organization. � 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.) 49:23:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75009">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75009</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 Xander Edwards, senior recital Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Falla, Kummer, Brahms. Held at 8:00 p.m., May 3, 2014, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Edwards, Xander Watrobski, Paul Reitz, Margaret Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Falla, Manuel de, 1876-1946 Kummmer, Friedrich August, (1797-1879) Brahms, Johannes, 1833-1897 Date A point or period of time associated with an event in the lifecycle of the resource 5/3/14 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/f73da0fb227dd66078020449c45c4d4d.pdf fbf89256db0512ad422046aa94a538a9 PDF Text Text BINGHAMTON U N I V E R S I T Y STATE U N I V E R S I T Y   OF  N E W  Y O R K D E P A R T DENISE BASSEN O R G AN Monday, May 5, 2014 8:00 pm Fine Arts Room 21 W M [4 E N T �PROGRAM ABOUT THE PE RFORME R (1685­1750) DENISE BASSEN  is a graduate of  the Mannes College  of Music, the New School University, in New York City, where she received a full tuition scholarship grant to complete her senior year from the Helena Rubenstein Foundation. . Felix Mendelssohn­Bartholdy She  was  awarded  regional  finalist  in  the  Metropolitan  Opera auditions,  and  has  sung  professionally  in  opera,  oratorio,  and liturgical music. Prelude and Fugue in G­major, BWV  541 .  Sonata VI in D­minor  Johann Sebastian Bach Chorale and Variations Fugue (1809­1847) Denise  pursued  organ  studies  at  Vassar  College,  and  choir conducting  at  the  Centre  d’Art  Polyphonique  in  Alsace,  France. She  has  continued  to  pursue  professional  studies  at  Ho fstra Andante University, McGill University in Montreal, and  the Yale University School  of  Sacred Music in  New  Haven.  She  is a candidate  for a Variations sur un théme de Clement Jannequin . Jehan Alain (1911­1940) Masters of Music in Organ  Performance a t Binghamton University (SU NY). Denise  has  been  Organist  a t  th e   First  Presbyterian  Church  of Piece Heroique .. . Cesar Franck (1822­1890) ~ Wolff Organ ~ This program is offered in partial fulfillment of the requirements for the degree of Master of Music.  Denise Bassen is a student of Dr. Jonathan Biggers. Pleasant Valley,  Music Director at the Freedom Plains Presbyterian Church, and Music Director for The Church of the Holy Trinity in Poughkeepsie. For more information, her website is: www.denisebassen.com �Binghamton U niversity Musi c Department ’s 4 UPCOM ING EV ENTS M M M M M M M M J V Tuesday, May 6 – Percussion Ensem ble Concert – 8:00 p.m.  – Anderson Center  Chamber  Hall  ­  $ 7  general  public;  $5  faculty/staff/seniors ;  free  for students Thursday, May 7  – Nukporfe African Drumming and Dance Ensemble – 7:00 p.m. – Watters Theater ­ $5 general admission at the door Thursday, May 8 – Student Recognition Mid­Day Concert – 1 :20 p.m. – Casadesus Recital Hall – free Thursday,  May  8  –  Harpur  Chroale  and  Women ’s  Chorus  Spring Co n c ert –  8:00 p.m. –  Anderson Center Chamber  Hall ­ $ 7 general  public; $5 faculty/staff/seniors ; free for students Friday, May 9  – String Orchestra Concert – 4:00 p.m. – Grand Corridor – free Friday, May 9 – Brass Ense mble Con cert – 5:00 p.m. – Casadesus Recital Hall – free Sunday, May 11 ­  GrammyAward W inn in g vocal gu es t artist jacqueline Horner­Kwiatek – 3 :00 p.m. – Casadesus Recital Hall ­ $5 general  public; free for students Wednesday, May  1 4  –  German Diction  Class Recital ­  8:00  p.m.  ~ Casadesus Recital H all – free [ = ] ys  ­  —­ For tickeu or  to  be  added  to  our email list, visit  andersonbinghamtonedu or call (607) 7 7 7­ARTS. For a complete  list of our concerts call (6 0 7) 7 7 7­2592, visit music.binghamton.edu or become a fan on Facebook. i f  you were inspired  by this performance, consider supporting the Department of Music  with a financial gift. Your  support helps  to  continue  the  work of students, faculty, and guest artists and their contributions to  our community. Please  make  your  donation  payable  to  the  Binghamton  University  Music   usic Department, P.O. Box 6000, 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 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.) 41:09:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74946">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74946</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 Denise Bassen, organ recital Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Bach, Mendelssohn-Bartholdy, Alain, Frank. Held at 8:00 p.m., May 5, 2014, Fine Arts room 21. Creator An entity primarily responsible for making the resource Bassen, Denise Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Bach, Johann Sebastian, 1685-1750 Mendelssohn-Bartholdy, Felix Alain, Jehan, 1911-1940 Franck, César, 1822-1890 Date A point or period of time associated with an event in the lifecycle of the resource 5/5/14 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/3b547dab7e7f7c3e8994ec9717126ab5.pdf cc90e9056334cba5abada98b4e58c78e PDF Text Text BINGHAMTON UNIV ERSIT Y usi D E P A R T M E N T UNIV ERSI TY PERC USSI ON ENSEMBLE CON CERT Joel Stnales, Direc tor Tuesday, May 6, 2014 8:00 PM Anderson Center Chamber Hall �PROG RAM African Welcome Piece ................................................... Michael Udow (b. 1949) Danza de Samba ............................................................... Jeffrey Payton (b. 1966) La Spagnola .................. ................................. Arranged by Ru th Jeanne (1910-2004) Three Brothers ............................................................ Michael Colgrass (b. 1932) Carousel ................................................................... Samuels/Fr iedman (b. 1948/1944) TI1e Black and White Rag ........................................... George Botsford (187 4-1949) Alex Strong, xylophone You're Looking a Little Pail .............................................. Michael Ross (B. 1970) Concerto for Drumset and Percussion Ensemble ................ John Beck (B. 1933) Andrew Willia1nson, drumset The Bingham ton University Percussion Ensemble Joey Glowienka Bobby Hopkins David Indictor Daniel Kim Alex Rava Alex Strong Carly VanOpdor p Andrew Williamson Dillon Eggleston �ABOUT THE DIRECTOR Joel Smales is Adjunct Professor of Percussion at Binghamton University and Director of Bands at Binghamton High School's Rod Serling School of Fine Arts, in Binghamton, NY. He holds music degrees from the Crane School of Music (BM) and Binghamton University (MM). His school ensembles have performed for Bands of America in Indianapolis, New York State School Music Association Winter Conference, New York State Band Directors Association Winter Conference, Music Educators N ational Conference National Conference in Minneapolis, Percussive Arts Society International Convention in Nashville, First Night Virginia, First Night International, the World Physics .Conference an, numerous Steel Drum Festivals and a concert tour throughout Oklahoma. As a performer, Mr. Smales performs as Principal Percussionist with the Tri-Cities Opera Orchestra, with the Binghamton Philharmonic Orchestra, eNeRJee Jazz Trio and Caribbean steel band PANIGMA. He has performed on over thirty professional CD recordings and runs an annual Summer Percussion Camp in Binghamton for area school students. His published works include solos, ensembles, books and method books published by Kendor, HoneyRock, Drop6, House Panther Press and Phantom Music Publishing. Mr. Smales has presented clinics for MENC, NYSSMA, NYSBDA and the NJMEA and his articles on music and percussion have appeared in Percussive Notes, School Band and Orchestra, School Music News, The Instrumentalist, Vermont Music Educator and Band World magazmes. Smales served as the Percussion Chair for the New York State School Music Association from 2004-2011 and V.P. for the NYS Percussive Joel and his wife Athena live in Arts Society from 2005-2010. Kirkwood, NY with their four children. �Bingha mton Univer sity Depar tment of Music Comin g Events Wednesday, May 7 - Nukporle African Drummin g and Dance Ensemble 7:00 plm. - Watters Theater - $5 general admission at the door Thursday, May 8 - Student Recognition Mid-Day Concert - 1:20 - Casadesus Recital - free Thursday - May 8 - Harpur Chorale and Women's Chorus Spring Concert8:00 p.m. - Anderson Center Chamber Hall - $7 general Friday, May 9 - String Orchestra Concert - 4:00 p.m. - Grand Corridor - free Friday, May 9 - Brass Ensemble Concert - 5:00 p.m. - Casadesus Recital Hall free Sunday, May 11 - Grammy Award Winning vocal guest artist Jacqueline Horner-Kwiatek - 3:00 p.m. - Casadesus Recital Hall - $5 general public; free for students Wednesday, May 14 - German Diction Class Recital - 8:00 p.m. - Casadesus Recital Hall - free For tickets or to be added to our email list, visit anderson .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 Facebook. If you were inspired by this performance, consider supporting the Department of Music with a financial gift. Your support helps to continue the work of students, faculty, and guest artists and their contributions to our community. Please make your donation payable to the Binghamton University Music Department, and send your check to 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 / 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.) 54:20:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74943">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74943</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource University Percussion Ensemble concert  Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Payton, Friedman, Botsford, Ross, Beck. Held at 8:00 p.m., May 6, 2014, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Smales, Joel Glowienka, Joey Hopkins, Bobby Indictor, David Kim, Daniel Rava, Alex Strong, Alex VanOpdorp, Carly Williamson, Andrew Eggleston, Dillon 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 5/6/14 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/a15e2b54b01d1cac47aed5cbb55193f4.pdf a1bdab698a30c94a2a50158507d92ce9 PDF Text Text BINGHAMTON U N I V E R S I T Y S I A I E  U N I V E R S I T Y   O F  N EW Y O R K [4 14440 D E P A R T M E N T S IN G IN TO  S P RIN G THE WOMEN’S CHORUS Bruce Borton, conductor THE HARPUR CHORALE Peter Browne, conductor Assisted by Georgetta Maiolo,flute William Lawson, piano Natasha Talukdar, piano Thursday, May 8, 2014 8:00 p.m. Anderson Center Chamber Hall �PROGRAM 11. T HE HARPUR CHORALE Peter Browne, conductor l. T HE WOMEN’S CHORUS Bruce Barton, conductor William James Lawson, piano Salut Printemps . Calli Seigart, soprano soloist Wisdom (Premiere Performance)  (Text by Sara Teasdale)  Georgetta Maiolo, fl ute Ye Sons of Israel . .Claude Debus sy (1862­1916) ..Richard Hugunine (b.1953) Die Braut Der Brdutigam Omnia sol (Let Your Heart Be Staid)..  Echoes . Arthur Sullivan (1842­1900) An Old Romance (Drei Folkslieder) .Felix Mendelssohn (1809­1847) Thomas Morle y (1557­1603) .Felix Mendelssohn (1809­1847) To Be Sung on the Water Samuel Barber (1910­1981) (1833­1897) It was a Lover and his Lass john Rutter (b.1945) Z. Randall Stroop e (b.1953) The Log Driver ’s Waltz. Thomas Morley (1557­1603) It was a Lover and his Lass. Three Songs from “12 Lieder and Romances"op.44  Johannes Brahms Fragen  Now is the Month ofMaying. Wade Hemsworth (1916­2002) The Lark in the Morn  The Bluebird. It  was a Lover and his Lass Randall Thompson (1899­1984) Charles Villiers Stanford (1852­1924) .P.D.Q. Bach (1807­1742)? Natasha Talukdar and William james Lawson, pianists �Der Brantlgam Down from all the mountaintops sound such happy greetings ~ It is the return of spring that calls to the green forest! TRANSLA TIONS Salut printemps Hail spring, young season! God restores the crown to the plains. The ardent, bubbling sap overflows and breaks its prison. Woods and fields are flowering; an invisible world murmurs; Water runs over the reverberating pebble and sings its clear song. The broom gilds the hill: on the green lawn the hawthorn Pours forth its snowy blooms. All is freshness, love and light, And songs and scents arise from the fertile bosom of the earth. A little song rang out up to the quiet castle ­ Your beloved has sung it, and he lifts you upon his steed. We ride so swiftly far away from all the people. ­ The air rustles so gently in the solitude of the forest. (Comte de Ségur) Fragen For what do I have such long hair If] cannot braid a ribbon into it? For what is my little foot so nimble and delicate lfI may not dance with my lover? For what is my hand so white I f may not hold    my lover in an embrace? For what is my eye so dark and keen If it may not look at my lover? For what are my thoughts my own If they think, my beloved, upon thee all the time? (Anton Alexander, Graf con Auersberg/Kelly Dean Hansen, tr) DleB   raut A blue apron you gave me, Mother, it’s a pity about the dyeing [of it], Mother, it’s a pity about the weaving [of it]. Early tomorrow morning, it will seem pale, Because so long all night 1 shall shed tears upon it. And if my tears cannot manage [to bleach] it. No matter how they may stream, no matter how they may burn. My beloved shall come and bring me water, He shall wring sea­water from his curls. For he lies down there at the bottom of the sea, And when the waves murmur this news to him, Thatl am to marry here and become untrue to him, From the depths he shall rise up to this e vil earth. To the church I am to go? Well, I am willing to come, I shall piously join the other pious people. Let me pass quietly before the altar; For there is my place, where the widows kneel. (Wilhelm Muller, Sharon Krebs, tr) To where? in the moonlight the forest is already pale. ­ The night murmurs softly ­ do not ask where love goes to its end! Uosef Karl Benediktvon Eichendorff/Kelly Dean Hansen, tr) Entflieh m lt mir Flee with me and be my wife and rest upon my heart; in distant lands let my heart be your fatherland and your parental home. If we do not flee, l’ll die here and you will be lonely and alone; and you will remain in your parental house, but it will be like a foreign land to you. (translation copyright by Emily Ezust from the Lied, Art Song and Choral Texts archive) Es flel There fell a frost on a night in Spring, it fell on the bright blue flowers: they faded and withered. A youth had loved a maiden; they fled from home in secret, unknown to either father or mother. They wandered here and there. with help from neitherluck nor star. they died, having met their ruin. Auf ihrem Grab Over their grave stands a linden tree, in which the birds are piping in the evening wind. and on the grass underneath sits the miller’s boy with his sweetheart. The wind blows so mildly and eerily. the birds sing so sweetly and mournfully: the chattering youngsters, they fall silent; they weep and they do not know why. (translation copyright by Emily Ezust from the Lied, Art Song and Choral Texts archive) �WOMEN’S CHORUS Bruce Barton, conductor 1 , Soprano I Stacey Davis Alexandra Leslie ‘ Jamila Gordon Karima J ibril Kate Sherwood Nicole Meeker J illian Robertson Calli Seigart Brianna VanOsdol Felicia Wang Altos Alexa Bruck Linda Melissa Cruz Kaitlyn Kang Laura Keim Izabelle Lawston Urenna Nwogwugwu Laura Sonnenberg Kimberly Torres Soprano ll Kaitlin Biagiotti Rachel Blaifeder Alida Cooke Alexa Dicken 0 P llfj—aulS‘pr­ing Concert Wsih  “mwtm “ls­b.“– ' t h y m e ” .  + Kasey  Stewart s o u p ­ u Adam  dA Nanni senor  + imothy Lekebvre Amanda". T e  Dewm  Leonard Bernstein’s Chichesser Palm:  q – g . . ru. . ­ e   Ralph \ A t h m  Williams’ Fin Seng Gus ta v Holst’s  ehT Hymn , ­  Jesus h  at Jane J ohnson M emorial United Methodist Church 3 0 8  M a i n  Screet ­  l n hn wn t  .r.  New  hark A n n u a l  H a n d e l ’s  .\lrxrialr Fr ida y  A  Sa tu r da y  . _ » 4 ­ . . .   .  i141 I  [] n: m u i l i — n — x – x – x – x – l — l — ‘ l  0 Buy One Ticket ­ G et One F RE E (Noo­rmerved n u . . . ­  4 a q Carrie Buck C oupon  redeemable o n  concert days only at our concert­site box office V a l d fi w a m  2 0 1 4  [Mu­711ml .. Si nge rs co n cer s  tickets I www.downtownsingers.org ­ D T S J . onu’rls(u Smyrna)!!! * 607.648.5032 [J] m — — — — — — — — — – – — – – — – – – – – ' – – — — — — — v " ' “ 4 Deanna Feuerbach Michelle Goldrich Kerianna Krebushevski Lauren Silberstein Rachel Young Altos Rachel Graham Shoshana May Inez Nelson Daniela Rivera Tenors Feng Nan Matthe w Pedersen Jay Rosser Joshua Rovou Jin­Ki Seong Basses Thom Furey Ten­Young Guh Jibron Harris Joseph Keller Tomas Sinclair Kerr Max Rydqvist I .­lAi­n~.‘.r:1a\.‘ Peter Browne, c onductor Sopranos ” Sa turday M n  1 1 . 30 1  . ­ 8pm i$ n HA RPUR  CHORALE p n “ ,  Dow n t ow n S Gumm e r Sav oyards PrESent , Iolanthe rel/amped C o m i ng J u l y 25, 26 & 27, 2014 Wa n t to get i n v ol ve d ? 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A Greater Binghamton Tradition Si nce 1961 i n f o@summ e rsa v o ya r ds.o rg �Binghamton Unive rsity  Depar tment of Music Coming Even ts W W W Wednesday,  May  7  ­  Nukpor/ e  African  Drummi ng  and  Dance Ensemble – 7:00 plm. ­  Wattms Theater ­ $5 general admission at the door Thursday, Alay 8  ­  Student Recognit ion Alid­Day Con cert  ­  1:20  ­ Casadesus Recital –  free Thursday  ­  Alay 8  ­  Harpur  Chorale and Wo mens Ch orus Spring Co n c ert –  8 : 0 0 p.m. –  Anderson Center Chamber H all­ $ 7 general Friday, May 9 ­  String Orchestra C oncert – 4:00 p.m. ­  Grand Corridor – free Frida y, M a y  9 ­  Brass Ense m ble Co n cert  ­  5:00  p.m. ­  Casadesus  Recital Hall – free Su n da y, Alay 1 1  – G ram my  A war d Wi nni n g voca l guest artist Jacqueli ne Horn er­Ki n’at ek – 3 : 0 0 p.m. –  Casadesus Recital  Hall ­ $5 general  public;  free for students Wednesday, May 14 ­  German  Diction  Class Recital ­  8:00  p.m.  ­ Casadesus Recital  Hall  free W ‘ s ­ « a b e w w a a w w w m For tickets  or to  be added to  our email list, visit anderson.binghamton.edu or  call (607) 7 7 7­AR TS.  For  a  complete  list  of  our  concerts  call  (607)  777­2592,  visit musicbinghamtonetlu or become a fan on Facehook.   [ = ] —  [ = ]   lf you were inspired by  this performance, consider supporting the Depart ment of  M usic with a  financial gi ft. Your su pport helps = to continue  the work of  students, f aculty, and  guest artists and their  contributions  to  our  community .  Please  make  your donation  payable  to  the  Binghamton  University  Music [ x ]   E  Department, and  send  your  check  to  B U  Music  Department, P.O. Box 6 000, Binghamton. N Y  13902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&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.) 40m 30s Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75003">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75003</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 Sing into Spring, May 8, 2014  Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Debussy, Hugunine, Mendelssohn-Bartholdy, Brahms, Stroope, Hemsworth, Morley, Sullivan, Barber, Rutter, Thompson,Stanford. Held at 8:00 p.m., May 8, 2014, Anderson Chamber Hall. Creator An entity primarily responsible for making the resource Women's Chorus Borton, Bruce The Harpur Chorale Browne, Peter Maiolo, Georgetta Lawson, William Talukdar, Natasha Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Debussy, Claude, 1862-1918 Hugunine, Richard Mendelssohn-Bartholdy, Felix Brahms, Johannes, 1833-1897 Stroope, Randall Hemsworth, Wade Morley, Thomas, 1557-1603 Sullivan, Arthur Barber, Samuel, 1910-1981 Rutter, John, 1945- Thompson, Randall Stanford, Charles Villiers Date A point or period of time associated with an event in the lifecycle of the resource 5/8/14 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/146b837420485439ab02b4aaf9b51b9a.pdf 08f55173b90257741b12d54f262f89b7 PDF Text Text BINGHAMTON U  N  1  V  E  R  s  1  T  Y STATE  UNIVERSITY  OF  NEW  Y O R K w d e c D E P A R T M E N T STUDENT RECOGN ITION MID­DAY CONCERT Thursday, May 8, 201 4 1:20 p.m. Casadesus Recital Hall �2 P R O G R AM ­s .Frédéric Cho pin Noctu rne in C mino r (1810­1849) Yuansi Du, violin Margaret Reitz, piano Nominated by  Janey Choi J.S. Bach (1685­1750) Preludio  Joseph Vande rpool, violin Nominated by  Janey Choi Gaetano Don izetti Kerianna Kreb ushevski, soprano William James Lawson, piano Nominated by Mary Burgess (1797­1848) Sergei Rachm aninoff Thom Baker, tenor Margaret Reitz, piano (1 873­1 943) Nominated by Mary Burgess . Wolfgang Am adeus Mozart (1756­1791) Emily Geller, mezzo­soprano Timothy Perry, clarinet Margaret Reitz, piano Nominated by Mary Burgess Nocturne in D­flat, L .  8 2 .  Seonghyang Kim, piano Jessica Biagio tt i, flu te Two Preludes for Flute Alone .  Andante motto  Allegro molto Jacqueline Robins, flute Robert Muczynski (1929­2010) Flute Trio with  Piano, no. 1, Opus 14 .  Richard Hugu nine Nominated by Georgetta Maiolo La Gondola.  Parto, parto  from “La Clem enza Di Tito”  (1913­1979) Allegretto grazioso  Chai­Kyou Mallinson, piano Nominated by Georgetta Maiolo Violin Partita no. 3 in E major.  They  Replied, Op. 21 , no. 4.  . Eldin Burton Sonatina for F lute and Piano ..  Nominated by Michael Salmirs .Claude Debussy (1862­1918) (b. 1953) Ricky Lombardo Circus March. Binghamton University Flu te Trio Jessica Biagiotti, flute Cara Natale, flute and alto flute Jacqueline Robins, flute (b. 1946) Nominated by Geotgetm Maiolo Una furtiva lagrima .  from “L’Elisit d ’amore”  .Gaetano Don izetti (1797­1848) Michael Celentano, tenor John Isenberg, piano Nominated by Thomas Goodheart Ab, per sempre io ti perdei .  from “I Purita ni”  Matthew Sam luk, baritone John lsenberg, piano Nominated by Thomas Goodheart .Vincenzo Bellini (1801­1835) �Binghamton U niversity Depa rtment of Mus ic é w w w Coming Events w w w w m w w b Friday, May 9  – String Orchestra Concert – 4:00 p.m.  ­  Grand Corridor ­ free Friday, May 9 – Brass Ensemble Con cert – 5:00 p.m. ­  Casadesus Recital Hall ­  free Sunday, May 11  – Gramm y Award Winning  vocal guest  artist Jacqueline Ho mer­Kw ia t ek – 3 :00 p.m. – Casadesus Recital Hall ­ $5 general public; free for students Wednesday, May 1 4  – German Diction  Class Recital – 8:00 p.m. ­ Casadesus Recital Hall ­ free W M M M M M M M M M ! » For tickets or to be added to our email list, visit andersonbinghamtonedu or call (607) 777­ARTS . For a complete list  of  our concerts call (60 7)  7 7 7­ 2 592, visit music.binghamton.edu or become a fan on Facebook. If  you  were  inspired  by  this  performance,  consider  supporting  the Department of  Music with a financial gift. Your support  helps to continue a f [   = ]   the work  of  students,  faculty,  and  guest  artists  and  their contributions  to  our  community.  Please  make  your donation  payable  to  the  Binghamton  University  Music [=]  Department,  and  send  your  check  to  BU  Music 5  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.) 101:12:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75006">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75006</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 recognition mid-day concert, May 8, 2014 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Chopin, Bach, Donizetti, Rachmaninoff, Mozart, Debussy, Burton, Muczynski, Hugunine, Lombardo, Donizetti, Bellini. Held at 1:20 p.m., May 8, 2014, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Reitz, Margaret Vanderpool, Joseph Krebushevski, Kerianna Lawson, William James Baker, Thom Geller, Emily Perry, Timothy Kim, Seonghyang Biagiotti, Jessica Mallinson, Chai-Kyou Robins, Jacqueline Binghamton University Flute Trio Natale, Cara Celentano, Michael Isenberg, John Samluk, Matthew. Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Chopin, Frédéric, 1810-1849 Bach, Johann Sebastian, 1685-1750 Donizetti, Gaetano, 1797-1848 Rachmaninoff, Sergei, 1873-1943 Mozart, Wolfgang Amadeus, 1756-1791 Debussy, Claude, 1862-1918 Burton, Eldin Muczynski, Robert, 1929-2010 Hugunine, Richard Lombardo, Ricky Donizetti, Gaetano, 1797-1848 Bellini, Vincenzo, 1801-1835 Date A point or period of time associated with an event in the lifecycle of the resource 5/8/14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound