87 10 1775 https://omeka.binghamton.edu/omeka/files/original/715be7be4d64190a554d5be9780be165.pdf 808e33a82c7b32d905e56d65f0b02257 PDF Text Text BINGHAMTON U N I V E R S I T Y S T A T E   U N I V E R S I T Y  O F  N E W   Y O R K d e 4 e D E P A R T M E N T BRASS STUDIO RECITAL Don Robertson, Director Ben Aldridge, Director Brian Sternberg , Director Margaret Reitz, piano Friday, May9, 2014 5:00 PM Casadesus Recital  H all �ne­  PROGRAM  «6 .Eugene Bozza Rustiques (1905­1991) Anne Taylor, trumpet . Vincent Pesichetti The Hollow Men..  (1915­1987) Brandon Young, trumpet Concerto for Trumpet .  Movement 2 ­ Andante  Bai Xue, trumpet . Franz Josef Haydn (1732­1809) ..Sammy Nestico Portrait of a Trumpet.  (b. 1924) Thomas Parker, trumpet Sonata No. 3..  Largo  Daniel Remberger, trombone CINQ lmpromptus, Op. 55 ..  2.  Allegro Molto  .. Jan Koetsier (1911­2006) When the Saints Go Marching In...  ..Traditional arr. Jack Gale Trombones Christopher Beard, Alejandro Espinosa, Daniel Romberger, Jacob Strohm Bass Trombones Patrick Jones .. Antonio Vivaldi (1678­1741) Euphonium Michael Sugarman (1702­1775) Christopher Beard, trombone ...Allesandro Besozzi Sonate B Dur..  Allegretto  .. Anton Bruckner arr. David Sabourin Locus lste.  ...Allesandro Besozzi Sonate B Dur.  Andante  The Binghamton University Low Brass Ensemble Alejandro Espinosa, trombone (1702­1775) Philip Sparke Song for Ina  Michael Sugarman, euphonium Concert for Trombone and Piano...  II.  Quasi una Leggenda  Jacob Strohm, trombone (B. 1951) Launy Grondahl (1886­1960) The Binghamton University Horn Ensemble Selected Horn Tries (to be announced) David Luther, Abbey McMahon, Daniel Muller Selected Quarters (to be announced) Zach Bimbaum, David Luther, Matt McAuliffe, Kathryn Saturnino Festival Fanfare The Ensemble �Bingham ton University  Department of Music Coming Events Sunday, May 11  ­  Grammy Award Winning vocal guest artis t jacqueline H o mer ­ K ma te k  – 3 :00 p.m. – Casadesus  Recital  Hall ­ $5 general  public;  free for students Wednesda y, Ma y 14 ­­  Germa n Dict ion Class Reci tal – 8:00 p.m. – Casadesus Recital Hall ­ free o w es ­ a w w b ­ a M M o ­ a w w a ­ é b —  E  [ = ] E   n  — E For tickets or to be added to our email list, visit andersortbinghamtonedu or call  (607 )  7 7 7­A R TS.  For a complete  list  of  our concerts call (60 7) 7 7 7­2592, visit musicbinghamtonedu or become a fan on Faceboolc If  you  were  inspired  by  this  performance,  consider  supporting  the Department of Music with a financial gift. Your su pport 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, N Y 1   3902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / 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.) 109:55:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74940">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74940</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 Brass Studio recital, May 9, 2014 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Bozza, Pesichetti, Haydn, Nestico, Vivaldi, Besozzi, Grondahl, Bruckner, Koetsier. Held at 5:00 p.m., May 9, 2014, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Binghamton University Horn Ensemble Binghamton University Low Brass Ensemble Robertson, Don Aldridge, Ben Sternberg, Brian Reitz, Margaret Taylor, Anne Young, Brandon Xue, Bai Parker, Thomas Romberger, Daniel Beard, Christopher Espinosa, Alejandro Sugarman, Michael Strohm, Jacob Jones, Patrick  Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Bozza, Eugene Pesichetti, Vincent Haydn, Joseph, 1732-1809 Nestico, Sammy Vivaldi, Antonio, 1678-1741 Besozzi, Allesandro Grondahl, Launy Bruckner, Anton Koetsier, Jan Date A point or period of time associated with an event in the lifecycle of the resource 5/9/14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/59711fc5b19d841d5490a7de3f9365ca.pdf 217e7a59249a59ee8ea63fb8fd51fa90 PDF Text Text BINGHAMTON U N I V E R S I T Y S T A T E   U N I V E R S I T Y  O F   NEW  Y O R K D E P A R W 0 T M E N T LIEDE RABE ND Thomas G ood heart, ba ri tone Stephen Zank, p ian o w i t h  s p ec ia l g  u es t  a rt i s t Jean Mi ller Goodheart, soprano Saturday, September  1 3 , 2 0 1 4 7:30 p.m. [4 Anderson Cen ter Chamber  Hall �ac)  ABOUT THE PERFORMERS  06 20  P ROG RAM (93 lrn Fnihling Franz Schubert (1797­1828) Flflrenreiclier Ebro . Robert Schumann (18101856) Franz Schubert Die Post (1797­1828) Thomas Goodheart, baritone Stephen Zank, piano An eine Aeolsharfe..  MausfaUen­Spnichlein  Kennst du das Land .Hugo Wolf (1860­1903) Jea n Miller Good heart, soprano Stephen Zanlt, piano 89  INTE RMISS ION 08 Dichterliebe, Op. 48  1.  1m wunderschonen Monat Mai  2.  Aus meinen Tranen sprieBen 3.  Die Rose, die Lilie 4.  Wenn ich in deine Augen seh’ 5.  Ich will meine Seele tauchen 6.  lm Rhein, im heiligen Srrome 7.  lch grolle nicht 8.  Und wfilSten‘s die Blumen 9.  Das ist ein Floten und Geigen 10.  Hor’ ich das Liedchen klingen 11.  Ein Jungling liebt ein Madchen 12.  Am leuchtenden Sommermorgen 13.  Ich hab’ im Traum geweinet 14.  Allnéchtlich im Traume 1 5.  Aus alten Marchen winkt es 16.  Die alten, bosen Lieder . Robert Schumann (1810­1856) THOMAS GOODHEAR T, baritone, Associate Professor of Voice at Binghamton University BM, MM Manhattan School of Music, Voice faculty at Purchase College Conservatory ofMusic 1999­2010. Baritone Thomas Goodheart has performed over 40 leading roles in opera and oratorio with companies throughout the United States including The Opera Theatre of St. Louis, Chautauqua Opera, New York City Opera National Company, Connecticut Opera, Opera Theatre of Pittsburgh, Des Moines Metro Opera, Artpark Opera and Tri­Cities Opera. Recent performances include the American stage premiere of the role of Bruno in James MacMillan’s opera Panhenogenesis. Leading roles include Marcello in La Baliéme, Escamillo in Carmen, Germont in l a Traviam,    Sharpless in M adama Butterfly, Michele in ll Tabarro and Enrico in Lucia di Lammermoor. Mr. Goodheart has appeared as a guest soloist in recital and with symphony orchestras in the U nited States, Europe and South America. In New York City. he has been a soloist at Avery Fisher Hall, Merkin Concert Hall, Kaye Playhouse and the Cathedral of St. John the Divine. Concert credits include Orff’s Carmina Buruna, Handel’s Messiah, Beethoven’s Ninth Symphony @ Missa Solemnis, Haydn’s Creation and Mendelssohn’s Elijah. He has received awards from the Metropolitan Opera National Council, the New York State Council on the Arts, the Joy in Singing Competition, Bel Canto Opera Foundation, the Ezio Pinza Council for American Singers, the Lincoln Center Institute and the Tri­Cities Opera. Mr. Goodheart is the Vocal Coordinator for the “Songe d’été en musique” Festival in Quebec, Canada. He is on the voice faculty of The Westchester Summer Vocal Institute a nd the Metropolitan International Music Festival, New York City. He has been a performer/teaching artist with the education departments of the New York Philharmonic, Lincoln Center institute and the New York Festival of Song. Mr. Goodheart maintains a private voice studio in NYC. His students have gone on to graduate study at the Juilliard School, Eastman School of Music, Mannes College of Music, Indiana University, Manhattan School of Music, Guild Hall (London, England) and the Opera Institute of Boston University among others. They have won prestigious voice competitions and are singing professionally throughout the United States and Europe. STEPHEN Z AN K  Stephen Zank is a broadly trained musician, with degrees in performance, history and literature, and musicology. He began studying piano, composition and counterpoint in Binghamton at the age of five, and has held full­time teaching posts at several major universities in  the Mid“ . r, Southwest and Northeast, including SL‘NY­Binghammn and the University of Rochester. �Soprano JEAN MILLE R GOODHFJKRT has performed lead ing roles in opera, concert and recital throughout the United States. She received her BM and MM degree from Manhattan School of Music and has worked as a teaching artist for Carnegie Hall and the Lincoln Center Institute. Ms. Goodheart was the Education Director for The New York Festival of Song and was on the voice faculty at Purchase College Conservatory of Music from 1999­2009. She is currently on the faculty of the Songe d’été en Musique Festival in Quebec and is an adjunct lecturer for the Binghamton U niversity Music Department, teaching diction to undergraduate voice majors. She has a private voice studio in Binghamton, NY. She has served on the grant review panel for The NYS Council on the Arts and is an adjudicator for NYSSMA. She has performed with Chautauqua Opera, Des Moines Metro Opera, Tri­Cities Opera, Greater Buffalo Opera and Encompass New Opera Theatre. Her leading roles include Juliette in Romeo and Juliette, Mim i and Musetta in La Boheme, Micaela in  Carmen, Lauretta in Gianni Schicchi, Rosalinda in Die Fledermaus, Sandrina in La Finta Giardiniera and Sonia in The Merry Widow. Concert credits include Handel’s Messiah, Mozart’s Requiem and c minor Mass, Beethoven’s Missa Solemnis and Poulenc’s Gloria. Other performances include the role of Kristel in James MacMillan’s Opera Parthenogenesis and Mary in Dave Brubeck’s La Fiesta de la Posada with the Dave Brubeck quartet at the University of Buffalo Performing Arts Center. Her most recent awards were several NYSCA grants to bring “Arts Partner” residencies into schools. Previous awards include a career grant from the Shoshana Foundation and awards and scholarships from the Metropolitan Opera National Council Auditions, Bel Canto Foundation, Chautauqua Institute, New York Singing Teachers Association, Music Academy of the West, Tri­Cities Opera Guild and Manhattan School of Music. 80  PROGRAM NOTES  05 When Schumann attempted a work on the scale of Schubert’s Winterreise, it was indeed during his single year, 1840, of extraordinary productivity and long­ delayed marriage to Clara Wieck. The Dichterliebe (“Poet’s Love”) sets 16 works from the larger collection of Heinrich Heine (1 797­1 856) entitled Lyrisches Intermezzo (“Lyrical Intermezzo”), poems in which Heine muses upon love and rejection. The cycle opens with a feint to Springtime, but its harmonic ambiguity betrays the course to come: Romantic longing gives way to rejection about midway (in the famous “Ich grolle nicht”), and then to greater and greater bitterness and disillusion. By evening’s end, Schumann’s protagonist has jettisoned all  of his hopes and dreams in a great coffin, and perhaps to heal some of the accumulated suffering in the great cycle, final “word” is given to the pianist, in an extended and lyrical postlude  Stephen Zank 80 TRANSLA TIONS I m  Frihling ln Spring Poetry by Ernst Konrad Friedrich Schulze Quietly I sit on the hill’s slope, The sky i s so clear; a breeze plays in the green valley where I was at Spring’s first sunbeam once ­ ah, I was so happy; Where I walked at her side, So intimate and so close, and deep in the dark rocky spring was the beautiful sky, blue and bright; and I saw her in the sky. Look how colorful Spring already looks out from bud and blossom! Not every blossom is the same for me: I like best to pick from the branch from which she picked hers. For all is as it was back then: the flowers, the field; the sun does not shine less brightly, nor does the stream reflect any less charmingly the blue image of the sky. The only things that change are will and illusion: Joys and quarrels alternate, the happiness of love flies past and only the love remains ­ The love and, ah, the sorrow. Oh, if only I were a little bird, there on the meadow’s slope ~ then I would remain here on these branches and sing a sweet song about her the whole summer long. Flittenreicher Ebro Surging River Ebro, Blossoming banks, All you green pastures And forest shadows Ask my beloved Who dwells among you lf in her happiness She thinks of me. And you dewy pearls, Who in the rosy dawn Adorn the green grass With many bright colours ­ Ask my beloved, When she breathes the cool air, I f in her happiness She thinks of me. You leafy poplars. Shimmering paths, Where with light tread My girl roams » When she meets you, Ask her, ask her I f in her happiness She thinks of me. You swarming birds, Who greet the sunrise With flute­like Songs­ Ask my beloved, The flower of this shore, I f  in her happiness She thinks of me. Die Post The Mail­Coach Poetry by Wilhelm Muller A posthorn sounds from the street. What is it that makes you leap so, 7 My heart?  The post brings no letter for you. Why do you surge, then, so wonderfully, My heart? And now the post comes from the town Where once I had a true beloved, My heart! Do  you want to look out And ask how things are back there, 7 My heart?  �An eine Aeolsharfe To an Aeolian Harp Poetry by Eduard Morilte Leaning up against the ivyooveted wall Of this old terrace, You, an air­borne muse, A lute­melody full of mystery, Begin, Begin again, Your melodious lament! You come, winds, from far away, Ah! from the boy Who was so dear to me, From his hill so freshly green. On your way, streaking over spring blossoms Saturated with sweet scents, How sweetly, how sweetly you besiege my heart! You rustle the strings here. Drawn by harmonious melancholy, Growing louder in the pull of my longing, And then dying down again. But all at once. The wind blows violently And a lovely cry of the harp Echoes, to my sweet terror. The sudden stirring of my soul, And here, the ample rose shakes and strews All its pemls at my feet! Mausfallen­Spruehlein Mousetrap Incantation poetry by Eduard Mérike (The child goes three times around the trap, and says:) Little guests, little house, Dear Miss or Mister Mouse, just boldly present yourself tonight in the moonlight! But shut the door right behind you, 7 do you hear?  And be careful of your tail! After supper we will sing, After supper we will jump and do a little dance; Witt win! My old cat will probably dance with us. Kennst du das Land DlCHTE RLlEBE Poetry by Heinrich Heine 6.  I m  Rhein, im heiligen Strome in the Rhine. in the holy stream, poetry by l .  I m  wunderschonen Mount Mai with its great cathedral, Mignon: Do  you know the Land? Johann Wolfgang wn  Goethe Do you know the land where lemon trees blossom; where golden oranges glow amid dark leaves? A gentle wind blows from the blue sky, the myrtle stands silent, the laurel tall: Do you know it? There, O there 1 would go with you, my beloved! 7 Its roof rests on Do you know the house?  pillars,  the hall gleams, the chamber shimmers,  and marble statues stand and gaze at me:  what have they done to you, poor child? 7 Do  you know it?  There. O there, I would go with you. my protector! Do you know the mountain and its clouded path.’ The mule seeks its way through the mist, in caves lives the ancient brood of dragons, The rock falls steeply, and over it the torrent. Do you know it?  There. There  leads our way! O father, let us go! In the wonderquy fair month of May, as all the flower­buds burst, then in my heart love arose. In the wonderfully fair month of May, as all the birds were singing, then [ confessed to her my yearning and longing. 2. Aus meinen Trinen sprieflen From my tears spring many blooming flowers forth, and my sighs become a nightingale choir, and if you have love for me, child. I ’ll  give you all the flowers, and before your window shall sound the song of the nightingale. 34  Die Rose. die Lilie The rose, the lily, the dove, the sun, I once loved them all in love’s bliss. I love them no more, I love only the small, the fine, the pure, the one; she herself. source of all love, is rose and lily and dove and sun. 4.  Wenn ich indeine Augen seh’ When I look into your eyes. then vanish all my sorrow and pain! Ah, but when I kiss your mouth, then I will be wholly and completely healthy. When I lean on your breast, I am overcome with heavenly delight, ah. but when you say, “I love you!“ then I must weep bitterly. 5.  Ich will  meine Seele tauchen I want to plunge my soul into the chalice of the lily; the lily shall resoundingly exhale a song of my beloved. The song shall quiver and tremble, like the kiss from her mouth, that she once gave me in a wonderfully sweet hour! there is mirrored in the waves, the great holy city of Cologne. In the cathedral, there hangs a pa inting painted on guilded leather; in the confusion of my life it has shown kindly down upon me. Flowers and cherubs float about our dear Lady, the eyes, the lips, the little cheeks, they match my beloved’s exactly. 7.  Ich grolle nicht I bear no grudge, even as my hea rt is breaking. eternally lost love! I bear no grudge. Even though you shine in diamond splendor. there falls no light into your heart’s night, that I’ve known for a long time. I bear no grudge, even as my hea rt is breaking. I saw you, truly, in my dreams, and saw the night in your heart’s cavity, and saw the serpent that feeds on your heart, I saw, my love, how very miserable you are. I bear no grudge. 8.  Und wuBten’s die Blumen And if they knew it, the blooms, the little ones, how deeply wounded my heart is, they would weep with me to heal my pain. And if they knew it, the nightingales, how I am so sad and sick, they would merrily unleash refreshing song. And if they knew my pain, the golden little stars, they would descend from their heights and would comfort me. All of them cannot know it, only one knows my pain, she herself has indeed torn, torn up my heart. �13. Ich hab’ im Trau m geweinet I have in my dreams wept, l dreamed you lay in  your grave. I woke up and the tears still flowed down from my cheeks. 15. Aus alten e r che nwi n kt es From old fairy­tales it beckons to me with a white hand, There is a ringing and roaring of drums and pipes amidst it sobbing and moaning are dear little angels. I have in my dreams wept, 1 dreamed you forsook me. I woke up and l wept where colorful flowers bloom in the golden twilight, 10.  Hor’ ich das Liedchen klingen I hear the little song sounding that my beloved once sang, I have in my dreams wept, 9.  Das ist ein Flbten u nd Geigen There is a fluting and fiddling, and trumpets blasting in. Surely, there dancing the wedding dance is my dearest beloved. and my heart wants to shatter from savage pain’s pressure. I am driven by a dar k longing up to the wooded heights, there is dissolved in tears my supremely great pain. I I. Ein Ringling liebt ein Madchen A young man loves a girl, who has chosen another man, the other loves yet a nother and has gotten married to her. The girl takes out of resentment the first, best man who crosses her path; the young man is badly off. It is an old story but remains eternally new. and for him to whom i t has just happened it breaks his heart in two. 1 2.  Am leuchtenden So m mermorgen On a shining summer morning I go about in the garden. The flowers are whispering and speaking, I however wander silently. The flowers are whispering and speaking, and look sympathetically at me: “Do not be angry wi th our sister, you sad, pale man.” for a long time and bitterly. there it sings and there it resounds of a magic land, and sweetly, fragrantly glow with a bridelike face. And green trees sing I dreamed you still were good to me. I woke up, and still  now streams my flood of tears. primeval melodies, I4. Allnichtlich int Traume Every night in my dreams l see you, and see your friendly greeting, and loudly crying out, I throw myself at your sweet feet. And misty images rise indeed forth from the earth, and dance airy reels in fantastic chorus. And blue sparks burn on every leaf and twig, and red lights run in crazy, hazy rings. You look at me wistfully and shake your blond little head; from your eyes steal forth little pearly teardrops. You say to me secre tly a soft word, and give me a garland of cypress. I wake up, and the garland is gone, and the word I have forgotten. the breezes secretly sound and birds warble in them. And loud springs burst out of wild marble stone, and oddly in the brooks shine forth the reflections. Ah! If I could enter there and there gladden my heart, and have all anguish taken away, and be free and blessed! Oh, that land of bliss, I see it often in drea ms, but come the morning sun, and it melts away lik e mere froth. 16.  Die alten, bosen Lieder The old. angry songs, the dreams angry and nasty, let us now bury them, fetch a great coffin. In it [ will lay very many things, though I shall not yet say what. The coffin must be even larger than the Heidelberg  Tun. And fetch a death­bier, of boards firm and thick, they also must be even longer than Mainz’s great bridge. And fetch me also twelve giants, who m ust be yet mightier than mighty St. Christopher in the Cathedral of Cologne on the Rhine. They shall carry the coffin away, and sink it down into the sea, for such a great coffin deserves a great grave. How could the coffin be so large and heavy! I also sank my love with my pain in it. �_ A  S E A S O N   o r   _  REVENGE..  lQiV ELlQ’. . .  REDEWFTION! Broadcasting  in Binghamton on ipéfifl l  E l  (“BlueSlgrm a  89.3 FM PER ­ Summ”  #  _ Fehvuaryfi a 8 ,  2015 N  y  03m?”  , n  06mm  a  por:   r o 88  The Forum Theatre 236 Washington St. ­ B inghamton, NY . For tickets call  6 0 7­772­040 0 or purchase online at (1I(l(le$0p€ra.(0m. VIS IONS B I N G H A m T O N   3  P N l L H AR m ON l C _ '   Jose­LuisNow  ( J M usnc  Director ‘  4  m y  840m (vlughu...  ?  ,  (r  3  ,  ll”  ,  3  )  Youy I s i c !   :  .  L  l  5  N ..  \ J $3  , ;   v  607­723­3931 ­723­  607 www.binghamtonphilharmonic.org  l l   55­71  P ithll 4  '  flassica) Magci C lassica l  Music y  B ill  Snyder hosted b 9“  Alp” Sam Goodyear after the n Opera Metropolita S a tur d a ys �Binghamton U niversity Music Department’s Coming Events fi a n M e fi é ­ é é o é é ­ é é ­ é é ­ w fi ­ M ­ fi w r b Sunday, September 14 ­  An Extraordinary Indian Operatic Ballet: Méghandootam,  The Cloud M essen ger  –  4:30  p.m.  –  Osterhout  Concert  Theater  ­  $20  general  public,  $ 1 5 faculty/staff/seniors/alumni; $ 1 0 students; free for BU students with ID Saturday, September 20 ­ Incurable Romantics: Timothy Perry &  Friends ­  7:30 p.m. – Watters Theater – $ 1 0 general public, $ 7 faculty/smff/seniors/alumni; $5 students Friday, September 26 ­ Piano Master Class: Binghamton Philharmonic Orchestra ­  3:00 ­  4:30 p.m. – Casadesus Recital Hall – free Thursday, OctoberZ ­ Mid­Day Concert ­  1:20 p.m. ­­ Casadesus Recital Hall ­ free Thursday, October 9 ­ Mid­Day Concert ­  1:20 p.m. ­  Casadesus Recital Hall ­ free Saturday,  October 11  ­  Family  Weekend Concert (Wind Symphony, Harpur Chorale and Women ’s Chorus)­ 3  p.m. ­ Osterhout Concert Theater ­ free Thursday, October 16 ­ Mid­Day Concert –  1:20 p.m. ­ Casadesus Recital Hall ­ free Saturday,  October 18 ­  University Symphony Orchestra:  We L ike  to  Move I t !  –  3  p.m.  – Osierhout Concert Theater ­  $ 1 0 general public, $7 faculty/smff/seniors/alumni; $5 for students Thursday, October 2 3  ­ Mid­Day Concert– 1:20 p.m. – Casadesus Recital Hall ­  free Friday, October 24 ­  T’r’i­Citieo~ Opera presents Verdi ’s Rigolctto ­  8 p.m. ­  The Forum Theatre ­ call (607) 772­0400 for tickets Saturday, October 25 ­  Early On :  Music from Now and Then ­  7:30 p.m. ­  Fine Arts Building, Room 2 1 – $ 5 general public, free for students Sunday, October 26 ­  Tri­Cities Opera presents Verdi ’s Rigoletto ­  3 p.m. ­  The Forum Theatre – call (607) 772­0400 for tickets T hursday, OctoberJO ­  Mid­Day Concert ­  1:20 p.m. ­ Casadesus Recital Hall ­  free Sunday, November 2 ­  English and A merican Art  Songs ­  3 p.m. ­  Phelps Mansion,  191  Court Street,  Binghamton  –  $ 1 0 general  public;  BU students  free  with  1D  ­  For  reservations  call  the  Phelps Mansion at (607) 7224873. This concert  is cosponsored  by  the Binghamton University Music Department and Phelps Mansion Museum. Thursday, November 6 ­ Mid­Day Concert ­  1:20 p.m. ­  Anderson Center Chamber Hall ­ free e é é b fi é b c h fl fi M fi fl M O é fi fi é é fl é M M fi fl é fi fl é é fl For  tickets or  to  be  added  to  our  email list, visit anderson.binghamton.edu or  call (607) 777­ AR TS. For a complete list of our concerts call (607) 777­2592, visit music.binghamton.edu or become a fan on Fat­chock. 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 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.) 56:47:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74928">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74928</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 Liederabend  Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Schubert, Schumann. Held at 7:30 p.m., September 13, 2014, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Goodheart, Thomas Zank, Stephen Goodheart, Jean  Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Schubert, Franz, 1797-1828 Schumann, Robert, 1810-1856 Date A point or period of time associated with an event in the lifecycle of the resource 9/13/14 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/7cfd48702676b402c2ae1ece1e070e2a.pdf 2d1a11d3ab4d9955c44fc5fe83ae5099 PDF Text Text BINGHAM TON U N I V E R S I E X S T A T E  U NIVERSITY O F  NEW  YORK [4 D E P A R v odee T M E N T INCURA BLE R OMANT ICS Timothy P e rry,  clarinet Ma rga ret Reitz, p iano Jonatha n Biggers, organ Ma rt ha Weber,  bassoon Sarah Cha ndler, clar inet Saturday, Se ptember 20, 2 0 1 4 7:30  p.m. Wattcrs Theater �8c)  PROGRAM NOTES  (93 80  PROG RAM (93 Adagio and Tarantella.  . Franz Schubert (1807­1874) Ernesto Cavallini  was  among  the  few virtuoso wind  players  whose  artistry  rose  to inspire a major composer during an age in which the piano, the voice and the violin reigned supreme. Cavallini trained in Milan, and such was his command of his (by­ then antiquated) six­keyed clarinet that he was known as the “Paganini” of the instrument. His entire career seems to have been spent as Principal Clarinet at La Scala as well as in St. Petersburg, apparently commuting back and forth as his services were required. It was for Cavallini that t he majority of Verdi’s clarinet parts were written, including the massive L’Histoire du Tango  . Astor Piazzolla IL Café 1930  (1921­1992) solo and cadenza in La  Forza del  Denim: ­  the longest instrumental solo line in any of Verdi’s worlts.  He left few extant works of  his own, all showing the  influence of the opera. His  most­perfu med work  is  this short  Adagio and  Tarentella  demonstrating the technical and tonal control he himself doubtless possessed. JON Dun­Concertina (194 7­8) .  Richard Strauss (186411949) Allegro moderato – Andante – Rondo (Allegro ma non troppo) Piazzolla’s History of the Tango was a four­movement suite com posed to demonstrate the evolution of the Argentine dance­form from its origins in the Bordellos of Buenos Aires to the electronic music of today. Piazzolla composed the work for Flute and Guitar­the duo played the earliest forms of tango around 1900­ but the work has been successfully adapted  for  many  other  instruments  since  its  premiere  in  1986.  Of  the  second movement,  Piazzolla writes  “Cafe,  1 910: This  is  another  age  of  the  tango.  People stopped dancing it as tlrey did in  1900, preferring instead simply to listen to it. It  became more musical, and more roma ntic. This tan go has  under gone total trans format i on: the move ments are slower , with new and often melancholy harmonies. Tango orchestras come to consist of two violins, two concertinas, a BO  INTERMISSION cs piano, and a bass. The tango is sometimes sung as well. The movement is one of Piazzolla’s most soulful and evocative tangos, filled with the suggestion of powerful romantic urges that ru n the gamut from sweet to violent, closing with an enigmatic, but likely tragic, ending. vaeen Fantasia da Concerto su motivi de ‘La Traviara’ . Donato Lovreglio Quintet in b minor, Op.  1 15.  II.  Adagio  Johannes Brahms (1833­1897) Divertimento, “Il Convegno” (1 841­1 90 7) Amilcare Ponchielli (1834­1886) F ew  com positions  display  the  tenacity  of  Roma nticism  better  tha n  the  difficult, somewhat  problematic, but altogether  remarkable  DuettCmrcertino ­ the last orchestral work  by  Richard  Strauss  composed  in  1947  for  the  Viennese  bassoonist  Hugo Burghauser. In 1917 Strauss had hired the 21­year old into the Vienna Philharmonic and thirty years later, with the world of Romantic Vienna twice removed by the wreckage of two world wars a nd Burghauser struggling as an exile in N ew York,  Strauss presented his friend with a n everlasting token of their friendship by which ‘you shall dance again’. . The  gift  took  the  form  of  a  d uetconcertino  for  clarinet  a nd  bassoon  with accompaniment of both full string orchestra and a solo string sextet. The work is based loosely upon a fairy tale. in which a princess (clarinet) meets a beat (bassoon) who is (of course) an enchanted prince, and after some initial difficulties (music superimposed in both 4/4 and 6/4 time), the prince tells his tale in an eloquent soliloquy (Andante), is transmogrified (brief cadenzas) and the happy couple, now harmonized, do indeed dance off in an extended rondo.  That the work is a com plex ­and largely private­ metaphor for the persons, places and times shared by Strauss and Burghauser does little to diminish its unique  formal architecture and often rapturous beauty. It  is equally an expression of nostalgic reminiscence for the past, and hope for the furure. �TP Note: For  this performance I have found i t  necessary to parse the piano reduction into a new version  for  piano and organ, the original published version being both musically unsatisfactory­ and unplayable! Thanks to  J onathan & Pej! nu–n nu–n n nu n–u..–n n–n n–n nu n–n...–n––n–n n n n n n n n n n n nu n n n nu n n n n While the end of the eighteenth century proved to be something of a ‘golden age’ for solo performers on wind instruments, the collapse of court and Imperial sponsorships created the equivalent of a ‘food desert’ for woodwinds from  1830­1880, during which time the ‘beast with 88 teeth’ consumed the attention of composers and the public alike. That woodwind virtuosity was continuing to advance in spite of the dearth of sonata and concerto is shown in the interesting subgenre of the opera fantasia. These were works that utilized melodies  from  arias  and  ensembles  of operas  while  they  were  then  in rehearsal for their premieres. Performers would cobble together a set of episodes, each comprising  the  aria (in  its  original  form)  and  an  accompanying  virtuoso  variation. Despite the obvious theft of materials, the widespread popularity of this arrangement seemed to suit both parties; the composers got free publicity. which heightened interest in the upcoming premiere among the public, and the performers attached themselves to their more famous colleagues while making themselves known ­  and solvent ­  through solo performances. Lovreglio, a Neopolitan  flutist  arguably  even  more  obscure  than Cavallini, is remembered  for  this Traviata clarinet  fantasia and three more, on Maria Stuarda, Simon Boccanegm, and Un  Ballo in Maschem. Brahms’ biographer Jan Swafford sums up the mood of Brahms’ 1891 Clarinet Quintet as “...the evanescent sweetsadness of autumn, beauti ful in its dying.” With this work. for the only time in his li fe, Brahms brought his compositional powers to bear on exploiting the timbral and tonal possibilities of an instrument other than the piano. The measured and nuanced use of the low, middle and high registers came  from hours of Brahms’ listening to the artistry of Meiningen clarinetist Richard Muhlfeld. No other work of the age comes close to  capturing so completely  the soul of the instrument, from  infinite sweetness to dark melancholy to cries of an anguished spirit. In  a period when Brahms was increasingly losing his dearest  friends to Death’s embrace, the incomparable slow movement  of  the  quintet  moves  from  heaven  to  earth  and  heaven  again.  The transcendent outer sections slowly spin out the liebeslieder of Brahms’ old age.  Within ­ in the  movement’s  center  ­  the passionate  ember  of love  still burns  in  a  sweeping, virtuosic Gypsy style  that  was so often employed  for Brahms’  finales. although never expressed in a more soloistic, personal way than here. While stripped of the embracing support of the string quartet original, the movement with piano alone lays bare what Malcolm MacDonald called “every super­refined shade of silvergrey regret,” Brahms in love, even to the end of days. No  doubt  about  it  ­  Opera,  like  Academia,  is  a  tough  business.  Having  won  a professorship at  the Milan Conservatory  just  out  of school. political  ‘considerations’ deprived Amilcare Ponchielli of what might have become  his career  in teaching.  He struggled with several marginally successful operas unti  achieving worldwide fame with La Gioconda (with its famous ‘dance of the hours’ made immortal by Disney hippos) in 1 876. Ponchielli did finally become a professor at Milan in l 8 8 I ,  where he served as one o f the teachers o f the young Mascagni and Puccini. H is gi ft for woodwind writing came from long years of earning his living as a bandmaster in Cremona and Piacenza, d which  time  he  composed  over  200 works  for  banda.  This was likely the  impett writing l l C   onvegna, usually translated as “ The Meeting. ” This has recently given wa more  romantic  translation  as  “ The  Tryst”,  which seems  more  in keeping  witl amorous moods of the almost impossibly intertwined solo parts. And of course, wh the activities of its protagonists, the opera house is never out of sight. T. Perry, September n – – – – – – – – n – n – – n – n n n n n – n – – n . . – – – – – – – – – – – – – – – – – – – – – – – – – – – ­ 8c)  ABOUT THE PERFORMERS (98 Dr.  Timothy  Perry  is  now  in  his  twenty­ninth  season  as  Professor  of  Mu’ Binghamton University.  where  he  is  Director  of  Orchestral  Activities,  lnstrun Conducting and  Professor  of Studio Clarinet.  A  Wisconsin  native, he attende University of Wisconsin­Madison as a National Merit Scholar prior to graduating distinction from the Manhattan and Yale Schools of Music where he studied C l with Leon Russianoff and Keith Wilson and Conducting with Szymon Goldberg, Mauceri,  Arthur Weisberg  and was  teaching  assistant  to his principal teacher, Werner  Mueller.  Dr.  Perry  taught  at  Bemidji  State  University system  in  Mint directing the Bemidji Symphony Orchestra for five years prior to joining the BU f in 1986. I n  addition to directing BU ’s University Symphony and String Orchestra Perry also directed the BU Wind Ensemble program from 1986­2005 and served : Music  Director  of the  Binghamton  Community  Orchestra  from  1994­2004; h returned to the B C O  as Music Director in Fall  20 1 4, and continues to perform a range of orchestral. opera and musical theater repertoire as Guest Conductor with regional and international ensembles. Since 2005 Dr. Perry has led both the Bingha Philharmonic and Catskill Symphony orchestras in concert, and with his BU ens< has twice collaborated with New York’s renowned Paul Taylor Dance Company as v working as Music Director with faculty and performers of DUOC in Santiago. Chi bi­national productions of West Side Story and The  Three­Penny Opera. As BU’s Profes Clarinet he is active throughout  the  world as soloist, chamber musician and re: including  three  appearances  at  the  world  conference  of  the  International  Cl. Association  and  touring  for  the  Department  of  State  as  United  States  M Ambassador for Latin America and the Caribbean. He is Past President of the Nor Division of the College Orchestra Directors’ Association and was a featured speal the National C OD A  Conference in  Fort Worth Texas in  January 20 1 4. Margaret Reitz, pianist, is a native o f the Binghamton Area. She received her Ba and Master of Music degrees in piano performance with accompanying emphasi attended Boston University, New  England Conservatory and Binghamton Universi! has studied piano with Jean Casadesus, Victor Rosenbaum, Seymour Fink and ' Ponce  and  accompanying  with  Allen Rogers.  She  has  accompanied  throughoi United  States,  in England,  South  America,  Spain  and  at  the  American  lnstit Musical Studies in Graz, Austria. She was a winner of the Artistic Ambassadors Pr �by the United States Information Agency in partnership with the John F. Kennedy Center for the performing arts.  She was an official accompanist for the MTNA State and Eastern Division Competition held at Ithaca College. She has been a guest cha mber music artist in Morges, Switzerland. She also was selected to attend the Accompanying Workshop for Singers and Pianists held at Northwestern University with Chicago Lyric Opera Faculty and Coaches. She was invited to the International Clarinet Conference to play a recital in Tokyo, Japan. She was an official pianist at the International Double Reed Competition and  Convention  in  at  Ithaca  College  and  was  invited  to  play at  the  Convention  in Birmingham,  England and  NYU with  the Glickman  Ensemble  this past summer. She recorded several CD’s with the Glickman Ensemble in Englewood, NJ. She performed with the Glick man Ensemble on the Cornell Sum mer Series in J uly. She was selected to accompanying at the Interpretation  o f Spanish Music in conjunction with University of Madrid in Grenada, Spain coached by  Teresa Berganza and at Marines School of Music. She was a Guest Artist playing two concerts in Granada, Spain and accompanied the Barcelona  Song  Festival.  She soloed  with  the  Catskill  Symphony  at  the  Otesaga  in Cooperstown, NY under the direction of Charles Schneider. She has accompanied at The International Spanish Music Festival in Madrid, Spain. She was the pianist for Theater Street Productions on the Newport Music Festival Summer 2014. She is currently on the faculty at Binghamton  University since  1991 and Ithaca College School of Music since 1999 and SUNY­Broome since 2014. She is the treasurer of the local District VII Music Teachers  Association  and  is  an  active  adjudicator  for  the  National  Piano  Guild Organization. Jonathan Biggers, hailed as “one of the most outstanding concert organ ists in the United States,” maintains an active career as both a professor of organ and harpsichord, and as a concert  organist of the  first  order.  He holds  the  prestigious Edwin Link Endowed Professorship in  Organ and Harpsichord at Bingham ton University (State University o f New York), and has presented hundreds of concerts in church and university settings throughout the United States, Canada, and Europe.  Most recently, he presented the opening concert for the National Convention of the American Guild of Organists held in July 2010 in Washington D.C., performing for over 1600 organists.  He has appeared as a featured soloist with orchestras in both the United States and Canada, including the Atlanta Symphony Orchestra and  the Calgary Philharmonic Orchestra, and has been featured  frequently  on  NPR   (“Pipedreams”),  the  Canadian  Broadcast  Corporation (CBC), and on Radio and Television Suisse Romande broadcasts in Geneva, Switzerland. Scott Cantrell, classical music critic of The Dallas News, stated that Biggers’ performances demonstrate “authority and eloquence". and further stated “were there more performers like this, the organ would be far less  a minority interest". Dr. Biggers studied with Russell Saunders (Eastman School of Music ; DMA);  Lionel Rogg (Conservatory of Music, Geneva, Switzerland; Fulbright study);  J. Warren Hutton ( The University of Alabama; MM and BMus);  and with Wallace Zimmerman (Atlanta; pre­college);  he has also worked extensively with Harold Vogel (Bremen, Germany), and with Arthur Poister (former Professor of Organ at Syracuse University).  A prizewinner of dozens o f competitions, he was notably awarded a  unanimous first prize  in the  1985 Geneva International Competition.  one o f the most prestigious music compe titions in the world;  second prize  in the  1982  American Guild of Organists National Organ Playing Competition;  and a unanimous first prize in  the 1990 Calgary International Organ  Festival  Concerto  Competition,  where  he  presented,  with  the  Calgary Philharmonic Orchestra, the world  premier performance of Snowwalker:  A Concerto  for Organ and Orchestra by Pulitzer prizeowinning composer Michael Colgrass.  A champion of new music  for  the organ, he has premiered other works by notable 20th and 21st century composers such as Richard Proulx (Chicago: Concerto for  Organ and  Orchestra), Craig Phillips (Los Angeles:  Suite  for Organ, Brass and  Percussion), Persis Vehar (Buffalo: Soundpiece for Organ), and David Brackett (Montréal:  Nightworks for Organ solo). Two highly acclaimed compact disc recordings of Dr. Biggers’ performances have been released by Calcante Recordings (Sleepers Wake!  A Reger Perspective, featuring five major organ works by Romantic composer Max Reger; and Bach on the Fritts! , featuring major organ works by Johann Sebastian Bach). Plans are also underway for the production of several other CD releases in  the  future, including a recording of  the  complete organ works of ].S. Bach, and a recording of organ music by Craig Phillips. Martha Weber returned to teach bassoon at Binghamton University in 2006.  She has also  taught  bassoon  at  Hartwick  College.  Currently,  she  is  the  Sixth  Grade  Band Director at Jennie F Snapp Middle School in the Union‘Endicort School District, where she is  a trained mentor to new teachers.  I n  2 0 1 4, Ms. Weber received the Founders Day Award for Excellence in Teaching.  Ms. Weber is a Certified Adjudicator for Woodwinds for NYSSMA.  She received her Bachelor’s Degree of Music in Music Education and her Master’s Degree in  Bassoon Performance from Ithaca College.  She has also done post­ graduate work at  the  American  Band College.  Ms.  Weber has  studied bassoon with Edward J. Gobrecht, Jr., David Ross and Julie Gregorian.  Ms.  Weber teaches bassoon lessons,  bassoon  methods,  bassoon  reed­making  and  small  ensemble  coaching  at Binghamton University.  Performing experiences include the Binghamton Philharmonic, Tri­Cities Opera, Orchestra of the Southern Finger Lakes, Cayuga Chamber Orchestra, Schenectady  Symphony, Utica Symphony, BC  Pops,  Downtown Singers and  various small ensembles.  She  maintains membership  in  the  National Association  for Music Educators (NAfME), New  York  State  School Music  Association (NYSSMA) and  the International Double Reed Society (IDRS) for which she has been a presenter. Sarah Chandler is a member of the Binghamton Philharmonic,  the  Tri­Cities Opera Orchestra  and  the  Cayuga  Chamber  Orchestra  and  has  performed  as  substitute clarinetist  with  the  Glimmerglass  Opera Orchestra.  Her  past  orchestral experience includes the Milwaukee Ballet Orchestra, the New World Symphony  and the Spoleto (Italy) Festival Orchestra. She was  a prize winner at the International Clarinet Society Competition three times and won  the grand  prize in  1988. She served as  Lecturer of Clarinet  at  Binghamton  University  from  2007  until  2013.  She  holds  a  BM  from Northwestern University, an  MA  from the University o f Iowa and an MLIS from  the University  o f  Wisconsin­Milwaukee.  Her  teachers  include  Russell  Dagon,  Robert Marcellus and Clark Brody.  She also has pursued a career as an academic librarian, having most recently held positions at Binghamton University and Cornell University, in the School o f Industrial and Labor Relations.  She is proud to serve her fellow musicians as current President of Binghamton Local 380, American Federation of Musicians and as Delegate to the Regional Orchestra Players’ Association. �Bi ngha m ton U niversity Music Depart ment’s Coming Events M a fi é o u é é o w é é – M é m a é m m é é n é é ­ é é o Friday, September 26 ­  Piano blaster Class: Binghamton Philharmonic Orchestra ­  3:00 ­  4:30 p.m. – Casadesus Recital Hall – free Thursday, October] ­ Mid­Day Concert ­  1:20 p.m. ­  Casadesus Recital Hall ­ free Thursday , October 9 – MidaDay Concert –  1:20 p.m. – Casadesus Recital Hall – free Saturday,  October 11  ­  Family  Weekend Concert (Wind Symphony, Harpur Chorale and Womenfs Chorus) ­ 3  p.m. ­  Osterhout Concert Theater ­ free Thursday, October 16  – Mid­Day Concert –  1:20 p.m. – Casadesus Recital Hall ­ free Friday, October 1 7 ­    University Symphony Orchestra School Performance : We Like  to Move I t ! ­  l0 a.m. ­ Osterhout Concert Theater ­ Call (60 7) 777­3004 for reservations Saturday,  October 18 ­  University Symphony Orchesaa:  We L ike  to  Move I t !  ­  3  p.m.  ­ Osterhout Concert Theater ­  $10 general  public; $ 7  faculty/sta /seniors/alumni; $ 5 for students Thursday, October 2 3 – Alid­Day Concert –  1:20 p.m. – Casadesus Recital Hall ­ free Friday, October 24 ­  Tri­Cities Opera presents Verdi ’s Rigoletto ­  8:00 p.m. ­  The Forum Theatre – call (607) 772­0400 for tickets Saturday, October 25 ­  Early On :  Music from Now  and Then ­  7:30 p.m.  –  Fine Arts Building, Room 2 1 2 ­ $ 5 general public, free for students Sunday, October 26 –  TniCities Opera p resents Verdi ’s Rigoletto ­  8:00 p.m. ­  The Forum Theatre – call (607) 7720400 for tickets Thursday, October 3 0 ­  Mid­Day Concert ­  1:20 p.m. ­  Casadesus Recital Hall Sunday, No vemberZ ­  English and American Art songs ­  3 :00 p.m. ­  Phelps Mansion, 191  Court Street, Binghamton ­ S10 general  public;  BU  students  free with  lD –  for reservations  call  the  Phelps  Mansion at (607) 7224873.  This concert is co­sponsored  by  the Binghamton University Music Department  and  Phelps Mansion Museum. M é fi n é é fl a fi é – é m m n fi fi n fi é n é fi c fi b For tickets or io be added to our email list, visit anderson.binghamton.edu or call (607) 777­ARTS. For a complete list of our concerts call (607) 777­2592. visit music.binghamton.edu or  become a fan on  Facebook. If you  were  inspired  by  this  performance. consider supporting the  Department  of  Music  with a financial gift.  Your support helps  to  continue  the work  of  students. faculty. and  guest  artists and their  contributions  to  our  community,  P lease  make  your  donation  payable  to  the  Binghamton University Music  Depanment, and  send your  check  to  BU  Music Department. P.O.  Box 6000. Binghamton, NY  13902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 44:41 45:24 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74924">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74924</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 Incurable Romantics  Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Schubert, Piazzolla, Strauss, Lovreglio, Brahms. Held at 7:30 p.m., September 20, 2014, Watters Theater. Creator An entity primarily responsible for making the resource Perry, Timothy Reitz, Margaret Biggers, Jonathan Weber, Martha Chandler, Sarah Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Schubert, Franz, 1797-1828 Piazzolla, Astor Strauss, Richard, 1864-1949 Lovreglio, Donato Brahms, Johannes, 1833-1897 Date A point or period of time associated with an event in the lifecycle of the resource 9/20/14 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/daafce6df1f19a3421d4567c6a7dbcba.pdf b4b5a1dcbccbb09413645c553360bc83 PDF Text Text BINGHAMTON U N I V E R S I T Y S T A T E   U N I V E R S I T Y  O F   N E W   Y O R K W [4 D E P A R T M E N T SOLARIS DUO J oel Diegert, saxo phon e Mariam Vardzelashvili, pia no Sunday, September 7, 20 1 4 3:00 p.m. Casadesus Recital Hall �80  ABOUT THE PE RFORME R S  03 82)  P ROG RAM 03 Six Metamorphoses after Ovid, Op. 49 .  . Benjamin Britten 1.  Pan  (1913­1976) 11.  Phaeton III. Niobe IV. Bacchus V.  Narcissus VI. Arethusa Sonata for Flute and Piano, Op.94 .  .Sergei Prokofiev I.  Moderato  II.  Scherzo III. Andante (1891­1953) IV. Allegro con brio 8:3  INTE RMISS ION (as Ondine .  52048  Saa l  «eevee.  Maurice Ravel from Gaspard de la Nuit  Hermit Songs Op.29........  I.  A t  Sa i n t Pa tr ick ’s P u rga tory  11,  Church Bell at Night III.  St. Ita ’s Vision IV.  The Crucifixion VII. Promiscuity X.  The Desire for Hermitage Lacrimosa . (1875­1937) .  Samuel Barber (1910­1981) Marilyn Shrude (b. 1946) The  SOIARIS DUO  was  formed  in  2008,  and  has  since  thrilled  audiences throughout  Europe  with  their  dynamic  style  and  versatile  programming. Saxophone­piano duos are  a rarely­heard chamber music  group, but  audiences attending Solaris Duo concerts are always amazed by the instrument’s expressive quality and versatility. In April  2011, the  Duo was a prize­winner  of bi­annual Gaudeamus Interpreters Competition, where the jury proclaimed them to have a “unique and lively sense of ensemble playing...” and “an ensemble in the highest meaning of the word, functioning as a single expressive organism on stage.” The Solaris  Duo  has  performed  concerts  in many  countries  throughout  Europe, including  France,  Austria,  Germany,  N etherlands,  Greece,  Latvia,  Lithuania, Armenia, and Georgia.  In upcoming seasons, the Duo continues to broaden its international presence with performances throughout Europe and Asia. Pianist MARIAM VARDZELASHVILI was born in Georgia and studied at the Tbilisi  State  Conservatory  until  the  age  of 20,  before  moving  to  the U.S.  to complete her bachelors and masters degrees. She then lived in  Paris for two years before  finally moving  to Vienna.  Mariam gave her first performance with the Georgian National TV and Radio Broadcasting Orchestra at  the age of 10. She has been an active performer since then both as a soloist and a collaborative artist, with extensive experience in solo vocal, instrumental, and choral music. Mariam was a semi­finalist in  the 2012 Concert Artists Guild competition, and is a prize­ winner  of  several  competitions  including  the  2011  Gaudeamus  Interpreters Competition held in Amsterdam, the 2008 and 2009 Dr. Marjorie Conrad Peatee Art  Song  Competition  in  Bowling  Green,  Ohio,  the  1999  F.  Chopin lntemational Competition for Young Pianists, in Novi Sad, Yugoslavia, and the 1997 P. Konjevich Competition for Young Musicians in Belgrade. Saxophonist JOEL DIEGE RT comes from New York and holds Bachelor’s and Master’s degrees from Ithaca College and Bowling Green State University. After completing his studies in the U.S., Joel moved to Paris for three years, and he is currently based in Vienna. Joel has been successful in national and international competitions, having won  the  2006 North American Saxophone Alliance solo competition,  as  well  as  prizes  in  the  2011  Jean­Marie  Londeix  Saxophone Competition held in  Thailand, 2011 Gaudeamus Interpreters Competition held in Amsterdam, and the 2009 Saxiana Chamber Music Competition held in Paris. He has  performed with  the  Thailand Philharmonic  Orchestra,  the  Vermont Philharmonic,  Ithaca  College  Chamber  Orchestra,  and  Ithaca  College  Wind Ensemble, and has performed at nearly all  the major saxophone conferences since 2004. Joel’s  writing  can  be  found  in  the July/August  edition  of  Saxophone Journal, and he maintains a saxophone­oriented blog, Hot for Saxophone. �Binghamton University Music Departme nt’s Coming Events a fi é fi é f ’ é fl fi M M é fl é M M é fl fi M M O fi é fl Saturday, September 6  ­  Master Class with guest artist Joe l  Diegert, saxophone and Mariam Vardeeelashvili, piano ­  3 p.m. ­  C‘asadesus Recital Hall ­ free Sunday,  September 7  –  Guest  Artist Recital: Joel Dbgert,  saxophone  and Mariam Vardezelashvili, pia no – 3 p.m. – Casadesus Recital Hall ­  free Saturday, September 13 ­ Liederabend: Thomas Goodheart &  Stephen Zank ­  7:30 p.m. –  Anderson  Center  Chamber  Hall  –  $ 10  general  public,  $7  faculty/staff/seniors/abtmni;  $5 students Sunday, September 14 ­  An Extraordinary Indian Operatic Ballet: Méghandootam,  The Cloud Messenger  ­  4  p.m.  ­  Osterhout  Concert  Theater  ­  $20  general  public;  $15 faculty/staff/seniors/abtmni; $10 studen ts; free for B U s tudents with ID Saturday, September 2 0  ­  Incurable Romantics: Timothy Perry &  Friends ­  7 :3 0 p.m. ­ Watters Theater – $ 1 0 general public; $7 faculty/staff/ seniors/alumni; $5 students Friday, September 26  ­  Piano Master Class: Binghamton Philharmonic Orchestra ­  3:00 – 4 :3 0 p.m. – Casadesus Recital Hall ­  free Thursday, October2 ­ Mid­Day Con cert­ 1:20 p.m. ­  Casadesus Recital Hall ­ free Thursday, October9 – Mid­Day G m c r t –  1 :20 p.m. – Casadesus Recital Hall – free Saturday, October 11 ­  Family Weekend Concert (Wind Symphony, Harpur Chorale and Women’s Chorus}­ 3  p.m. ­  Osterhout Concert Theater ­ free Thur sda y, Octo ber 1 6  – Mid­Da y Co n cert ­  1 :20 p.m. – Casadesus Recital Hall ­  free Friday, October 1 7 ­  University Symphony Orchestra School Performance: We Like to Move It.’­ 10 a.m. ­  Osterhout Concert Theater ­  Call (607) 777­3004for resermfimis Saturday, October 18 – University Symphony Orchestra: We Li k e  to Move I t ! –   3 p.m. – Osterhout Concert Theater – $ 1 0 general public; $ 7 faculty/staff/seniors/alumni; $5 for students M M M é fl é M M M M é fl Q fi M é fi é b For  tickets  or  to  be  added  to  our  email  list, v isit  anderson.binghamton.edu  or  call  (60 7 )  777­ARTS .  For  a complete list ofourconcem call (607) 7 7 7­2 592, visit music.binghamton.edu or become a fan on  Facebook. [ = ]  = [ = ]   [ = ] g   If you were inspired by this performance, consider supporting the Department of  Music with a financial gift.  Your support  helps  to  connnut the work of  students, faculty, and  guest artists and  their  contributions  to  our  community.  Please  make  your  donation  payable  to  the Birtghamton University Music Department, and  send  your check  to  E U  Music Department, P.O. Box 6000, Binghamton, N Y 1  3902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 101:42:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74931">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74931</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 Solaris Duo  Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Britten, Prokofiev, Ravel, Barber, Shrude. Held at 3:00 p.m., September 7, 2014, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Dieger, Joel Vardzelashvili, Mariam Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Britten, Benjamin, 1913-1976 Prokofiev, Sergey, 1891-1953 Ravel, Maurice, 1875-1937 Barber, Samuel, 1910-1981 Shrude, Marilyn Date A point or period of time associated with an event in the lifecycle of the resource 9/7/14 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/fb7a484c8d70c51d40835d1ef32598e5.pdf 699a96021a45575bf852a1227af0ec71 PDF Text Text BINGHAMTON U N I V E R S I T Y S TA T E   UN I V ER S I T Y  O F   NEW  Y O R K d e [4 e D E P A R T M E N T A TRIBUTE CONCERT IN MEMORY OF P A U L  GOLDSTAU B Martin Bidney, narrator Diane Birr,  piano Bruce Barton, conductor Daniel  Fabricius, percussion jenny Gag, soprano Stacey Geyer, soprano Emily  Goetz, percussion W ill iam La wson, p i a no Timothy LeFebvre, baritone Stephanie Lehman, percussion Georgetta Maiolo, flu te Timothy Perry, clarinet Margaret Reitz, piano Harold  Reynolds, trombone Michael Salmirs, piano J oel  S males, percussion Abigail Smith, soprano University Chamber Chorus Sa tu rday, J a n ua ry 31, 2015 7:30 p. m. Anderson Center Ch am ber Hall �as­  PROG RAM   «s 1.  Six Slick Stix Click Licks (fugue for fun for 3 snare drums)  Every Evening (excerpts) Your Heart and Mine L ll b Daniel Fabricius, Stephanie Lehman, Joel Smales  1 Though t that B a Every Evening Lago di Como, Italia  ll.  {  Lehman,   on;i ­ M r t ’   Bid  ,  tonM  tRe’z ,’ man bereyspom.  arin,  BC Iheh  Tags  PREEERi  ci)  piano Timothy Perry, clarinet; Margaret Reitz, piano  III.  Stephanie Lehman, marimba; M argaret Reitz, piano Adagio (Rothko: Med itating on Color) Toccata (Pollock : Line and Color)   VIIL 1  J  [  i  Aria and Chase  VIL Mallet Palette Portraits (exce rpts)  Prelude (Mond rian: Lines and Colors) Michael Salmirs, piano  Timothy Perry, conductor;  Timothy LeFebure, baritone; Jenny Gac, soprano; Stacey Geyer, so prano; Abigail Smith, soprano;  Daniel Fabricius, Stephanie Harold  Reynolds, trombone; Diane Birr, piano Shakespeare M ix If Music Be the Food of Love University Chamber Chorus; Bruce Barton, conductor Daniel Fabricius, Emily Goetz, Stephanie Lehman, Joel Smales, percussion William Lawson, piano;  Margaret Reitz, piano blnte rm ission b­ V  Pastorale II for Flute and digital delay Georget ta Maiolo, flute ‘  All proceeds from this concert will benefit new music initiatives for Binghamton University Music students. CDs of  Paul Goldsmub’s worlu are available in the lobby for purchase. �PROGRAM NOTES Paul Goldstaub (1947­2014) was professor emeritus of music composition and theory at Binghamton University, retiring in 2012.  His compositions have  received  multiple performances in  such  diverse venues  as  Lincoln Center, Carnegie Hall, off­off Broadway, the G uthrie Theater, Minnesota Opera, Cincinnati Opera and  the Society for New Music, as well as in Canada, Great Britain, German y, Italy, Russia a nd Japan. He was the recipient of grants from the National Endowment for the Arts. the National E ndowment for  the Humanities. Meet the Com poser, the Minnesota State  Arts Board and the  American Society of Composers, Authors and Publishers (ASCAP). He  presented  lectures,  papers  and  workshops  at  the  Chautauqua Institution, Oberlin Conservatory, Syracuse U niversity, St. Olaf College, Wells  College  and  St.  Thomas  University  Institute  of  Contem porary Music  Education,  among  others,  as  well  as  national  meetings  of  the College Music Society, the National Association of Schools of Music and the New York State School Music Association. Prior to coming to Binghamton in 1998, he held teaching positions at the Ithaca College School of Music, the College­Conservatory of M usic of the University  of  Cincinnati,  Mankato  (Minnesota)  State  University  and Eastern Michigan University. He earned a bachelor of music degree from the Ithaca College School of Music, studying under Karel Husa and Warren Benson, and master of music and doctor of musical arts degrees from the Eastman School of Music,  in  the  studio  of  Samuel  Adler.  Schenkerian Analysis with Charles Burkhart. He  com pleted  studies  in His  music  is published  by  Keyboard  Percussion  Publications/Marimba Productions,  Inc.,  Roger  Dean  Publishing  Com pany,  the  International Trombone Press/Southem Music, Ken Dom Publications, Transcontinental Music Publications and Lawson­Gould Music Publishers, Inc. I Six Slick Stix Click L icks ( fugue for fun for 3 snare drums) This snare dmm trio, premiered  in 1991 by the I thaca College School of Music Percussion Ensemble under the direction of Gordon Stout, remains one of Paul’s most performed works.  The indioations in the score include exact placement of the “stix” on the ‘normal” playing position of the head, or the rim of the snare drum, as well as indications to  play silent strokes in  the air,  to  play with  the fingertips, to clap, or to make spoken sounds, The Binghamton University Percussion Ensemble, under the direction of Daniel Fabricius,  performed  the  work  in  1999,  followed by  tonight’s  special  guest percussionist,  alumna  Stephanie  Lehman’s  performance  with  members of  the Binghamton University Percussion Studio in  2008. Six Slick Stix Click Licks has also been perform ed throughout the U.S. as well as in Russia, Japan, Slovenia and the Philippines. 1L Lago di Como, I talia This is program  music, describing  the  serene quality of Lake Como in Italy. Located about 40 miles north of Milan, near the foothills of the Alps, the lake has a special beauty and calmness.  Paul wrote:  “In this composition, 1 reflected on the moods of this lake in Northe rn Italy,  It had a unique serenity that engaged my imagination to ponder the beauties of nature, wherever they are.  There was a special excitement  in  such  calmness.  1 invite listeners to visualize places from their own travels as they hear this music.” Originally  composed  for  saxophonist,  Jamal  Rossi  and  premiered  at  Ithaca College  in  1990  with  Paul  at  the  piano, versions were  created later  for  cello, bassoon or clarinet including performances by Binghamton University  faculty members Stephen Stalker (cello) and Timothy Perry (clarinet) both accompanied by Margaret Reitz (piano). III. Portraits (excerpts) Portraits  is a suite of six short pieces  for  solo piano.  It  was  composed  for Binghamton University faculty me mber Michael Salmirs and premie red in 2008. Paul wrote the following program notes at that time : “For some years, I have been exploring the idea that in a collection of pieces, each can have its own  complete identity and yet still be  part of the larger structure or context in which  it a ppears...Originally, each movemen t had just a musical title, such as “Prelude ” or “Scherzo", and most of the work was done with those titles in mind.  However, late in the process, I became aware of certain analogies to the �VL visual arts, and then to specific artists but not to specific works. Thus, there are two titles for each of the six sections.  The images seen here are meant to remind us of the general style of these artists.  It has been a special delight to compose for Michael Salmirs.  We spoke of the pieces often during the composition phase, and  many of the sketches were shared as the work was in progress.  I hope all composers could have the chance to work so closely with their performers”. IV. Aria and Chase This brief, two­part work was premiered at the Ithaca College School of Music in 2008.  lt was composed for this evening’s guest artists from the Ithaca College School of Music, Harold (Hal) Reynolds, Professor of Trombone and Associate Chair, Performance Studies and Diane Brrr, Professor of Piano and Associate Chair, Performance Studies. Every Evening (excerpts) This work  in  nine  movements, which  Paul  referred  to as. “a sort  of  dialogue between individuals in a relationship”, was inspired by poems first shared with him  in  2005 by Martin Bidney, Professor Emeritus of  English at Binghamton University.  The poems, a series of Spanish folk lyrics, had been translated into Russian by Konstantin Balmont about a century ago, and translated from Russian into English by  Professor  Bidney.  The  composition was  premiered at  the Binghamton University Musica Nova concert in 2009. ll. Your Heart and Mine Your heart and mine Took counsel together And both have decided They can’t live apart. Your eyes are azure, An  opening chord announces a basic sonority,  which  is  used  throughout  the introduction.  A series of short cadenza phrases leads to the song­like first section, featuring rolling chords in the piano and a lyrical melody in the solo trombone. At the climax of this aria, the music dives into the “Chase” section, with both instruments in  pursuit until the end. V. Pastorale II for Flute and digital delay At the premier of Pastorale II  for Flute in  2005 Paul wrote: “Pastorale II  for  Flute, dedicated  to  Binghamton  University faculty member Georgetta Maiolo, begins with a short, introspective phrase that unifies the piece.  The Pitches (C#­G#) and the rhythm (dotted eighth, sixteenth, eighth  in compound time) recur in  many forms as the piece grows to its highpoint and then returns to its origins.” Georgetta  Maiolo  provides some  background:  “Pastorale for  Flute  Alone”  was written in 1984.  Paul and I were assistant professors in the Ithaca College School of Music, at the time.  Paul showed the work to me and we collaborated on  the various tone colors, techniqum, and sound e ffects of the flute.  In 1990, it was performed as a world premiere on my faculty flute recital at Ithaca College.  In 1998, Paul and I  reunited as faculty members in  the  Depart ment of Music at Binghamton University.  We decided to revisit the work. but to add a digital delay or  sort  of  “electronic  reverb”  to the original.  I  premiered  this version,  now entitled Pastorale l l  for Flute on m y  faculty flute recital in 2005, with a subsequen t performance  on  the  Musica  Nova  Concert  in  2007,  and  as  a lecture/demonstration at SUNY Oneonta in 2007.” Your eyes are blessed. My own look and pray And they ask for your mercy. You are the pink of April And you the rose of May, The moon of January, And I beneath your spell. You’re brighter than the sun so bright, More white than whitest snow, You are the Alexandrian rose That blooms the year around. IV. Lullaby Sleep, my little baby, You are barely seen, Sleep, my little star Shining before the dawn. The rose falls asleep, Gleaming with dew. Night’s coming o Sleep, my child. VIL I Thought that Love 1 thought that love Was but a toy, But now I see You go through death. �I can ’t see in the window now The things I saw before. The window I am looking through Opens on loneliness. 1 live without life, To live such a life. Alive, I am not l iving. Living, I die. contribute to the intensity and forward movemen t.  His careful planning of both the accompaniment  and  melody ­  roles which are  shared  by each instrument throughout ­  results in a simultaneously harmonious and combative relationship between both players.  At one moment, a player may introduce the motive and pass it off to the other player who  continues develo pment.  Later, the motive  may be restated only as a fragment before being intercepted by the other player and further developed. Do not kill me, do not kill, Let me live, let me live. Let me pass, let me pass Through the achings of this world. The  harmonies are  not always stacked  but  are  at  times interlocked creating a blended mixture of sound one might not expect to hear from two instruments belonging to the same orchestral family. During the faster sections of the piece, his spacing of these instruments in  regards to register exploits the full range and unique timbre of each.  This piece ends where it began, only as Paul said, “with a finishing touch". IX. Every Evening Every evening I know I will feel your eyes shine, And I’ll know every evening that you will feel mine. And so, truly the moon, in the neamess of night, Will be mirror for us, in oblivion’s light! With this project, Paul decided  to challenge  himself by trying something quite different from his more typical approach to a new work.  “I drew a picture of how I wanted the overall piece to sound.  Usually, I go with a more intuitive approach. I decided in this case to do as much pre­compositional planning and structuring as possible.  ...l decided to take a more architectural approach.  That means that I spent time asking myself a lot of quiet questions.  Now that l have my blueprint, the intuition kicks in.”  Eventually, it became clear to Paul that the work would be written for a baritone soloist, pianist, two percussionists and a chorus of three sopranos.  The  baritone  soloist  at  the  premiere  was  former  Binghamton University faculty member Timothy LeFebvre.  Tim, currently Associate Professor of Singing at the Oberlin Conservatory of Music, has  returned  to perform the work again this evening. VIL Mallet Palette This work for marimba and  piano was composed in  2012 and was Paul’s final com position.  It was premiered at the Musica N ova concert that same year. Composer Christian Martin, a former student  in  Paul’s composition studio at Binghamton University, contributed the following program note: Paul’s taste for consonance and dissonance is evidenced by his playful bantering between pentatonic, chromatic, minor and major.  Agogic and dynamic accents enhance colorful pops of dissonance that permeate the otherwise tonal realm and Shakerpeare Mix (excerpt) Text from Twelfth Night (mostly) This threemovement work for chorus, two pianos and four percussionists, with text  from  Shakespeare’s comedy,  Twelfth  Night,  was  written  in  2002  for  the Binghamton University Chorus under the direction of Bruce Berton, Associate Professor of Music and Director of Choral Studies, and was last performed at the University Chorus concert in the spring of 2014.  The first movement, performed here, is an upbeat introduction.  The second is the lyrical core of the piece, featuring  the  chorus  and  vibraphone,  and  the  last  movement  is  the  most extensive, with two percussion interludes. Shakespeare’s plays fascinated and inspired Paul ever since he began his graduate studies at  the Eastman School of Music  and composed  incidental music  for productions of The Tempest,  Twelfth Night, Two Gentlemen of Verona and Richard H at the Rochester Shakespeare Theater. Later, he composed song cycles, orchestral pieces and choral works based on those plaw. Paul  loved  music, above all else, and  he  wanted  to communicate  that love  of music, the joy of living and pure  fun with this first movement from his often­ performed choral work, Shakespeare Mix. Enjoy! 1. lf Music Be the Food ofbove l f music    be the food of love, play on. Oh, spirit of love, how quick and how fresh thou art! Oh, give me excess of it. (Thanks to William Shakespeare for the  words that g o  w i th  this tune!) �I can ’t see in the window now The things I saw before. The window I am looking through Opens on loneliness. 1 live without life, To live such a life. Alive, I am not l iving. Living, I die. contribute to the intensity and forward movemen t.  His careful planning of both the accompaniment  and  melody ­  roles which are  shared  by each instrument throughout ­  results in a simultaneously harmonious and combative relationship between both players.  At one moment, a player may introduce the motive and pass it off to the other player who  continues develo pment.  Later, the motive  may be restated only as a fragment before being intercepted by the other player and further developed. Do not kill me, do not kill, Let me live, let me live. Let me pass, let me pass Through the achings of this world. The  harmonies are  not always stacked  but  are  at  times interlocked creating a blended mixture of sound one might not expect to hear from two instruments belonging to the same orchestral family. During the faster sections of the piece, his spacing of these instruments in  regards to register exploits the full range and unique timbre of each.  This piece ends where it began, only as Paul said, “with a finishing touch". IX. Every Evening Every evening l know l will feel your eyes shine, And l’ll know every evening that you will feel mine. And so, truly the moon, in the neamess of night, Will be mirror for us, in oblivion’s light! With this project, Paul decided  to challenge  himself by trying something quite different from his more typical approach to a new work.  “I drew a picture of how I wanted the overall piece to sound.  Usually, I go with a more intuitive approach. I decided in this case to do as much pre­compositional planning and structuring as possible.  ...l decided to take a more architectural approach.  That means that I spent time asking myself a lot of quiet questions.  Now that l have my blueprint, the intuition kicks in.”  Eventually, it became clear to Paul that the work would be written for a baritone soloist, pianist, two percussionists and a chorus of three sopranos.  The  baritone  soloist  at  the  premiere  was  former  Binghamton University faculty member Timothy LeFebvre.  Tim, currently Associate Professor of Singing at the Oberlin Conservatory of Music, has  returned  to perform the work again this evening. Vll. Mallet Palette This work for marimba and  piano was composed in  2012 and was Paul’s final com position.  It was premiered at the Musica N ova concert that same year. Composer Christian Martin, a former student  in  Paul’s composition studio at Binghamton University, contributed the following program note: Paul’s taste for consonance and dissonance is evidenced by his playful bantering between pentatonic, chromatic, minor and major.  Agogic and dynamic accents enhance colorful pops of dissonance that permeate the otherwise tonal realm and Shakespeare Mix (excerpt) Text from Twelfth Night (mostly) This threemovement work for chorus, two pianos and four percussionists, with text  from  Shakespeare’s comedy,  Twelfth  Night,  was  written  in  2002  for  the Binghamton University Chorus under the direction of Bruce Berton, Associate Professor of Music and Director of Choral Studies, and was last performed at the University Chorus concert in the spring of 2014.  The first movement, performed here, is an upbeat introduction.  The second is the lyrical core of the piece, featuring  the  chorus  and  vibraphone,  and  the  last  movement  is  the  most extensive, with two percussion interludes. Shakespeare’s plays fascinated and inspired Paul ever since he began his graduate studies at  the Eastman School of Music  and composed  incidental music  for productions of The Tempest,  Twelfth Night, Two Gentlemen of Verona and Richard H at the Rochester Shakespeare Theater. Later, he composed song cycles, orchestral pieces and choral works based on those plaw. Paul  loved  music, above all else, and  he  wanted  to communicate  that love  of music, the joy of living and pure  fun with this first movement from his often­ performed choral work, Shakespeare Mix. Enjoy! 1. lf Music Be the Food of  Love. l f music    be the food of love, play on. Oh, spirit of love, how quick and how fresh thou art! Oh, give me excess of it. (Thanks to William Shakespeare for the  words that g o  w i th  this tune!) �CHRONOLOGICAL LIST OF  COMPOSITIONS BY PAUL R.  GOLDSTAUB EARTHSHINE (1968), musical score and orchestrations for origin al musical (A) WANDERING ARAMEAN WAS MY FATHER (1969), full­length  musical theatre piece PINK IS FOR GIRLS, score  for musical (1970) THE BIG SHOW (1972), score and arrangements for musical FABLES HERE AND THEN (1973), score for musical ONE FLEW OVER THE CUCKOO’S NEST (1973), electronic music score for the play RICHARD II (1973), incidental music for the play (THE) TAMING OF THE SHREW (1973), incidental music for the play TWO GENTLEMEN OF VERONA (1973), incidental music for the p lay (THE) SIGNIFVING MONKEY AND OTHER TALES (1974), score  for full ­length  musical (THE) TEMPEST (1974), incidental music for the play TEMPEST SONGS (1974), for soprano and piano GRAPHIC IV (1975), for alto saxophone and celeste, published by K en Dorn Publications SERENADE FOR FLUTE AND HARP (1975) SIX LADINO SONGS (1975), for soprano, flute and harp MAY THE WORDS OF MY MOUTH (1976) for solo voice and choru s (a cappella with optional keyboard) published by Transcontinental Music Publica tions, 2008 SACRED SERVICE FOR WELCOMING THE SABBATH (1976), doctoral  dissertation (A) COMMON FEEUNG (1978), score for full ­length  musical CONCERTINO FOR FLUTE AND STRINGS (1978) FANTASIA ON ‘ANGELS WE HAVE HEARD ON HIGH’ (1978), for ch orus, orchestra, brass ensemble, percussion ensemble and organ (THE) MARRIAGE PROPOSAL (1978), chamber opera FESTIVAL PRELUDE (1980), for orchestra (second version for win d ensemble) (THE) STARS S ING A MUSIC (1981), chamber opera FROM ‘THE SONG OF SOLOMON’ (1982), for chorus SONATA FOR SAXOPHONE (1982) CHAMBER MUSIC (1983), for chorus, published by Lawson­Gould M usic Publishers, 1984 (A) CHAMBER SYMPHONY (1983) PEER GYNT (1983), incidental music for the  play GOD IS OUR SHELTER (1984), for contralto and organ PASTORALE (1984), for flute (THE) SILVER SWAN (1984), for chorus, published by Lawson­Goul d Music Publishers, 1984 THREE SISTERS (1984), incidental music for the play VARIATION SONATA: JOURNEY THROUGH PRISMS (1984), for pi ano (THE) TROJAN WOMEN (1985), chamber opera I AM PROSPERO (1986), for chamber orchestra LOVE’S VOICES (1986), for tenor and piano (THE) MOVIE IN MY HEAD (1986), for six instruments ON THE RAZZLE (1986), incidental music for the play COLUMBUS (1987), a theatre piece SONATA FOR FIVE TRUMPETS (1987) PETRUCHIO! (1988), an overture for chamber orchestra CHOOS ING TO BE (1989), for orchestra VENETIAN ECHOES (1989), for trombone ensemble, published by I TA Press, 2004 LAGO dl COMO, ITALIA (1990), for alto saxophone and piano (later  versions for cello and bassoon) SCHERZO (1990), for women’s voices  and piano, published by Roger  Dean Publications, 1997 SIX SLICK STIX CUCK UCKS (1990), for percussion trio, published  by Marimba Productions, Inc., 2001 DRIVING IN MANHATTAN (1992), for brass quintet REVERSE THUNDER (1992), incidental music for the  play by Diane  Ackerman CLAP! TAP! SNAP! (1993), for soprano, guitar, cello, harp and piano (THE) JOURNEY (1994), for harpsichord and nine instruments SCHERZO (1992), for woodwind quintet FOUR VOCAUSES (1995), for soprano, guitar, harp and double bass (A) TIME FOR WONDERING (1995), for chorus, brass and percus sion HALGORHYTHMS (1997), for trombone and percussion ensemb les QUARTET FOR STRINGS (1997) CADENZA (1998), for solo violin PRELUDE AND ALLEGRO (1998), for clarinet and piano SILVER SONG (1998), for flute, percussion and keyboards SIX (1998), a dance score for pianos and percussion THREE PIECES FOR PIANO (1999) TRIPLE ANTIPHONAL SESQUICENTENNIAL OVERTURE (1999), for  brass and percussion CHANUKAH VARIATIONS (2000), for horn ensemble LORD, MAKE ME AN INSTRUMENT OF THY PEACE (2000), for ch orus, trombone and organ MICHELANGELO (2000), film score OUT THERE (2000), song cycle for voice and piano COUNT! (2001), for bassoon  ensemble OPPOS ITES ATTRACT (2001), for saxophone trio REMEMBRANCE AND REFLECTION (2001), for trombone ensemble SHAKESPEARE MIX (2002), for chorus, pianos and percussionists TOCCATA (2004), for organ ARIA AND CHASE, (2005), for trombone and piano FOUR PRELUDES FOR PIANO (2005) PASTORALE II  (2005), for flute and digital delay MUSIC FOR STRINGS (2006), for orchestra YOU CAN HEAR IT (2006), for three choruses, piano and brass PORTRAITS (2007), for piano EVERY EVENING (2008), for baritone, sopranos, percussionists a nd piano (THE) SILVER SWAN (2008) for solo quarte t and chorus DOUBTFUL SOUND (2011) for flute MALLET PALETTE (2012), for marimba and piano, to be  publishe d by Keyboard Percussion Publications/Marimba Productions, Inc. �B ingha m to n  U n iversi ty   m m w De pa rt m e n t of M usic Com ing Even ts m w w t é é n fi b Friday, February 6  ­  Tr i­C ities O pe ra pr 8:00 p.m. ­  The Forum Th eater ­ c esents  R ossini ’s  The Ital all  (607) 772­0400 for ticke ts ian  G irl  i n  Algiers ­ Sa turday, Fe brua ry 7 ­ G uest Artis t : P ian ist G leb Iv anov ­  7:30 p.m . ­  Ande Chamber H all  ­ $20 gene rson Cen ter ral public; $15 faculty/sta ff/seniors/alumni; $10 for  students Sunday, February 8 ­  Tr i­C ities O pe ra  prese nts R ossini ’s  8:00 p.m. ­  The Forum Th The Italian  G irl  in  Algie eater ­ call  (607) 772­0400  rs – for tickets Th ursday, Fe brua ry 26 ­ M id­Day Conce rt ­  1:20 ­  p. m.  – Casadesus Reci tal  Hall  ­ free Th ursday,  Fe brua ry  26  ­  Tri­C ities  Opera   presen ts  Michael  Ching’s  “S pee To night! ” – 8:00 p. m.  ­  d  Da ting Opera  Ce nte r, 315 Clin ton  Stree t, Bingha m ton , N 772­0400 for tickets Y  ­ Call  607­ Friday,  Fe brua ry  27  ­  Tri­C ities  Opera   presen ts  Michael  Ching’s  “S To night! ” – 8:00  p. m.  ­  peed  Da ting Opera  Ce nte r, 315 Clin ton  Stree t, Bingha m ton , N 772­0400 for tickets Y  ­  Call 607­ Sa turday,  Februa ry  28  ­  Joint Ju nior  Recital: Bran don  Young,  tru m pe t  an Beard , trom bone ­  3:00 p d  Chris .m . ­  Casadesus Reci tal H all ­  free Sa turday,  Fe brua ry  28  ­  Tri­C ities  Opera   presen ts  Michael  Ching’s  “S pee To night! ” ­ 8:00 p. m.  ­  d  Da ting Opera  Ce nte r, 315 Clin ton  Stree t, Bingha t mo n, N Y  – Call 607­ 7720400 for tickets. Su nday, March 1 – Sona ta Maste rpieces for  cello  and  pia no with  Stephe Ste phen Za nk  – 3:00 p. n Stal ke r a nd m.  ­  Ande rson Cen ter C ha mber  Hall ­ $10 general p fac ulty/staff /se niors/ alu ublic ; $7 m ni;  $5 fo r stu de nts Th ursday, Ma rch  5 ­ M id­ Day Conce rt ­  1:20 p . m.  ­  Casadesus Reci tal  Hall  ­  free Friday, Ma rch  6 ­  Maste r’s Reci tal : N icholas Foll ett, saxophone ­  7:30 p . Recital Hall ­ free m.  ­  Casadesus é fi é é fl u é b ­ fi m ­ G M W I V M For  tickets  or  to  be  added  to  our  email  list ,  visit anderson.binghamton .edu or  call (60 7) 777­A RT S. For a complete list  of  our  concerts  «cal  (60 7)  77 7­2 59 2,  visit music.binghamlon.edu or b ecome a fan on Facebook. If  you were  inspired by  this   performance, consider suppo rting  the De partment of Music with  a financial gift. Your sup port helps to continue  the work of stude nts, faculty,  and guest artist s and  their contributions  to  our  com munity,  Please  make  you r  donation payable to  the Binghamton  University Music Departm ent , and send  your  check  to  BU   Music  Department,  P.O .  Box 6000,Bin ghamton, 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 2 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:04:21 15:34 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74875">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74875</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 tribute concert in memory of Paul Goldstaub Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Held at 7:30 p.m., January 31, 2015, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Goldstaub, Paul R Bidney, Martin Birr, Diane Borton, Bruce Fabricius, Daniel Gac, Jenny Geyer, Stacey Goetz, Emily Lawson, James, William LeFebvre, Timothy Lehman, Stephanie Maiolo, Georgetta Perry, Timothy B Reitz, Margaret A Reynolds, Harold A Salmirs, Michael Smales, Joel Smith, Abigail Publisher An entity responsible for making the resource available Binghamton University Libraries 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/ad265ac2b92c9fe8f5616993ceb9bd6c.pdf b489cd840d933d212764d540b117dd99 PDF Text Text BINGHAMTON UN I VE R S IT Y STATE U IVE SITY OF NEW YO R K usi D E P A R T M E N T COMPOSERS AT THE CONFLUENCE: WA R AND CON SEQ UEN CE Featu ring work s b y: Evan Flury Jame Budi nich Richa rd Hugu n in Sunda y,Fehru ary, 15th, 2015 2 p .m . Phelp s M an ion Muu um �PROGRAM ABOUT THE COMPOSERS Phrases ..... ... .. ............ ............... .. ........... .. .. ......... .. .......... . Jame B ud ini h I. fo r a mo ment (l99 ) Elean o r Kra ner, violin Brothers ... .. ... ...... ............... .... ............ ...... ... ....... .. .... .. .... .. Jam Budini h (l990} Alexio C hang, i.olin Elea no r Kra ner, io lin Grim conscience .... .. .. ... ...... ... ............. ........ .... ...... ... ... ..... . Jame Budinich ( l 990) CodyRay Caho, bari ton e Michael Lewis, piano Piano Sonata 11. Adag io o. 1, Op. 17 .. ... ..... .... .. .... ... ........... .. ... Richard Hugunine ( 1953) Ill. Vivace - Ro ndo tep hen Zank, piano Jam Budinich (b. l990, orthport, grew up urrounded by a mix of Croatian folk music, Jaz z pianis , uch as Thelonious Monk and Bill Evans, and the driving rock guitar o groups Like Led Zeppelin. After a few years of playing in rock bands out of friends' garage , he went o to college, where he d iscovered the world of Classical Music. James is currently working cowards h.is Master of Music in Composition at Binghamton ni er ity, cudying with Daniel Thomas Davis. He has previously srudied with Jared Miller, and also with Chri Arrell and Osvaldo Golijov a the College of the Holy Cross, where he completed hi BA. Throughout college he also studied classical guitar, with Rober ullivan and Mateo Arnáiz. His work ha been performed by the Momenta uartet, and upcoming e ents include perfo rmances by Loncano Ensemble, and ew ore Code. Evan Flury (b . 1992) ound his love of music in high school in Buffalo, in his early cudies with Kevin Moehringer, Greg Piontek and Craig Farrey in Jazz and Electric Bass. Through college, he played in variou rock and jazz bands before beginning to srudy mu ic om ition with Daniel Thomas Davis. Upcoming events include a piece for m/wire a well a performing in Bingham on University's production of Black Orpheus. R.icba.rd Hugunine (b. l 95 ) began hi profe ional music career in h.is teens as a church . From 1972 to 19 4 he provided improvi atory piano music for ballet classes a ional cademy of Dance in Champaign, Illinois, as clas pianist and personal iani t or Patricia ilde at Ame rican Ballet Theatre, as Music Di rector and Composer in R idence at Ballet Bingham on, as lead cla s pianist at the ational chool of Ballet in W hing on, D.C., and a on-call balle pianist at the Kennedy Center for the Performing Ar in a hing on, D.C. Folio ing a 20- ear care r as a con ulcant in the automation of corporate administrative roce e, r. Hugunine reru med o Binghamton Univer sity in 2011 to complete his BA in comp ition, cudying horal arranging with Or. Bruce Borton, and graduating Magna a 20 l 2. He i cu rrently working on hi Mast er of Music degree in Binghamton niver i under the direction of Daniel Thomas Davis. INTERMI 10 War and Consequence ........ .............. .. ........ ..... .... ... ..... ...... .... .. E an Flu it:,,t>(J, (l 992) Da ni el Ro mbe rger, co nd u to r Chri tina anta Maria, oprano Daniella Rivera mezzo- oprano Cole T ornbero, teno r Jake ta mati , bas -ba ri t n teph anie Verh age axop ho n Raelee n Bi hler, violonc ell Robe rt D urante, co n rraba Alex Ra a, pe rcu io n PROGRAM OTE Ph.ras moment: for a momentis the fir t piece in a series of works for solo in struments. er reading The Rubaiyat of Omar yyam, I was drawn to the beauty of ertain ph r es, which might not cand ou o a reader on their own. A reader might ea ily a b the e instances and no notice Khayyam 's word choices. for a moment lor a sing! musical idea, the in erval of a second, ju ta a reader could explore the ily as b hra es of Omar Khayyam' Rubaiyat. (tum over) �ou r B rother : Having grown up with a brother l always wanted to write a piece based on relations hip. In this work I attempt ed to portray ou r bond on two levels, using related, the individu al instrum ents clash against but contrast ing, material in the two violins. each other, they represen t the pranks and fights chat have occurred between my brother the and me over the years. Anothe r le el shows the unique qualities of each violin line; two pares are able co complem ent each ocher, just like my relation ship with my brother. er, Grim coo cieoce: Ta en from an l 90 i ue of The Sun, a ew York based newspap Grim conscience depicts a narrator recalling an unforrun ace acciden t involving a beggar. before The narrator brings the listener back to the moment s leading up co the inciden t, as we reflecting back on the event. The music follows the changes in the narrator's psyche hear his story un old. form. Piano ooata o. 1, Opus 17 is Mr. Huguni ne's earliest foray into the sonata and Begun in Occober, 20l3, it was compl ted in early March 20l 4. Only the second third moveme nt are pre enced o n chis program . tona Il. Adagio: The moveme nt opens with planed 7th chords which establish the u nd gramma r of the moveme nt. An o tinato line in the middle regi cer provides backgro the fo r two indepen dent melodi lines involved in a dialogue. Another voice joins in and in gesrures with whole evolves into an emotion al stateme nt, resolving much like it began this the piano's highest register. The broad ope of the regisce involved required hand moveme nt to be cored o n three caves. The perform er is required to choo e which structure hand er's to utilize co play note on the middle staff, dependi ng on the perform and span. again ID. i ace - R ondo: cored in a lively 6/ , the principl e heme rerurns again and in various treatments of range, conalicy and expression. W ar and on equence: The idea o r t ar and Consequence began sitting in Phelps the experien ce Mans ion listening to a BU MM Opera rudenc inging. I loo ely follo ar fo llowing the WW I Christm as of a namele soldier's bru h with the concept but rmistice. I wanted to not only celebrat e the ntennial celebration of the Armistice, was to also look at the reaction s and implicat ion o w r through out history. Text, then, s clipping aken from a number of cure includin g the Iliad and both poems and news of from W orld ar One and Two. The oprano and mezzo-soprano are p r onificat ion ely. the respon es to war by the private, home life and the public, political life, respectiv a of study a Though not critical o all war by design, Warand Consequence became ace of somewh at ine capable, rimele ace through the lens of he la uncoord inated eace between armies in a rime o war. � 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.) 51:05:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74868">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74868</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 Composers at the Confluence: War and Consequence , February 15, 2015 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Evan Flury, James Budinich, Richard Hugunine. Works by  Held at 2:00 p.m., February 15, 2015, Phelps Mansion Museum, Binghamton, New York. Creator An entity primarily responsible for making the resource Krasner, Eleasnor Chang, Alexio Caho, CodyRay Lewis, Michael Zank, Stephen Romberger, Daniel Santa Maria, Christina Rivera, Daniella Tornberg, Cole Stamatis, Jake Verhage, Stephanie Bichler, Raeleen Durante, Robert Rava, Alexa Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Budinich, James R. Flury, Evan Date A point or period of time associated with an event in the lifecycle of the resource 2/15/15 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/78570bb0e7c68bf4de2a7fd026fb822c.pdf 3efd9a0171076bf647ea0f06596de53b PDF Text Text BINGHAMTON U  N  I  V  E  R  S  I  T  Y S T A T E  U N I V E R S I T Y  O F  N E W  Y O R K zedeC B E  P A R T M E N T MID­DAY CONCERT 1I A w a ‘i N  0 e Th ursday, Fe bruary 23, 2015 1:20 p.m. Casadesus Recital Hall 3   �&  PROGRAM  «6 LarsErik Larsson Concertina ... l.  Preludium: Allegro pomposo  ” 2 0  ll“. Il.  Aria: Andante sostenuto  7‘ 9 :3 4  . III.  Finale = Allegro giocoso  Z ? ’ 0   (1908­1986) Christopher Beard, trombone Margaret Reitz, piano Sonata for Viola and Piano ... I.  Allegro moderato 3 2   43".­ II.  Larghetto ma non troppo 4 3 , 7 7 .....Mikael Glinka (1804­1857) Hannah Watrobski, viola Margaret Reitz, piano Seis estudios dc concierto.. II.  Im prom ptu(1945) 5 3 ’ 2  ? “ .  Julian Menéndez (18961975) Timothy Perry, clarinet Margaret Reitz, piano Sonata... Prologue I t0  2 :10   Serenade et F inale]  , 07% 357 Stephen Stalker, cello Stephen Zank, piano ....Claude Debussy (1862­1918) �Bingham ton University  Depart ment of Music Coming Events fi a w w w é ­ M M M M M M é ­ o é é ­ Thursday,  February  26  –  Tri­Cities  Opera  presents  Michael  Ching’s  “Speed  Dating Tonight!” ­  8:00 p.m. ­  Opera Center, 315 Clinton Street, Binghamton, NY ­  Call 607­ 7720400 for tickets Friday,  February  27  ­  Tri­Cities  Opera  presents  Michael  Ching’s  “Speed  Dating Tonight!” ­  8:00 p.m. ­  Opera Center, 315 Clinton Street, Binghamton, NY ­  Call 607­ 7720400 for tickets Saturday,  February  28  ­  Joint Junior  Recital: Brandon  Young,  trumpet  and  Chris Beard, trombone ­  3:00 p.m. ­  Casadesus Recital Hall ­  free Saturday,  February  28  ­  Tri­Cities  Opera  presents  Michael  Ching’s  “Speed  Dating Tonight!” ­  8:00 p.m. ­  Opera Center, 315 Clinton Street, Binghatmon, NY ­  Call 607­ 7720400 for tickets. Sunday, March 1 ­  Sonata Masterpieces for cello and  piano with Stephen Stalker and Stephen Zank  ­  3:00  p.m.  ­  Anderson Center  Chamber  Hall ­ $10 general  public; $7 faculty/staff/ seniors/ alumni; $5 for students Thursday, March 5 ­  Mid­Day Concert ­  1:20 p.m. ~ Casadesus Recital Hall ­  free Friday, March 6 ­  Master’s Recital: Nicholas Follen, saxophone ­  7:30 p.m. ­  Casadesus Recital Hall ­ free Saturday, March  7  ­  Harpur Chorale and Women’s Chorus ­  7:30  p.m.  ­  Anderson Center  Chamber  Hall  ­  $7  general  public;  $5  faculty/staff/seniors/alumni;  Free  for students Sunday, March 8 ­  University Wind Sym phony: Just Like a Concert in the Park ­  3 p.m. ­  Osterhout Concert  Theater  ­  $7 general public; $5 faculty/staff/seniors/alumni; Free for students Sunday, March 8 ­  Sophomore Recital: Hannah Watrobski, viola ­  5 p.m. ­  Casadesus Recital Hall ­  free 6 M M M M M M 6 M M M $ For tickets or to be added to our email list, visit anderson.binghamton.edu or call (607) 7 7 7­ARTS. For a complete list  of our concerts call (60 7) 777­2592, visit  music.binghamton.edu or  become a fan on Facebook. [ = —  ]   if you  were  inspired  by  this  performance,  consider  supporting  the Department  of  Music  with a financial gift. Your  support  helps  to continue  the work  of  students,  faculty , and  guest  artists  and  their contributions to our community. Please make your donation  payable to  the  Binghamton  University  Music  Department,  and  send  your   usic  Department,  P.O.  Box 6000sss,  Binghamton, check  to  B U M NY 13902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 47:19:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74850">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74850</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.) FacingCoverContinuous Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mid-day concert, Thursday, February 26, 2015 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Larsson, Glinka, Menéndez, Debussy. Held at 1:20 p.m., February 26, 2015, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Beard, Christopher Reitz, Margaret Watrobski, Hannah Perry, Timothy Stalker, Stephen Zank, Stephen . Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Larsson, Lars-Erik Glinka, Mikael Menéndez, Julián Debussy, Claude, 1862-1918 Date A point or period of time associated with an event in the lifecycle of the resource 2/26/15 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/d72f31da65fa1d36e1924f844681abc8.pdf 09e4c029d9524b68bcd28a6cd9376053 PDF Text Text BINGHAMTON U N I V E R S I T Y S T A T E   U N I V E R S I T Y   O F  N E W   Y O R K [4 D E P A R 1227224 T M E N T JOINT JUNIOR RECITAL CHRISTOPHER BEARD, TROMBONE BRANDON YOUNG, TRUMPET Saturday, February  28, 2015 3 p. m. Casadesus Re cital  H a l l �¥  ABOUT THE PERFORMERS 06 so  PROGRAM «3 Concerto, op. 4 5.  I.  Preludium: Allegro pomposo  II.  Aria: Andante sostenuto III.  Finale: Allegro giecose The  Maid of the M ist.  Brandon  Young  is  a  junior  from  Farmingville,  N.Y.  who  is  double .Lars­Erik Larsson (1908­1986) Fabricius.  In his free time, Brandon li kes to read, mostly literature related to Math and Economics, and enjoys  tutoring, which he currently does through the Student­Athlete Success Center. .. Herbert L. Clarke . Oskar Bohme (1870–1938) .Arthur Pryor (1870­1942) Divertimento.  I.  Allegro  II.  Andantino III.  Presto IV.  Moderato V.  Allegretto VI VII. Presto Christopher  Beard  is  a  junior  from  Kingston  N.Y.,  who  is  double majoring in Computer Scie nce and Mathematics. He has been playing the trombone  since  fourth  grade,  and  currendy  studies  with  Donald Robertson  here  at  Binghamton  University.  He  is  a  current  member  of Don’s  Low  Brass  Studio  Ensemble  as  well  as  the  University  Wind 80  INTERMISSION 08 Thoughts of Love ..  Trumpet  Ensemble,  the  Harpur  Jazz  Ensemble  director  by  Michael Carbone  and  the  University  Wind  Ensemble  directed  by  Daniel (1867­1945) Konzert­f­moll .  I.  Allegro moderato  majoring  in  Mathematics  and  Economics.  He  has  been  playing  the trumpet since fourth grade, and currently studies with Benjamin Aldridge here at Binghamton University.  Brandon is currently a member of Ben’s .. Boris Blacher (1903­1975) Ensemble, which  is directed  by  Daniel  Fabricius. He  has also previously performed  with  the  University  Symphony  Orchestra,  directed  by  Dr. Timothy  Perry.  In  his  free  time,  Chris  likes  to  work  on  programming projects,  solve  puzzles,  and  make  multi­track  trombone  recordings  of himself. �Bingham ton University  Department of Music Coming  Events « M M M M M M a ­ é b m w w a Saturday, Feb ruary 28 ­  Tri­Cities Ope ra presents Michael Ching’s “Speed Dating Tonight!” ­ 8:00 p.m. ­  Opera Center, 315 Clinton Street, Binghatmon, NY ­ Call 607­772­0400 for tickets. Sunday, Marc h 1 – Sonata Masterpieces for cello and  piano wi th Stephen Stalker and Stephen Zank  ­  3:00  p.m.  ­  Anderson  Center  Chamber  Hall  ­  $10  general  public;  $ 7 faculty/staff/seniors/alumni; $5 for students Thursday, March 5 ­  Mid­Day Concert ­  1:20 p.m. ­ Casadesus Recital Hall ­  free Friday, March 6 ­  Master’s Reci tal: Nicholas Follett, saxop hone ­  7:30 p.m. ­  Casadesus Recital Hall ­  free Saturday, March 7  – Harpur Chorale and Women’s Chorus ­  7:30 p.m.  ­  Anderson Cen ter Chamber Hall – $7 general public; $5 facul ty/staff/seniors/alumni; Free for students Sunday, March 8 ­  University Wind Symphony: Just Like  a Concert in  the Park – 3 p.m.  ­ Osrerhout Concert Theater ­ $7 general public; $5 faculty/smff/seniors/alumni; Free for students Sunday, Marc h 8 ­  Sophomore Recital: Hannah Watrobski, viola ­  5 p.m. ­  Casadesus Recital Hall – free Thursday, March  1 2   ­  Opera Scenes  Mid­Day  Concert  (Thomas Goodheart)  ­  1:20  p.m.  – Anderson Cen ter Chamber Hall ­  free Thursday, March 12 – Opera Scenes ­  7:30 p.m. ­  Anderson Cen ter Chamber Hall – $10 general public; $7 faculty/staff/ seniors/ alumni; $5 for students  ‘ Saturday, March 14 ­  Master’s Reci tal: Meroé Khalia Adeeb,  soprano  ­  4  p.m.  ­  Casadesus Recital Hall – free Saturday, March 14 ­  University Symphony Orch estra : Dark Passions ­  7:30 p.m. ­  Osterhout Concert Theater ­ 57 general public; $5 faculty/staff/seniors/alumni; Free for students a fi w w m fi M M M M M M b ­ é b For  tickets or to be added  to our email lis t, visit undermnbinghamtonedu or call (607) 777­ARTS. For a complete list of  our concerts call (607) 777­2592, vuit 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 contributiom  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 6000sss, 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.) 39:30:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74862">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74862</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 Joint junior recital with Christopher Beard and Brandon Young, February 28, 2015 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Larsson, Clarke, Böhme, Pryor, Blancher. Held at 3:00 p.m., February 28, 2015, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Beard, Christopher Young, Brandon Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Larsson, Lars-Erik Clarke, Herbert L. Böhme, Oskar Pryor, Arthur Blacher, Boris Date A point or period of time associated with an event in the lifecycle of the resource 2/28/15 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/b459f9a4e80d3d7e917a340b02c416bc.pdf 76056a6ec82435f7408e47c9697a92c6 PDF Text Text BING HAMTON U N I V E R S I T Y S T A I E  U N I V E R S I T Y   O F   NEW  Y O R K d e Ld c D E P A R T M E N T GLEB IVANOV PIA NO Sat urday, February  7, 20 15 7:30 p.m . Anderson Cen ter Cha m ber Hal l �About the Performer 0­  PROGRAM  0 Sonata in A major, D. 664, O p. 120.  Allegro nwderato  Andante Allegro Sonata in A major, D. 784, Op. 120.  Allegra giusto  Andante . Franz Sc hubert (1797­1828) . Franz Sch ubert (1797­1828) Allegro vivace &I n termissi ond®s Consolations, S. 1 72.  No. I :  Andante con moto  No. 2 : Poco piu mosso . Franz Liszt (1 8 1 1­1 886) Sonata in  B Minor, S. 178”  . Franz Liszt (1811­1886) A soughta fter conce rto soloist, GLEB IVANOV pe rforms a wide range of concerto repertoire, from Mozart to Rac hmaninoff and has a ppeared with orchestras  including  the Symphony Orchestras of Missouri, Johnstown, West  Michigan,  Eastern  Connecticut,  South  Bend,  Westmoreland, Southwest  Florida,  Peoria,  Knoxville,   Dearborn,  Las  Cruces,  Grand Rapids, Springfield and Napa Valley, the Indianapolis Chamber Orchestra and the Colorado Springs Philharmonic. Adored in Paris, he has been re­ engaged  four  times by  the  Louvre Museum  for  specially requested  all­ Schubert and all­Chopin concerts. Mr. Ivanov has also been frequently re­ engaged by Princeton University, The Paramount Theater in Vermont, the Isabella  Stewart  Gardner  Museum  in  Boston,  “Pianofest ”  in  East Hampton, Bargemusic in New  York City, and at Fishers Island Concerts. Highlights of this season include appearances as soloist with orchestras in Illinois and Georgia, and in recital at the Lied Center of Kansas and the Morgan Library and Museum in New York. He also performs with the Taos Chamber Music Group. In recognition of impressive career achievement, Ivanov was awarded the Michaels  Award of Young Concert  Artists, which brought  his  Lincoln Center recital debut at Alice  Tully Hall and a rave review  in The New York  Times.  His  program  of  Russian  repertoire  included  works  by Prokofiev  and  the  Rachmaninoff  Cello  Sonata  with  New  York Philharmonic principal cellist Carter Brey (YCA Almnus) as his guest. At a young  age  in  Russia,  Ivanov  was  a  protege  of Mstislav  Rostropovich, appearing as soloist under the famous maestro with the Nizhny Novgorod Philharmonic. He also performed with the Moscow State Orchestra, wirh the  Kremlin  Orchestra,  and  at  the  Pushkin,  Glinka,  and  Scriabin Museums  in Moscow. Mr. Ivanov won First Prizes at the  1994 and  1996 International  “Classical  Legacy”  Competition,  and  the  prize  for  Best *there are no movement markings for the Liszt Sonata in  B Minor Performance  of  a  Beethoven  Sonata  at  the  First  Vladimir  Horowitz Competition  in  Kiev.  Months  after  arriving  in  the  United  States,  Mr. Ivanov won First Prize in the 2005 Young Concert Artists International Auditions. He received an award  from the  Jack Romann Special Artists Fund of YCA and made his New York debut in 2006 at Carnegie’s Zankel Hall and  his  Washington,  D C  debut  at  the  Kennedy  Center,  to  rave critical acclaim. Musical Studies Grants from the Bagby Foundation. �Bi ngha mton U niversity  De pa rtmen t of M usi c Co mi ng Even ts 6 & 6 é ­ 6 fi ­ 6 b w m w fi Saturday, February 7 ­  Guest Art ist: Pianist Gle b Ivanov ­  Chamber H all ­  $20 general public ; $15 faculty/s taff/ n fi b ­ é b 7:30 p.m. ­ Anderson Center seniors/alumni; $10 for students Sunday, February 8  – Tr i­Cit ies O pera  presents  Ross i ni’s  The Italia n Gi rl i n  A lgier s – 8:00 p.m. ­  The Forum Theater ­ call (607) 772­0400  for tickets Sunday, February 1 5 ­  Com pose rs at the Conflu ence: Wa r and Consequ ence ­  2:00 p.m. ­  Phelps Mansion Museum ­ $ 10 general public; f ree for BU students with ID  (Call 607­ 722­487 3 for reservations) Thu rsday. Feb ruary 26– Mid­Day Con cert – 1:2 0 ­  p.m.  – Casadesus Recital Hall ­ free Thu rsday,  February  26  –  Tri­Cities  Ope ra  prese nts  Michael  Ching’s  “Speed  Dati ng Ton ight!” – 8:00 p.m. – Ope ra Ce nter, 315 Clin ton Street, Bingham ton, NY – Cal l 607­ 772­0400 for t ickets Friday,  February  27  –  Tri­Cities  Ope ra  prese nts  Michael  Ching’s  “Speed  Dating Ton ight!” – 8:00 p.m. – Ope ra Cente r, 31 5 Cl inton Street, Binghamton, NY ­  Call 607­ 772­0400 for tickets Satu rday,  February  28  –  Join t  Junior  Reci tal:  Brandon  You ng,  trum pet  and  Chris Beard, trombone ­  3:00 p.m . ­  Casadesus Recital  Hall ­  free Satu rday.  February  28  ­  Tri­Cities  Ope ra  prese nts  Michael  Ching’s  “Speed  Dati ng Ton ight!” ­ 8:00 p.m. ­  Ope ra Cente r, 31 5 Cl inton Street, Binghatmon, NY ­  Call 607­ 7720400 for ticke ts. Sunday, March  1 – Sonata Masterp ieces for  cello and  piano wi th Stephen Stalke r and Stephen  Zank –  3:00 p.m . –  Anderson Cen ter C ham ber  Hall ­ $10 ge neral pu blic; $7 facu lty/staff/seniors/al um ni; $ 5 for  students Thu rsday, Ma rch 5 – M id­Day Conce rt ­  1:20  p.m . ­  Casadesus Recital Hall – free Friday, March 6 –  Master’s Reci tal: N icholas F ollett, saxophone – 7:30 p.m . ­  Casadesus Reci tal Hall ­ free fi s h ­ fi fi n w é w fi u fi b é fi ­ M fi M fi ' fi fi fl ­ fi fi =  [ = ]   E  '  .  For  tickets  or  to  be  added  to  our  emai l  list,  visit anderson. binghamton.edu  or call (60 7) 777­ART‘S. F or a complete list  of  our  concerts  call  (607)  777­2 592.  visit music.binghamton.edu or become a fan on  Facebook. If you were  inspired  by  this  perfornulnce. conside r supporting  the Department of M usic with a fina ncial gift.  Your  support  helps  to conti nue the work of students, faculty. and guest a rtists  and  their contributions  to  our  community.  Please  make  your  donation payable to  the Binghamton University Music Depart ment, and send  your  check  to  B U   Musi c  Departmen t,  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 2 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 40:22 42:25 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74871">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74871</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 Gleb Ivanov recital, February 7, 2015 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Schubert, Liszt. Held at 7:30 p.m., February 7, 2015, Year, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Ivanov, Gleb Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Schubert, Franz, 1797-1828 Liszt, Franz, 1811-1866 Date A point or period of time associated with an event in the lifecycle of the resource 2/7/15 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/fc5db18b3491cc5707712c073f58bfc3.pdf 0fbe6defbfe9fd342f096e26ab323ebc PDF Text Text BINGHAM TO N U  N  I  V  E  R  S  I  T  Y S T A TE   U N I V ER S I T Y   O F   NEW  Y O R K e l d  EC kd D E P A R T M E N SONA TA MAS TE RP IEC ES S TE P H E N  S TA LK ER , CE LLO STEPHEN ZANK, PIANO S u nd ay, M a rch 1, 20 1 5 3 p.m. Anderso n Center  Cha mber Ha ll T �as  ABOUT THE PERFORMERS 08 80  P ROG RAM 05 Sonata in A major, Op. 69, for piano and cello. .Ludwig van Beethoven (17701827) l.  Allegro ma non tanto 11.  Schezo, Allegro molto Ills Adagio ca ntabile; Allegro vivace Sonata for cello and piano, 19 15.  . I.  Prologue: Lent, sostenuto e molto risoluto II.  Sérénade: Modérément animé lll. Finale: An imé, léger et nerveux .Claude Debussy (1862­1918) Madison S tring Quartet, he  was a finalist in  the Naumberg Chamber Music Competi tion in  N ew York  City and  the  Evian  lnremational String Quartet Co mpetition in Evian, France. He  has performed in many recital appearances with  pianist, Michael Salmirs. He perfonus  regularly with  the  Trio  Amici,  Trilogy,  Baroque  ‘n  Blue,  Early On  and  in concerts at Binghamton University.  He is  a past president  of the New  York  State Chapter of the American String Teachers Associat ion and was Strings Chair for the New York State  School  Music  Association.  He  is  a  founder  of  the  Southern  Tier  Music Teachers  Association  and  the  Binghamton  Cello  Festival.  He  is  a  graduate  of  the Manhattan School of Music in New York City. S TE P H E N  ZANK is a broa dly tra ined musician, with degrees in pe rformance, litera ture, and  historical  musicology  (Ph.D.,  Duke  University).  He  began  studying  piano, counterpoint, and composition in Binghamton a t the age of five, and his formal training was in the class of Theodore Le ttvin at the N ew England Conservatory in Boston, where w  INTERMISSION c s Sonata in A major for cello and piano, 1886 I.  Allegretto ben moderate II.  Allegro III.  Ben moderato: Recitativo­Fantasia IV. Allegretto poco mosso STEPHEN ST ALKER,  cellist, teaches at Binghamton University. He formerly taught at Colgate  University,  Mansfield  University,  lthaca  College  and  the  Binghamton  City School District. He was the principal cellist of the Cayuga Cham ber Orchestra in ltham. NY, and has performed extensively with the Catskill Chamber Players of Oneonta, NY, and in concerts at Binghamton University. Performing with the Catskill Chamber Players he  has presented “Meet the Composer” concerts with prominent American composers including John Cage, Virgil Thomson, Lou Harrison and George Crumb. The Chamber Players appeared at Weill Recital Hall, premiering a set of four string quartets by Henry Brant. With violinist, Janet Brady, and pianist, Walter Ponce, he performed the complete Beethoven Trio  cycle at Binghamton University. He perfonued with Solisri New York on their Alaskan cru ise of the Inner Passage from Va ncouver to Juneau. As a member of the . Césa r Franck (1822­1890) he  earned  a  BM  in  performance  with  honors  and  won  all  of  the  major  piano competitions. During this time he also studied privately with Leon Fleisher in Baltimore, Byron Janis in New York, and then subsequently for five years with Philippe Entremont and Gaby Casadesus in Paris.  Zank has both perfonued and published widely in Europe and the United States, appearing in numerous recital and cham ber music venues as well as  soloist  with the  Bordeaux,  Toulouse  and French radio  orchestras  in France,  the Florida Symphony, Boston Pops and other regional orchestras in  the United State‘s. His scholarly  work  includes  contributions  to  topics  as  varied  as  American  music, orchestration, organology,  performance  practice,  French  music  of  the  19th  and  20th centuries, and two monographs on the music of Maurice Ravel (most recently, Irony and Sound, in the distinguished Eastman Music Series, University of Rochester Press, 2009). H e  has taught fulltime for more than twenty years at several major universities in  the Midwest, South west and Northeast including SU NY­Binghamton and the University of Rochrsrer. �Bingha m ton U n iversi ty D e pa rt me n t of M usic Coming Events « a w a w w w w b fi w b fi w w fi b a a Th ursday. March 5 ­  Mid­Day Concert ­  1:20 prmr  ­  Casadesus Recital Hall ­  free Friday. March 6 ­ Master’s Recital: Nicholas Follett, saxophone ­  7:30 p.m. ­  Casadesus Recital Hall ­  free Saturday, March  7  – Harpur Chorale and Women’s Chorus  –  7 :30 p.m.  ­  Anderson Center Chamber Hall ­  57 general public ; 55 faculty/staff/seniors/alumni; Free for students Sunday, March 8  ­  University Wind  Symphony: Just Like a Concert  in the Park ­  3 p.m.  ­ Osterhout Concert Theater ­  57 general public ; 55 faculty/staff/seniors/alumni; Free for students Sunday, March 8 ­  Sophomore Reci tal: Hannah Watrobski, viola ­  5 p.m.  ­  Casadesus Recital Hall ­  free Thursday. March  1 2  ­  Opera Scenes Mid­Day  Concert (Thomas  Goodheart)  ­  1:20  p.in.  ­ Anderson Center Chamber Hall ­  free Th ursday, Ma rch 12 ­  Opera Scenes ­  7 :30 p.m. ­  Anderson Center Chamber Hall ­  $10 general public ; 57 faculty/staff/seniors/alumni; $5 for students Saturday, March  1 4  ­  Master’s Recital : Meroé Khalia  Adeeb, soprano  ­  4  p.m.  ­  Casadesus Recital Hall ­  free Saturday, March 14 ­  University Symphony O rchestra: Dark P assions ­  7:30 p.m. ­  Osterhout Concert Theater ­  57 general public ; $5 faculty/staff/seniors/alumni; Free for students Sunday,  March  15  ­  Opera Scenes and Airas ­  3:00 p.m. ­  Phelps Mansion,  191 Court Street. Binghamton ­  $10 general  public;  BU  students  free with 1D  ­  for  reservations call  the  Phelps Mansion at (607) 7224873.  This concert is cosponsored by  the Binghamton University Music Department and Phelps Museum. Thursday, March 19 ­ Mid­Day Concert  ­ 1 :20 p.m. ­  Casadesus Recital Hall ­ free é w w w w w w w w w w w a p For tickets or to  be added  to  our  email list, visit anderson.binghamton.edu or call (607) 7 77­ARTS. For a comple te list of our concerts call (60 7) 7 7 7­2592, visit music.binghamton.edu or become a fan on Facebook. i f  you  were  inspired  by  this  perfomtance.  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 6000sss, 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.) 01:06:20 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75000">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75000</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 Sonata masterpieces, March 1, 2014  Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Beethoven, Debussy, Franck. Held at 3:00 p.m., March 1, 2015, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Stalker, Stephen Zank, Stephen Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Beethoven, Ludwig van, 1770-1827 Debussy, Claude, 1862-1918 Franck, César, 1822-1890 Date A point or period of time associated with an event in the lifecycle of the resource 3/1/15 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound