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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
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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
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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
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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.
�
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1960's - present
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Binghamton University Music Department Tape Recordings
Subject
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Concerts ; Instrumental music ; Live sound recordings
Description
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Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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Joint junior recital with Christopher Beard and Brandon Young, February 28, 2015
Subject
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Concerts
Instrumental music
Live sound recordings
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Works by Larsson, Clarke, Böhme, Pryor, Blancher. Held at 3:00 p.m., February 28, 2015, Casadesus Recital Hall.
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Beard, Christopher
Young, Brandon
Publisher
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Binghamton University Libraries
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Larsson, Lars-Erik
Clarke, Herbert L.
Böhme, Oskar
Pryor, Arthur
Blacher, Boris
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2/28/15
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sound
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n S V . Ax , R . Si
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BINGHAM
8
U N I V E R S TT. ¥
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—
State University of New York
De pa rtment of Music
UNIVERSITY SYMPHON Y
ORCHESTRA
Con ce rto a n d A ria P rogra m
with
Ti mothy Pe r ry, conductor
feat u r i n g
Jody Schum, piano
M o rga n Lee K i m, violi n
Jo rdan Paste rna k, clarinet
Lara Longsworth, mezzosop rano
F e b rua ry 28, 2004
8:00 p. m.
A n d e rso n Ce n te r Con ce rt T h ea t e r
�About the Music
The Binghamton University Department of Music presents the
University Symphony Orchestra
Timothy Per ry, Conductor
In its 20034
Concerto and Aria P rogram
Concert Theater
Anderson Center for the Arts
Saturday at 8:00 P.M.
February 28, 2004
Program
Piano Concerto in A minor, Op.16.. .. .. .. .. .. .. .. .. .. Edvard Grieg
I. Allegro moderato
Jody Schum, P iano
Scottish Fantasy, Op. 46 .. .. .. . . . .. . . . . . . .. .. .. .. .. Max Bruch
III. Andante sostenuto
Morgan Lee Ki m, Violin
1
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Concerto for Clarinet .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. Artie Shaw
Jordan Pastern a k, Clarinet
< 0 0 Intermission ten minutes 0 O 0 0 0 O O 0
< >
< >
< >
< O >
>
Letter Scene, Act III “Ces lettres” from Werrher ...Jules Massenet
L a ra Longsworth, MezzoSoprano
Capriccio Espaiiol, Op. 34 .. .. .. .. .. .. .. Nicolai RimskyKorsakov
Alborada I (Morning song)
l.
Variations
ll.
Alborada II
[II.
IV. Scene and Gypsy song
Fandango from Asturia
V.
(the five sections are played without pa use )
1
1
In 1868,the twentyfive year old Edvard Grieg sketched out his only
piano concerto during a restful summer holiday spent with his wife in
Solleréd, Denmark. Its freshness and allusion to Norwegian folk
melodies made it an instant favorite wi th pianists and the public, although
critics went overboard in their Romantic ascribing of “Nordic",
“Norwegian", and “Nature” features, complete with dramatic scenarios
and pantheistic religious programs. No less a figure than Franz Liszt had
high praise for the work, although Liszt had his own ideas to “improve”
Grieg’s refreshingly transparent orchestration. The opening movement is
dominated by its wellshaped themes the first, martial and dramatic, in
the woodwinds and the second, more lyric, introduced by the cello. While
the style nods towards Liszt in its virtuosity (particularly in the brilliant
cadenza), the almost neoclassical form, orchestration and partnership
between solo and orchestra derive more from Mendelssohn and Niels
Gade. In any case, the work’s immense popularity inaugurated the half
century Golden Age of Scandinavian composition under Grieg, Sibelius,
Carl Nielsen and many more.
Max Bruch’s reputation rest today primarily upon solidly crafted,
wonderfully melodic and formally conservative solo works like the Ko/
Nidrei for Cello, three violin concertos and tonight’s Scottish Fantasy for
Violin and orchestra, with the free use of Scottish melodies (its full title).
Unlike Mendelssohn’s “Scotch” symphony, a more general invocation o f
impressions gained from the composer’s visit, Bruch quotes his sources
carefully and works to respect their natural propensities in his
development. This third of four movements quotes the song “I’m aDoun
for Lack O’ Johnnie” in a setting that is at once sweet and sorrowful. The
solo violin leads with a verse before moving into increasingly intricate
and impassioned obbligato countermelodies, each section set apart by a
plagal cadence in the minor mode. Bruch uses the various registers
masterfully, gradually ascending from the low G and D strings to the
highest and most intense timbre at the climax before settling back to
round out the movement with a finish in the darkest and fullest bottom
range of the violin.
Now a spry 93, Artie Shaw is regarded by many as the finest and
most innovative of all jazz clarinetists, a leader of several of the greatest
musical aggregations ever assembled, and one of the most adventurous
and accomplished figures in American music. Known for bigband hits
like Begin the Beguine and for launching the career of singer Billie
Holiday, Shaw wrote his Concerto for Clarinet in the early 1940s as a
study In combining jazz with conventional largeorchestral forces. The
sevenminute work is more of an extended improvisation on a theme
i
�than a concerto in the accepted sense, but its humor, energy and
originality are pure Artie Shaw. Beginning with a sumptuous string
introduction wrapped around a New Orleansstyle drag streetmarch, it
moves into a themeandvariations on boogiewoogie, thence through a
brief cadenza and into a second extended section reminiscent of “jungle
swing", accompanied most of the time only by the drummer. It is among
the most unusual of clarinet solo works, and among the most fun.
Massenet’s superb sensitivity to the emotional state of his
operatic characters found a perfect platform in the French version of
Goethe‘s romantic tragedy Wer ther (The Sorrows of Young Werther)
which premiered in Vienna in 1894. While largely ignored on today’s
operatic stages, Massenet’s work was hugely popular and highly
regarded by Debussy and SaintSaens for its clarity and emotional power
achieved without the bombast o f Wagnerian drama. The “letter scene”
(Act 3, scene 1) finds the heroine Charlotte rereading Werther’s love
letters and realizing that, while she married another out of familial duty,
she in fact loves Werther, and is bitterly unhappy without him.
* * See Translation, last page
Completed in 1874, Nicolai RimskyKorsakov’s Capriccio
Espanol marked the composer’s return to the concertante (alternation of
solo and group sonority) style popular in the Baroque. The composer
began the work as a fantasy for solo violin and orchestra but eventually
distributed the virtuoso passages to all the instruments the work is
replete with solos for almost every instrument of the orchestra, and is
studded with no fewer than five cadenzas. So much did he see the work
as a true tutti orchestral showpiece that RimskyKorsakov listed every
member of the Moscow Philharmonic who played its premiere as
dedicatees on the title page. The work is interesting in having five major
sections, five variations in its second section and five instrumental
cadenzas the numerological significance is unknown. While n ot
employing radical techniques, the solo passages are without exception
highly challenging and coloristic. The use of castanets and instructions
for the strings to play chords “alla gitara” help to heighten the Spanish
flavor, and the choice of dance melodies and rhythms provide a platform
for RimskyKorsakov, one of history’s finest masters of orchestration, to
employ his full talents. The result is one of the most exciting works of the
orchestral repertory.
T. Perry, January 2004
About Tonight’s Concert
The University Orchestra’s Biennial Concerto & Aria Competition
was held on November 23, 2003. Tonight’s soloists were
selected from among sixteen outstanding student competi tors in
orchestral instruments, keyboards, and voice. The judges for the
competition were :
Prof. Bruce Borton, Department of Music
Prof. Colleen Reardon, Department of Music
Maestro John Covelli, distinguished Concert pianist and
Conductor Emeritus of the Binghamton Philharmonic
About the Performers
Conductor/Clarinetist TIMOTHY P E R R Y is Professor of Music at
Binghamton University, where he serves as Director of Orchestral Activities,
Director of the Wind Ensemble Program, and Professor of Instrumental
Conducting and Studio Clarinet. O ff campus, he is concluding his tenth season
as Music Director of the Binghamton Community Orchestra and recently guest
conducted the Catskill Symphony and Binghamton Philharmonic orchestras. In
addition to directing two hundred concert programs as conductor, Perry
maintains a career as solo clarinetist and chamber musician. He has presented
two programs at world conferen ces of the International Clarinet Association,
toured Latin America as a United States Musical Ambassador, and recently
premiered his composed reconstruction of Carl Baermann’s concertino, The
Hour of Ghosts.
JODY SCHUM is a senior at Binghamton University, pursuing his Bachelor of
Music degree in piano performance. Schum began piano studies at age 7 s i t h
Lael Bagg. He now studies with Michael Salmirs. Schum also studies organ with
Jonathan Biggers and Timothy Olson, and collaborative piano with Diane
Richardson. Since May 2002, Schum has received the John M. and Marcella M.
Keeler Music Scholarship in recognition of his work. Since October 2001, he
has been the resident organist/pianist at First United Methodist Church of
Endicott. After graduation, Schum plans to pursue a graduate degree in piano
performance.
MORGAN KIM, a Vestal native, is majoring in music at BU. He has
participated in University Symphony Orchestra and various chamber ensembles.
He is also a member of the Sendel Quartet and the Peter Mozart Band: Kim, a
student of Patricia Sunwoo, plans to pursue a master’s degree in music.
�University Symphony Orchestra
J O R D A N P A S T E R N A K grew up in New York City a nd attended the
prestigious La Guardia High School of Music and A rt and Performing A rts.
Pasternak studied the clarinet with Bonnie Scholl at the Mannes College
Preparatory Division, and is a clarinet performance major at Binghamton
University under the direction of Professor Timothy Perry. Last summer,
Pasternak taught music theory in a summer program for middle school orchestra
students at The Manhattan School of Music, and in past summers was an intern
at Lincoln Center for Jazz. This summer, Pasternak will tour Russia and China
as principal clarinet in the Long Island Youth Orchestra.
Timothy Perry, Director
I
Flute
Kelsey Bauer*
1
Caitlynn McMullen
!
Kira Slocum
Oboe
Lana Banner
Rebecca Rodbart*
LARA LONGSWORTH (mezzosoprano) is from Richmond, VA. She is a
member of the TriCities Opera Resident A rtist Training Program and a
candidate for a Master of Music in Opera at Binghamton University.
Longsworth is a graduate of Virginia Commonwealth University where she sang
the title role in Rossini’s La Cenerentola, Prince Orlofsky in Strauss’s Die
Fledermaus, and Fidalma in Cimarosa’s Il Matrimonio Segreto. She made her
TriCities Opera debut as the Mother in Menotti’s Amahl and the Night Visitors.
Other roles include : Giovanna in Verdi’s Rigoletto, the Voice of the Mother in
Offenbach’s Les Contes d ’Hoffmann, and Marcellina in Mozart’s Le Nozze di
Figaro. Additional appearances: the title role in a concert performance of
Carmen with the Rich mond Symphony, and a soloist in Dvorak’s Stabat Mater
with the Williamsburg Philharmonic and Choral Guild. Honors include : First
Place in VA State National Association of Teachers of Singing, and First Place
SE Regional NATS. Upcoming performances include soloist in “A Tribute to
Ezra Laderman,” Puccini’s Suor Angellica with TriCities Opera, and her
Graduate Recital, Saturday, March 28 at 7:30 p.m. in Casadesus
Recital Hall.
Clarinet
Heather Boland
Caroline Bravo
Jordan Pasternak*
Bass Clarinet
Michael Cohn
Bassoon
Robin Kindig
Kimberly Meeker*
Erench Horn
Emie Epelman
Alfred Jacobsen*
Patrick Lokken
Tom Mellin
Trumpet
Erinn Hibbard*
Glen Widjeskog
I
1
’
Trombone
David Hennan*
Jonathan Ludwin
Chris Mann
Ii
/P
:
Matthew Chedister*
Matthew Cosnett
Stephen Boel
Matt Green
Peter Tringali
Keyboard
Judy Zhu
Violin 1
Christina Wan*
YohSeung Chiu
Alicia Fusani
Shauna Buckman
. Tamara Potapova
Marie Mizuno
James Leddy
Micah BannerBaine
Jennifer Paull
Lindsey Krecko
Sheri Zola
Jahyu (Lulu) Chen
Morgan Kim
Meggie Knapp
Violin I
Sarah Steiding*
Julia Kim
Yoolee Choi
Mark Liu
Karen Krause
JungSun Oh
Amanda Dumont
Sarah Baird
Karen Tang
Claudia Fathi
Stephanie Mawhirt
James Battaglia
Viola
Melissa Mattern*
Melissa Lee
l.eah Robinowitz
Kenneth Perschke
Kerry Conway
Christopher Fiore
Christopher Trow
Janet levins
Cassandra Aikman
Violoncelo
Ben James*
Katy Walker
Matthew Woolever
Shelly Levin
Angela Wynne
Emily Creo
Tanya Brescia
Nicholas Capone
Michael Day
YiEun Park
Contrabass
Andrew Eiche*
Elizabeth Bartlett
* Principal Player
�Translation for Massenet’s We rther, Act Three
Charlotte:
Werther! Werther!
Who could have told me the place
he occupies in my heart today?
Since he went away, despite myself
everything wearies me
and my thoughts are full of him!
These letters! ...
:
Ah! I read them over incessantly. . ..
With what delight, but also with what
sadness!
I ought to destroy them. . .I cannot!
“I am writing to you from my little room;
A leaden grey December sky
bears down on me like a shroud;
and I am alone, alone, always alone!
Ah, nobody with him! ...
Not a single token of love...
or even pity! God!
How did I ever muster that sad courage
to ordain this exile and this loneliness?
“Children’s happy cries rise up beneath my
window, children’s cries!
And I think of that time, so sweet,
when all your dear little ones used to play
round about us.
They will forget me, perhaps?”
No, Werther, your image
stays alive in their memory
And when you come back. . ..
But ought he to come back?
Ah! this last letter chills and te rrifies me!
“You said to me,” ‘At Christmas’,
and I cried: “Never!”
We shall soon know
which of us was telling the truth!
But if I must not reappear before you
on the appointed day,
do not reproach me, weep for me!
Yes, with those eyes so full of charms
you’ll read these lines again,
you’ll water them with your tears. ..
O Charlotte, and you’ll shudder!”
�
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1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
Template: Universal Viewer / Rosetta
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2 audio discs
Duration
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30:58
36:04
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE251416&change_lng=en&select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE251416&change_lng=en&select_viewer=metsViewer</a>
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University Symphony Orchestra concerto and aria program, February 28, 2004
Alternative Title
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Recital Tape 2004-2-28
Description
An account of the resource
Works of Grieg, Bruch, Shaw, Massenet, Rimsky-Korsakov.
Held at 8:00 p.m., February 28, 2004, Anderson Center Concert Theater.
Creator
An entity primarily responsible for making the resource
Perry, Timothy
Schum, Jody
Kim, Morgan Lee
Pasternak, Jordan
Longsworth, Lara
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
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2/28/2004
Rights
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In copyright
-
Dublin Core
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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&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
Template: Universal Viewer / Rosetta
Rosetta audio media
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
1 audio disc
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
0:37:04
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253427&change_lng=en&select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253427&change_lng=en&select_viewer=metsViewer</a>
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Title
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Senior recital, February 29, 2004
Alternative Title
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Recital Tape 2004 2-29
Creator
An entity primarily responsible for making the resource
Lucia, Jennifer
Date
A point or period of time associated with an event in the lifecycle of the resource
2/29/2004
Rights
Information about rights held in and over the resource
In copyright
-
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&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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3 audiotape reels
Duration
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30:47
18:16
36:36
Streaming Audio
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243566">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243566</a>
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Title
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Lenox String Quartet Recital, February 2, 1973
Recital Tape 1973-2-3
Description
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Works of Mozart, Schoenberg, and Brahms. Held at 8:15 pm, February 3, 1973, Recital Hall.
Creator
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Lenox String Quartet
Publisher
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Binghamton University Libraries
Date
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2/3/73
Rights
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In copyright
Type
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sound
-
https://omeka.binghamton.edu/omeka/files/original/837e4bd52343e93c0c4fa60ef87c6804.pdf
378609bd9932044f15fd28dfccce468a
PDF Text
Text
BINGHAMTOT NY
U N I V E R S I
S T A T E U N I V E R S I T Y O F N E W Y O R K
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D E P A R T M E N T
M OZART
CORONATION
MASS
(K.317)
Christina San ta Maria, soprano
Kimberly Tor res, mezzo soprano
Jason Auman, tenor
Daniel Romb erger, baritone
Binghamton University
Chamber C horus and Orchestra
J ushin Choi, conductor
In partial fulfillment of the degree
Master of Music
Sunday, February 5, 2012
3:00 p.m.
Trinity Memorial Episcopal Church
Binghamton, New York
�PROGRAM
Wolfgang Amadeus Mozart
(1 756–1 79 l )
Coronation Mass, K.317
1. Kyrie
Lord have mercy. Chris! have mercy. Lord have mercy.
II. Gloria
Glory to God in the highest. And on earth peace to all those of good will. We praise thee,
we bless thee, we worship thee, we glorify thee. We give thanks to thee according to thy
great glory. Lord God, Heavenly King, God the Father almighty. Lord Jesus Christ, the
only begotten Son. Lord God, Lamb of God, Son of the Father. Thou who takest away
the sins of the world, have mercy upon us. Thou who takest away the sins of the world,
receive our prayer. Thou who sittest at the right hand of the Father, have mercy upon us.
For thou alone art holy. Thou alone art the Lord. Thou alone art the most high, Jesus
Christ. With the Holy Spirit in the glory of God the Father. Amen.
III. Credo
I believe in one God, the Father Almighty, maker of heaven and earth, and of all things
visible and invisible. And I believe in one Lord, Jesus Christ, the only begotten Son of
God, born ofthe Father before all ages. God from God, Light form Light, True God from
true God. Begotten not made. Who for us and for our salvation came down from Heaven.
And was incarnate by the Holy Spirit of the Virgin Mary. And was made man. Crucified
also for us under Pontius Pilate, he suffered, and was buried. And on the third day he
rose again, according to the Scriptures. He ascended into heaven and he sits at the right
hand ofthe Father. He shall come again with glory tojudge the living and the dead: and
of his kingdom there will be no end. And I believe in the Holy Spirit, the Lord and giver
of life, who proceeds from the Father and the Son who together with the Father and the
Son is adored and glorified, who spoke to us through the Prophets.
IV. Sanctus
Holy, Holy, Holy, Lord God of Hosts. Heaven and earth are full of thy glory. Hosanna
in the highest.
V. Benedictus
Blessed is He who comes in the name of the Lord. Hosanna in the highest.
VI. Agnus Dei
Lamb of God, who takest away the sins of the world, have mercy upon us. Lamb of God,
who takest away the sins of the world, have mercy upon us. Lamb of God, who takest
away the sins of the world, grant us peace.
�Chamber Chorus
ABOUT THE PERFORMERS
Christina Santa Maria. soprano. is a graduate of Fiorello H. LaGuardia HS for
Music, Art and Performing Arts ‘1 1. She is currently working towards a BMus
in Mary Burgess‘ Voice Studio at Binghamton University. She has participated
in the Bel Canto Summer Institute in Florence, Italy and CityWide Youth
Opera‘s Summer Intensive, broadening her repertoire and experience. This last
spring she played the principal soprano in LaGuardia Opera Workshop’s
production ofKismet under the direction of Paul Lincoln. She was also a semi
finalist at the LA Convention ofClassieal Singer’s High School Competition.
Christina is currently working with the TriCities Opera as an ensemble member
in Binghamton, NY.
6
Kimberly Torres has been a part of her church’s choir ever since she was in 3’
grade. Her love for music pushed her to apply for Fiorello H. LaGuardia High
School of Arts. There she grew as a singer and performer. Along with singing
solos in her freshman. sophomore, and junior choms. she also participated in her
school’s annual talent show, Rising Stars and operetta, Naughty Marietta.
During her senior year, she landed the role of Lalnme in her school‘s
presentation of the operetta. Kismet. She also participated in the sidebyside
program for New York City’s Collegiate Chorale. This chorus allowed her to
perform at Carnegie Hall numerous times and taught her the discipline she
needed to be a part of a choms. Now she is a freshman at Binghamton
University and is heading toward becoming a Music Major. Although her
journey at Binghamton has only begun, she has high hopes for the next three
years.
Originally from Wellsboro, PA. tenor Jason Auman has been a resident of
Binghamton for nine years. Jason received his undergraduate degree in music at
Mansfield University. Previous choral engagements include Handel‘s Messiah
and Haydn’s Creation. He also can be seen performing with the Madrigal Choir
of Binghamton and here at Trinity Memorial Church.
Daniel Romberger is a sophomore from Valley View, PA. He is a triple major
in music. actuarial science. and economics. In his previous three semesters at
Binghamton. Daniel has participated in University Chorus and Harpur Chorale
as a bass and in Wind Symphony as a trombonist. He enjoys musical ensembles
and has performed in and composed for the Explorchestra. where he also sings
and plays trombone. Though Daniel is unsure what specific career he desires
afier college. he hopes to use his affinity for math and economics to make the
world a better place while keeping music in his life.
Conductor Jushin Choi was born in South Korea. He completed his
undergradute work at the University of BAEKSEOK. where he majored piano.
Choi arrived at Binghamton University in the fall of2010 where he is in his
second year of study for a Master’s Degree in choral conducting. This
performance of Mozart’s Coronation Mass is in partial fulfillment of the
requirements for the degree.
William Lawson, rehearsal accompanist
Soprano
Teresa Almendros
AdaOsha Belleh
Rose Ann Clough
Susan MacLennan
Cathie Makowka
Susan Sarzynski
Barbara Thamasett
Faith Vis
Deborah Vought
Alto
Marion K. Adams
Kathryn Baine
Sylvia Horowitz
Theresa Hoysic
Claudia Kachmarik
Maggie Kirkaldy
Greta L. Myers
Sioux Petrow
Joyce Printz
Kelly Pueschel
Pam Turrigiano
Cheryl Jacobson
Tenor
Brad Bennett
Martin Bidney
H.B. King
Judson Wallis
Sherry Williamson
Bass
Ronald Beauchamp
Bruce Borton
Peter Cody
J. Scott Husted
Joseph E. Nelson
William Clark Snyder
Chamber Orchestra
Violin 1
Doug Diegert
Mary Diegert
Peter Roseboom
Violin 2
Lee Shepherd
Tammy Nist
Renee Hewett
Viola
Hyunsung Park
Cello
Emily Creo
Julian Shepherd
Oboe
Kathy Karlsen
Organ
Peter Browne
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�Binghamton University Music Department’s
MPOOMINC,‘ E V E N TS
MidDa y concerts are held on Thursdays, 1 .'20 PM in Casadesus Recital
Hall unless otherwise noted and are FREE
Tuesday, February 7 — Friedheim Memorial Lecture/Recital S eries:
Mozart’s “Sinfonia Concertante for V iolin and Viola” (Timothy
Perry, speaker, Janey Choi, violin, Roberta Cra wford, vio list and
members of the University Symphony Orchestra) — 8 p.m. —
Casadesus Recital Hall –– $6 general public; $3 faculty/staff/seniors ;
free for students
Friday, February 10 — TriCities Opera presents “Lucia di
Lammermoor” — 8 p.m. — The Forum Theatre — call (607) 7720400
for tickets
Sunday, February 12 – TriC ities Opera presents “Lucia di
Lammermoor” – 3 p.m. – The Forum Theatre – call (607) 7720400 for
tickets
Thursday, March 1 — MidDay Concert — 1:20 p.m. — Casadesus
Recital Hall — free
Sunday, March 4 — Wind Symphony Concert: March Music — 3
p.m. — Anderson Center Chamber HaII — $6 general public; $3
faculty/stafflseniors ; free for students
Tuesday, March 6 — NASM MidDay Concert (concert i s c losed to
the public) — 1:20 p.m. — Casadesus Recital Hall — free
If y ou enjoyed and were inspired by this performance, please
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 larger
community. Please make your donation payable to the
Binghamton University Music Department, and send to P.O.
Box 6000, Binghamton, NY 13902.
For ticket information, please call the
Anderson Center Box Office at 777ARTS.
�
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&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF / Rosetta
PDF with Rosetta audio/video link
Original Format
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1 sound disc
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
32 minutes:55 seconds
Accessibility
Copy/Paste below:
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Single
Dublin Core
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Title
A name given to the resource
Mozart's Coronation Mass, Jushin Choi, February 5, 2012
Description
An account of the resource
Works by Mozart. Held on February 5, 2012.
Creator
An entity primarily responsible for making the resource
Choi, Jushin
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
2/5/12
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
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.
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&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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2 audio disc
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40:22
42:25
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Title
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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
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Ivanov, Gleb
Publisher
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Binghamton University Libraries
Contributor
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Schubert, Franz, 1797-1828
Liszt, Franz, 1811-1866
Date
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2/7/15
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In copyright
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sound
-
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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3 audiotape reels
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11:19
31:54
33:53
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Title
A name given to the resource
Walter Ponce, recital, February 7, 1973
Recital Tape 1973-2-7
Description
An account of the resource
Works of Scarlatti, Liszt, and Ginastera. Held at 8:15 pm, February 7, 1973, Watters Theater.
Creator
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Ponce, Walter
Publisher
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Binghamton University Libraries
Date
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2/7/73
Rights
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In copyright
Type
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sound
-
https://omeka.binghamton.edu/omeka/files/original/a23021ed7ccee9f028189ae45fa55c48.pdf
8df43fcc17c89d5c38d29f57f5df0ee6
PDF Text
Text
ARQC
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Becika)
tape
‘ N T V E R S I T Y
2 00 4
D
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Wee ¢ ol
V’s–r
dop t ww
OG
BI N G HA MT O
State University of New York
Depa rt ment of M usic
Facu lty R ecita l
A P ano ply of Pip ework s!
Jon ath an Biggers, organist
Assisted By
Ste phe n Stalk er, cello
1
Sunda y, Fe b rua ry 8, 2004
4 :00 p.m .
First P resbyterian C hurch
�PROGRAM
ABOUT T H E P ERFORMERS
Fantasia and Fugue in Gminor, BWV 542............................J.S. Bach
(16851750)
J O N A T H A N BIGGERS, cited as “One o f the most outstanding concert
organists in the United States”, maintains an active career as both a professor o f
organ and as a concert organist of the first order. Presently Professor of Organ
at Binghamton University in New York, Biggers has presented concerts in
church and university settings throughout the United States, Canada, and
Europe, has appeared with various orchestras in North America, and has been
!
!
featured on NPR, Canadian Broadcast Corporation, and Radio Suisse Romande
broadcasts. The Kansas City Star, in a review of a concert by Biggers, noted
that his performance demonstrated “authority and eloquence” and stated “were
there more players like this, the organ would be far less a minority interest.”
Tribute: A Lullaby for Organ...
.. Craig Phillips
(b. 1961)
Song without Words (2001)
. Craig Phillips
Biggers studied with Russell Saunders (Eastman School o f Music), Lionel Rogg
(Conservatory o f Music, Geneva, Switzerland), J. Warren H utton (The
University o f Alabama), Wallace Zimmerman (Atlanta), Harold Vogel ( Bremen,
Stephen Stalker, cello
Germany), and has won numerous prizes in many different competitions. In
particular, he was awarded a unanimous first prize in the 1985 Geneva
International Competition, secondprize in the 1982 American Guild of
Organists National Organ Playing Competition, and unanimously won the 1990
Calgary International Organ Festival Concerto Competition. Two highly
acclaimed Compact Disc recordings of his work (“Sleepers, Wake! A Reger
Perspective” and “Bach on the Fritts!”) have been issued by Calcante
Recordings, and Biggers will be recording several other releases in the futu re, to
be issued by Loft Recordings.
STEPHEN STALKER, cellist, has performed in chamber groups throughout
the United States and Europe. As a member of the Madison Quartet, he
performed in the U.S., France, Germany and Switzerland, recorded for the Orion
and Musical Heritage Society labels, was a finalist in the Evian International
String Quartet Competition and the Naumberg Chamber Music Competition,
and was an ArtistinResidence at Colgate University. Since 1980, he has
played in the Catskill Chamber Players, performing and premiering many
compositions by prominent American composers, including the world premiere
of the late string quartets of Henry Bryant, “Four Score,” at the Weill Recital
Hall in New York City. He has performed the complete Beethoven Trio cycle
with colleagues at Binghamton University. He performed with Solisti New
York on their Alaskan cruise of the Inner Passage from Vancouver to Juneau
and toured Greece with the Schenectady Philharmonic. He teaches cello and
double bass at Binghamton University.
Prélude et Fugue sur le nom d ’Alain, Op. 7.............Maurice Duruflé
(19021986)
Intermission
I
P racludium in Dminor, BuxWV 140
Dietrich Buxtchude
(16371 707)
ChoralePrelude: ..
Dietrich Buxtehude
Wie schon leuchtet der Morgenstern, Bux WV 223
Fantasic und Fugue iiber den Choral ..
Wie schon leucht ’ uns der Morgenstern, op. 40
GuilbaultThérien Organ, 1996
.Max Reger
(18931 916)
�PROGRAM NOTES
The Fantasia and Fugue in Gminor (BWV 542) is associated with J.S. Bach’s
audition for the prominent position of organist at the Jacobikirche in Hamburg.
Even though the position was never offered to Bach, it resulted in this celebrated
and famous work. It is characterized by complete craftsmanship of form and
counterpoint, as well as an astound ing sense of proportion. The fantasia is free
in form, composed of alternating sections of free improvisational development
and short fugato sections. It grows in harmonic intensity unt il a final series of
flourishes in both the manuals and pedal signal its conclusion. The fugue, based
on an old Dutch folksong, moto perpetuo (“perpetual motion”) in style, is highly
rhythmic, which adds to the excitement and interest of the work.
f
followed by a dramatic toccata, th e fugue is actually a double fugue : the two
Craig Phillips, one of the finest young composers writing for organ, is Music
Associate at AllSaints Episcopal Church, Beverly Hills, California, where he
also serves as composer/artistinresidence for the active music program of that
parish. Tribute: A Lullaby for Organ was commissioned by concert organist
David Craighead to honor Karen McFarlane, his manager, on the occasion of a
celebration of her career in conce rt management. It is a lovely, gentle work,
melodic in every way, featuring the clarinet stop on the organ.
subjects are combined during the course of a gradual crescendo which brings the
work to a thrilling conclusion.
Duruflé's music remains a testimony to artistic inspiration, and is included
among the finest works o f the French repertoire. It is unfortunate that Duruflé
published so little of his music, for the great mastery of detail and control of the
musical elements that he exercised in his writings evince a profound spiritual
and musical inspiration that is rare in contemporary musical composit ion.
Song without Words, written in 2002 as an elegy by Phillips “to the memory of
my beloved brother Brooks Phillips” who died suddenly in December of the
previous year, articulates what the poet William Wordsworth once termed
“thoughts that do often lie too deep for tears”. In this work, Phillips has
produced a work of great intensity, soulfulness and expression, set for the
unusual combination of organ and violoncello. Although both compositions are
brief examples among Phillip’s many compositions, the essence of humanity
and of “remembering” shines forth in both.
The works of Maurice Duruߢ, tho ugh few in number (his complete o pus listing
contains only thirteen works), are distinguished by their compositional quality
and musical intensity. Duruflé's works for organ are amo ng the most important
20thcentury contributions to the l iterature o f the instrument, as his Requiem is
one of the most important choral works o f the century. Duruflé's organ music is
distinguished by both melodic charm and dramatic intent, and though these
works contain many technical difficulties for the performer, they also evidence a
great resourcefulness of color and melodic manipulation that often results in an
immediate appeal for the listener. Various prominent figures in French
composition influenced Duruflé, including Paul Dukas, Louis Viern e, Charles
Toumemire, and especially Claude Debussy, as evidenced in his conception o f
‘musical color'.
Duruflé, organist of the Church of St.EtienneduMont in Paris, wrote only six
organ works, four of which are large in scope. Prelude and Fugue on the name
of “Alain op.7, is the last of the four major o rgan works written by Duruflé. It
was written in 1943 in memory of the French composer Jehan Alain, Duruflé’s
friend and fellow student who was killed in World War II. The work pays
tribute to Alain by both theme and quotation; although on the “A’s” in Alain’s
name exist in standard notation, Du ruflé arrived at musical equivalents for the L,
I and N by extending the alphabetical scale beyond H (the German Bnatural).
Thus, “Alain” becomes the musical theme ADAAF, which is used as the
principal motive of both the prelude and fugue. The last section of the prelude
quotes the theme of Alain’s most famous organ work, Litanies. The fugue, one
of the finest efforts in the 20thcen tury organ literature, is a masterful display of
Duruflé’s contrapuntal skill. Set in two sections, a more somber first part
Dietrich Buxtehude was the foremost composer of the North German organ
tradition which, in stylistic terms, directly preceded J.S. Bach ’s compositional
style. That Bach walked more than 200 miles and spent four months in 1705 to
study Buxtehude’s music, as well as to observe the musicmaking in
Buxtehude’s church, the vast Marienkirche in Liibeck, is testimony to
Buxtehude’s fame at that time.. Buxtehude’s compositions are known for their
drama and virtuosity, displaying the colorful tonal contrasts found in the North
German instruments of that time, as well as demonstrating the full pedal range
of the northernstyle organ of the Baroque period.
The Praeludium in Dminor was w ritten in the late 1 7th century by Buxtehude
in typical praeludium style : an alternation of free passages emphasizing
virtuosity that interlock with short fugal sections in a more strict style; the
1)
inclusion of a section set in the popular Italian durezze et ligature style,
featuring strong suspensions and dissonances; and a general emphasis on
virtuoso pedal writing. The total effect is that of a stunning balance between
dramatic content, musical substance, and virtuosity. In this work, and in many
other works by Buxtehude, North German organ music reached the apotheosis
of organ style in the midBaroque period.
�Buxtehude’s choralefantasia on “How Brightly Shines the Morning Star” is
based upon a popular chorale of the day, sung during the Epiphany season
following Christmas. In this particular work, Buxtehude uses different phrases
of the chorale tune in successive sections, creating a succession of contrasting
styles and textures – a virtual sampler of fantasiastyle composition. The
element of contrast is further heightened by featuring different divisions and
»
I
¥I
sounds within the instrument in opposition, thus heightening the effect created
by the werkprinzip instruments built during the Baroque period, in which each
division of the organ was contained in a separate section of the organ case. The
tune of Wie schon is well known, and remains a staple in hymnbooks of our day.
The chorale text follows:
styles into one. As a result o f his admiration for the music of J.S. Bach, Reger
sought to also include complex counterpoint, as demonstrated in his skillfully
written fugues. As a result of these factors, his music tends to be multi
How bright appears the Morning Star, with mercy beaming
from afar;
the host of heaven rejoices;
O righteous Branch, O Jesse ’s Rod! Thou Son of Man and
Son of God!
we, too, will lift our voices:
Jesus, Jesus! Holy, holy, yet most lowly, draw thou near us;
Great Emmanuel, come and hear us.
sectional, highly chromatic, and exceedingly dramatic.
The ChoraleFantasy and Fugue on Wie schon leucht ’ uns der Morgenstern
(“How Brightly Shines the Morning Star”) belongs to a set of two chorale
fantasies (Opus 40) published in 1900. This particular choralefantasy consists
of a lengthy free introductory section ("fantasy") followed by a lengthy fugue
using both a contrapuntal subject and the Wie schon chorale theme as the main
sources of compositional material. It is reported that Reger wrote many of his
larger works as a result of a bet he made with the great German organ virtuoso,
Karl Straube, to see if each successive work Reger wrote would be so difficult
that Straube would be unable to play it. As a result of their unending wager,
Reger produced many highly virtuosic works. Needless to say, Straube
evidently won each challenge, for most of Reger’s compositions still remain
Though circled by the hosts on high, he deigned to cast a
pitying eye
upon his helpless creature;
the whole creation ’s Head and Lord, by highest seraphim
adored,
assumed our very nature;
prominent in the lateRomantic organ repertoire.
Jesus, grant us , through thy merit, to inherit, thy salvation ;
J. Biggers
hear, O hear our supplication.
Rejoice, ye heavens; thou earth, reply; with praise, ye sinners,
fill the sky,
for this his Incarnation.
Incarnate God, put forth thy power, ride on, ride on, great
Conqueror,
till all know thy salvation.
Amen, amen! Alleluia, Alleluia, Praise be given evermore,
by earth and heaven.
German Romanticism in organ music achieved a high point in the numerous
works of Max Reger. For Reger, unlike Liszt or Brahms, organ music was his
chief compositional area. His entire organ output includes more than 220
compositions: approximately 70 small choralepreludes, many free works
including two sonatas, several preludes and fugues, suites, several variations and
fugue sets, several introductions and passacaglias, and seven enormous chorale
fantasies, including the great Wie schon setting. In the choralefantasies, Reger
merged the virtuoso symphonic style so popular at the end of the Romantic era
with the great German chorale tradition, thus incorporating two highly distinct
~
\
!
�Coming Events
Tuesday, Fe b ruary 1 0 – Messiaen P review – A film and faculty/student
performances – 8:00 p.m. – Casadesus Recital Hall – free
Thursday, Fe b rua ry 1 2 – Musica Nova Lecture/Recital : Q ua rtet for the
E nd of the Time – Lecture by Paul Goldstaub with faculty performers – 8:00
p.m. – Casadesus Recital Hall $8 general public; $6 faculty/staff/seniors;
free for students
Satu rday, Fe b rua ry 2 1 – A Russian Fantasy for Two Pianos – featuring
Michael Salmirs and Ewa MackiewiczWolfe – 8:00 p.m. – Anderson Center
Chamber Hall $14 general public; $12 faculty/staff/seniors; $6 students
Th u rsd ay, Fe b r ua ry 26 – MidDay Con ce rt with faculty and student
performers – 1 :20 p.m. – Casadesus Recital Hall – free
Saturday, Feb ruary 28 University Symphony Orchestra Concerto and
A ria Concert – Timothy Perry, conductor 8:00 p.m. – Anderson Center
Concert Theater $8 general public; $6 faculty/staff/seniors; free for students
Thursday, March 4 MidDay Concert with faculty and student performers –
1 :20 p.m. – Casadesus Recital Hall free
Satu rday, Ma rch 5 – A T ribute to Ez ra Lade rma n – Pianist ChaiKyou
Mallinson, flutist Georgetta Maiolo, dancer Marlon Torres and singers
perform works by Laderman – 8:00 p.m. – Anderson Center Chamber Hall
$14 general public; $12 faculty/staff/seniors; $6 for students
Saturday, March 6 – Du ke Ellington Orchestra 8:00 p.m. – Anderson
Center Concert Theater $25 general public; $20 faculty/staff/seniors; $10
students (cosponsored by the Harpur Jazz Project)
Sunday, March 7 – University Wind Ensemble “Cinematic Signatures II –
Music by John Williams” – 3:00 .m. – Anderson Center Concert Theater –
free
Thursday, March 1 8 – MidDay Concert with Faculty and student performers
– 1 :20 p.m. – Casadesus Recital Hall – free
Saturday, March 20 – Ha rpu r Chorale and Women ’s Chorus – 8:00 p.m. –
Anderson Center Chamber Hall free
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: Universal Viewer / Rosetta
Rosetta audio media
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
1 audio disc
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
1:10:11
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE251420&change_lng=en&select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE251420&change_lng=en&select_viewer=metsViewer</a>
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
A Panoply of Pipeworks!: faculty recital, February 8, 2004
Alternative Title
An alternative name for the resource. The distinction between titles and alternative titles is application-specific.
Recital Tape 2004-2-8
Description
An account of the resource
Works of Bach, Phillips, Duruflé, Buxtehude, Reger.
Held at 4:00 p.m., February 8, 2003, First Presbyterian Church.
Creator
An entity primarily responsible for making the resource
Biggers, Jonathan
Stalker, Stephen
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
2/8/2004
Rights
Information about rights held in and over the resource
In copyright
-
https://omeka.binghamton.edu/omeka/files/original/a500c28b571b78124b35bad3b7092e07.pdf
aa43e70629e202b049b68e6e9025b2b8
PDF Text
Text
BINGHAMTON
U N I V E R S I T Y
State University of New York
.
i
—
P B E P A R T M E N T
“
r
REUNION R ECITAL
with
Aaron St. Clair Nicholson, baritone
and
Todd Robinson, bassbaritione
J ody Sch um, piano
Saturday, December 1, 2007
8:00 PM
Anderson Center Cham ber Hall
�PROGRAM
I.
Don Quichotte a Dulcinée.
l. Chanson romanesque
5 . Chanson epique
J . Chanson a boire
.Maurice Ravel
~
II.
Selected s o n g s o fl v o r G u r n e \
1. Hawk and Buckle
~
By a Bierside
Blaweary
4. The Twa Corbies
5
In Flanders
“
Ll U I M S Y
.
~
D e
III.
Charles Gounod
Selected arias from Charles Gounod Operas
1. Sous les pieds d’une femme... La reine de Saba
5
A vant de quitter ces lieux ... Faust
3.
Vous qui faites l’endormie... Faust
4. Mab, la reine des mensonges Roméo et Juliette
~
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N o v e m b e r 2, 3 0 4,
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UCITIES
.
.
.
.
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M o y 2. 3 , & 4 2 0 0 8
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�Chanson de Don Quichotte
I.
1. Chanson du depart
2. Chanson a Dulcinee
3. Chanson du Duc
4. Chanson de la mort de Don Quichotte
TRANSLATIONS
IL
.. Jacques Ibert
Don Quichotte & Duleinée
Chanson Romanesque
I
Selected songs...
1. Lonely At The T o p
2. Living Without You
3. Louisiana 1927
4. Marie
5. Old Man
6. Political Science
7. Sail Away
II.
...Randy Newman
If you told me to be bored by
the number of stars in the sky.
I would tear the heavens apart,
Erase the night in one swipe.
If you told me that the, now
Empty space, doesn’t please you.
Chevalierdieu, with a lance at hand
I would fill the passing wind with
stars.
III.
Opera Duets
Un segreto d’importanza. .. La Cenerentola........Gioachino Rossini
Once again the prince’s valet, Dandini, posing as Prince Ramiro, faces
Magnifico, who still believes he is the prince and insists he decide which
daughter to marry. Dandini confesses he is a valet. When Magnifico
turns indignant, Dandini orders him out of the palace.
Falstaff and Ford Duet..
The Merry Wives of Windsor
»
If you told me the eternal turning
Of the world, offended you.
I would send Panza:
you would see it motionless and
silent.
...Otto Nicholai
Falstaff has just returned from being hidden in a laundry basket and thrown into
the river to avoid being caught by the jealous Mr. Ford while flirting with
Mistress Ford and Mrs. Page. This all results in great embarrassment for Falstaff.
Mr. Ford, a.k.a. “Brook,” says he is in love with Mistress Ford but cannot woo
her as she is too virtuous. He offers to pay Falstaff to court her, saying that once
she has lost her honor he will be able to tempt her himself. Falstaff cannot
believe his luck, and tells “Brook” he has already arranged to meet Mistress Ford
while her husband is out. Falstaff leaves to keep his appointment and Ford
soliloquies that he is right to suspect his wife and that the trusting Page is a fool.
But, my Lady, if you told me
that my blood is more mine, then
yours.
That reprimand would turn me pale
And, blessing you, I would die.
Oh, Dulcinée.
Chanson épic
Dear Saint Michael, who gives me
the chance
to see my Lady and to hear her.
Dear Saint Michael who gracefully
choose me
to please and defend her.
Dear Saint Michael will you decend
With Saint George to the altar
Of the Virgin in the blue mantle.
Bless my sword, with a beam from
heaven
And his equal in purity
And his equal in pity
As in modesty and chastity:
My Lady.
O Great Saint George and Saint
Michael
The angel who guards my watch
My sweet Lady, so much like you
Virgin in the blue mantle.
Amen.
Chanson a boire
Fig for the bastard, illustrious Lady
Who, for loosing me in your sweet
eyes
Tells me that love and old wine
Put my heart and soul in mourning.
I drink to pleasure!
Pleasure is the only goal,
To which I go straight...
When I’ve drunk !
Fig for the jealous, darkhaired
mistress
who moans, who cries and swears
Always being the pallid lover,
Watering down his his intoxication
I drink to pleasure!
III.
Selected arias from Charles
Gounod Operas
A vant de quitter ces lieux
O, holy medal
Which comes to me from my sister,
On the day of battle,
To guard against death,
Stay on my heart.
Before leaving this place,
Native soil of my ancestors,
To you, Lord and Kind of Heaven
My sister I entrust.
�Deign from all danger
Always, always to protect her,
This sister, so dear,
Deign from all danger to protect
her,
Deign to protect her from all
danger!
Delivered from a sad thought,
I will go in search of glory,
Glory in the midst of enemies,
The first, the bravest,
In the heat of the fray,
I will go to combat for my country,
And if, to him, God calls me back,
I will watch over you loyally,
Oh Marguerite!
Before leaving this place,
Native soil of my ancestors,
To you, Lord and King of Haven,
I entrust my sister!
Oh, King of Heaven, look down (on
her),
Protect Marguerite, King of
Heaven!
Vous qui faites l’endormie
You who are supposed to be asleep,
Don’t you hear
Don’t you hear
Catherine, my sweetheart
Don’t you hear
My voice and my steps?
Thus your lover calls you
Thus your lover calls you
And your heart believes in him.
Don’t open the door, my beauty,
Till the jewel is on your finger! Etc.
Catherine, whom I adore,
Why refuse
To the lover who implores you
Why refuse such a sweet kiss?
Thus your lover pleads
Thus your lover pleads
And your heart believes in him.
Don’t give a kiss, my sweetheart,
Till the jewel is on your finger.
I.
Chanson de Don Quichotte
Mab, la reine des mensonges
Mercutio’s aria from Romeo et
Juliette
Mab, queen of falsehoods,
Presides over dreams;
More frivolous than the deceiving
wind;
Across space, across the night,
She passes, she flees!
Her chariot, which the rapid particle
Draws through the limpid ether,
Made out of an empty nutshell
By an earthworm, the Cartwright!
The harnesses, a subtle lace,
Were carved from the wing
Of some green grasshopper
By her coachman, the gnat!
A bone of a cricket serves as the
handle
For whip, whose white lash
ls taken from a ray of light, which is
shed
By Phoebe assembling in her court!
Each night with this equipment
Mab visits, on her travels,
The husband who dreams of
widowhood
And the lover who dreams of love!
At her approach, the coquette
Dreams of finery and of dressing
up,
The courtier bows and scrapes,
The poet rhymes his verses!
To the miser, in gloomy shelter,
She opens her treasures without
number,
And liberty laughs in the shadows
At the prisoner burdened with irons.
Intermission
l
.
Chanson du depart
This new castle, this new building,
enriched with marble and porphyry,
where love built a castle for his
empire
and all of heaven added their skills,
a rampart, a fortress against vice,
is whose virtuous mistress hides
herself away,
that the eye beholds and the spirit
admires,
forcing hearts to her service.
It is a castle, made in such a way
that none may approach its door
unless he has saved his people from
the Great Kings,
victorious, valiant and loving.
No knight, no matter how
adventurous,
can enter without being such a
person.
Chanson a Dulcinee
A day lasts a year
if I don’t see my Dulcinea.
But Love, to sweeten m y
languishing, has painted her face
in the fountain and the cloud,
in each dawn and each flower.
A day lasts a year
if I don’t see my Dulcinea.
Ever near and ever far,
star of my long journeys.
The wind brings me her breath
when it blows over the jasmine
flowers.
A day lasts a year
if I don’t see my Dulcinea.
Chanson du Duc
Here let me sing the lady of my
dreams,
who raises me above this muddy
century.
Her diamond heart has never known
a lie.
The rose hides itself at the sight of
her cheek.
It is for her that I attempted high
adventures.
My arm freed the princess from
servitude.
I defeated the enchanter and
confused the forsworn.
I bent the universe to pay her
homage.
Lady for whom I roam alone on this
earth,
the only one not a prisoner of false
appearances,
I maintain before any foolhardy
knight
your peerless brilliance and
excellence.
Chanson de la mort
de Don Quichotte
Don’t cry, Sancho. Don’t cry, my
good fellow.
Your master isn’t dead, he hasn’t left
you.
He lives on a happy island where
everything is pure and there are no
lies.
He has found his island at last,
and some day you will join him on
this longdesired island, Friend
Sancho!
Books burn to piles of ashes.
If books killed me,
I just need one to live.
A phantom in life and real in death
such is the strange fate of poor Don
Quixote.
�ABOUT T H E COMPOSERS
Jacques Francois Antoine Ibert (August 15, 1890 February 5, 1962) was a
French composer of classical music. He studied under Paul Vidal at the paris
Conservatoire and won the Prix de Rome in 1919 for his cantata Le poéte et la fee.
From 1937 he was director of the French Academy in Rome, and from 1955 to 1957
directed Paris’s OperaComique. He died in Paris.
Maurice Ravel (March 7, 1875 December 28, 1937) was a French composer,
probably best known for his orchestral work, Bolero. He is also wellknown for his
famous 1922 arrangement of Pictures at an Exhibition. He was born in Ciboure,
France (near Biarritz, part of the French Basque region, bordering on Spain). He
studied music at the Conservatoire de Paris in Paris, under Gabriel Fauré. He was
also heavily influenced by Debussy’s impressionist style. Ravel was also highly
influenced from music around the world including American Jazz, Asian music, and
traditional folk songs from across Europe. In 1932 Ravel was involved in an
automobile accident that severely reduced his health. His output dropped
dramatically In 1937 he had an operation that he hoped would restore much of his
health, but the operation was a failure and he died soon afierwards. He died in Paris.
Charles Gounod (June 18, 1818 October 18, 1893) had a particularly strong
influence on French composers from the middle of the 19th century. He was educated
at the Paris Conservatoire, where he won the Prix de Rome in 1837. His return to
Paris in 1843, afler developing a wide knowledge of earlier and contemporary music
abroad, brought a position as an organist. He achieved considerable success in the
theatre, particularly with the opera Faust in 1859, but the Franco Prussian War of
1870 and a period spent in England, brought a largely unprofitable interruption. He
dies in Saint Cloud, France.
Ivor G urney (August 28, 1890 December 26, 1937) was born in Gloucester,
England. He began composing music at the age of 14 and won a scholarship to the
Royal College of Music in London in 1911. His studies were interrupted by World
War I in which he served as a private. He spent 16 months at the Front where he was
wounded in April 1917 and gassed in September of the sam e year. During the time he
spent in France, his poetic gift revealed itself and his first book of poems, Severn and
Somme, was published in the autumn of 1917. After his discharge from the Army, he
returned to London to resume his music studies. His second book of poems, War’s
Embers, was published in 19 19. Gurney was regarded as one of the most promising
men of his generation, both in music and poetry. He wrote hundreds of poems and
composed more than 300 songs as well as instrumental music, primarily for the
piano. However, in 1922, the manic depressive illness that had plagued him from
early adulthood prompted his family to have him declared insane. He was
institutionalized for the last 15 years of his life, and died at the City o f London
Mental Hospital.
Vincenzo Salvatore Carme lo Francesco Bellini (November 3, 1801 September
23, 1835) was an Italian opera composer born in Catania, Italy Foremost a lyricist,
Bellini, for many opera afic ionados, was the quintessential composer of Bel canto
opera. Bellini was a child prodigy and legend has it he could sing an air of Firoavanti
at eighteen months, began studying music theory at two, the piano at three, and by the
age of five could play well. His first composition dates from his sixth year
Regardless, of the veracity of these claims, it is certain the Bellini grew up in a
musical household and that a career as a musician was never in doubt. He died in
Puteaux, Paris, France.
Carl Otto Ehrenfried Nicolai (June 9, 1810 – May 1 1, 1849) was a German
composer, conductor, and founder of the Vienna Philharmonic. Nicolai is best known
for his operatic version of Shakespeare’s comedy The Merry Wives of Windsor (Die
lustigen Weiber von Windsor). In addition to five operas, Nicolai composed lieder,
works for orchestra, chorus, ensemble, and solo instruments. He died in Berlin,
Germany.
Gioacchino Antonio Rossini (February 29, 1792 — November 13, 1868) was an
Italian musical composer who wrote more than 30 operas as well as sacred music and
chamber music. Rossini was born into a family of musicians in Pesaro, a small town
on the Adriatic coast of Italy Rossini’s parents began his m usical training early, and
by the age of six he was playing the triangle in his father’s band. His best known
works include 11 Barbiere di Siviglia (The Barber of Seville), and ‘Guillaume Tell’
William Tell (the overture of which is popularly known for being the theme song for
The Lone Ranger). After intensive work on the opera William Tell, he spent the last
40 years of his life composing almost nothing, possibly in part due to ill health. He
died in Paris, France.
Randy Newman Born on November 28, 1943, in Los Angeles, California. This
singer, songwriter, composer is best known for his wellcrafted lyrics and appealing
melodies, Randy Newman is known for such songs as “Short People,” “I Love L.A.,”
“Mama Told Me Not to Come,” and many more. The nephew of three successful
Hollywood composers and conductors, he began studying the piano at age seven and
was writing songs professionally when he was 17 In addition to career in rock music,
Newman began composing film scores, starting with Cold Turkey in 1971 He
received two Academy Award nominations for his score and his song “One More
Hour” for the film Ragtime ( 1981). His work on The Natural (1984) also earned him
nominations in both categories as well as a Grammy Award for Best Instrumental
Composition. Newman also garnered Academy Award nominations for his work on
Parenthood (1989), Avalon (1990), The Paper (1994), James and the Giant Peach
(1996), and several others.
�ABOUT THE PERFORMERS
Baritone AARON ST. CLAIR NICHOLSON has established
himself as an artist of the first rank, winning praise for his superb
vocal gifts and the dramatic integrity he brings to his performances.
In 20062007 he made his Metropolitan Opera debut as Schaunard in
La Bohéme conducted by Domingo and, in December, as Papageno in
Die Zauberflote, conducted by Levine. His 20062007 schedule also
included the title role in Don Giovanni for the Opera de Montreal,
Valentin in Faust for Vancouver Opera, Mercutio in Romeo et Juliette
for Opera Lyra Ottawa and Faure’s Requiem for the Atlanta
Symphony, a work he performed at the Festival de Lansaudier in
Quebec. St. Clair Nicholson opened his 20072008 season with
Mozart ’s roguish Don for New York City Opera, later in the season
repeated for Opera Lyra Ottawa. He returns to the Opera de Montreal
for the title role in II Barbiere di Siviglia, to Vancouver Opera for
Marcello in La Bohéme and will be heard in Rochester in Carmina
Burana and with the Vancouver Bach Choir in a New York
commission from John Estacio.
Rigoletto with Pacific Repertory Opera; Frere Laurent in Roméo et
Juliette with Sacramento Opera; Second Armored Man in Die
Zauberfléte with Tokyo’s N e w National Theater ; Dr. Heidegger in
Beeson’s Dr. Heidegger ’s Fountain of Youth and Luka in The Bear for
San Francisco Opera’s Adler Showcase; and Colline in La Bohéme for
San Francisco Opera’s Western Opera Theater tour. As a young artist,
Mr. Robinson has appeared as Bartolo in 11 Barbiere Di Siviglia, as
Colline in La Boheme, and as Mr. Page in The Merry Wives of
Windsor with San Francisco Opera’s Merola Opera Program.
JODY SCHUM is a versatile pianist and organist originally from
Windsor, NY. He is a resident pianist with TriCities Opera in
Binghamton, NY, and has performed with the Binghamton University
Symphony Orchestra, TriCities Opera and on numerous solo and
collaborative recitals throughout the Greater Binghamton area. His
most recent engagement was performing and studying on fellowship
with the International Institute of Vocal Arts in Chiari, Italy. Mr.
Schum is the recipient of the 2007 Virginia Pleasants Collaborative
Pianist Award at the Civic Morning Musicals competition for singers.
Bassbaritione, TODD ROBINSON’S career highlights have
included Oroveso in Norma and Capulet in Roméo et Juliette with
Virginia Opera; the Commendatore in Don Giovanni with Opera
Santa Barbara; Méphistophélés in Faust, Dulcamara in L ’elisir
D ’Amore, John Falstaff in The Merry Wives of Windsor, the Villains
in Les Contes D’ Hoffmann, and Frére Laurent in Roméo et Juliette
with TriCities Opera; Fiorello in II Barbiere Di Siviglia, Haly in
L ’Italiana In Algeri, Dr. Grenville in La Traviata, First Soldier in
Salome, and Second Guard in Dead Man Walking with Opera Pacific;
Leporello in Don Giovanni with West Bay Opera and TriCities
Opera; Raimondo in Lucia Di Lammermoor with West Bay Opera;
Leone in Attila and the Bonze in Madama Butterfly with Sarasota
Opera; Bartolo / Antonio in Le Nozze Di Figaro with Syracuse Opera;
Alidoro in La Cenerentola with Arizona Opera; Figaro in Le Nozze
and Bartolo in Il Barbiere Di Siviglia with Idaho’s Opera Plus!;
Basilio in 11 Barbiere Di Siviglia with Indiana’s Rising Star Opera
Theater; Horace in Regina with Lyric Opera Cleveland ; Sparafucile in
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�Coming
‘Cents
Sunday, Decem ber 2 – University O rchestra : Sounds Behind the Cell uloid –
3:00 p.m. – Anderson Center Concert Theater $9 general public; $7
faculty/staff/seniors; free for students
Tuesday, December 4 – Percussion Ensemble – 8:00 p.m. – Anderson Center
Chamber Hall – free
Th ursday, December 6 – MidDay Concert – 1 :20 p.m. – Casadesus Recital Hall
free
—
Thursday, December 6 – Har pur Chorale and Women ’s Chorus – 8:00 p.m. –
Trinity Memorial Church, Binghamton – free
Friday, December 7 – Singing Chinese – 7:00 p.m. – Casadesus Recital Hall –
free
Sunday, December 9 – W ind Symphony – 7:30 – Anderson Center Chamber
Hall – free
$ t “ * * * # * t ¥ # t # * * # * * * *
Spring 2008
Sunday, February 1 0 – Romance, Fantasy, Tragedy – 3:00 p.m. – Anderson
Center Chamber Hall $15 general public; $13 faculty/staff/seniors; $7 students
Sunday, Fe bruary 1 7 – A Tango for Two: Guest O rganists Annette Richards
and David Yearsley – 4 :00 p.m. – First Presbyterian Church, Binghamton. $15
general public; $13 faculty/staff/seniors; $7 students
Friday, Fe bruary 22 – Master ’s Recital : LaToya Lewis, soprano – 8:00 p.m. –
Casadesus Recital Hall – free
Sunday, February 24 – M usics Nova – 3:00 p.m. – Anderson Center Chamber
Hall $9 general public; $7 faculty/staff/seniors; free for students
Saturday, March 1 – Un iversity O rchestra : Top Talent (Concerto
Competition Winners) – 8:00 p.m. – Osterhout Concert Theater $9 general
public; $7 faculty/staff/seniors; free for students
Th ursday, March 6 – MidDay Concert – 1 :20 p.m. – Casadesus Recital Hall –
free
�
Dublin Core
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Coverage
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
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Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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2 audio cassettes 1 audio disc 1 videodisc
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28:48
1:10:47
Streaming Audio
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196891">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196891</a>h
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Title
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Reunion recital with Aaron St. Clair Nicholson, baritone, and Todd Robinson, bass-baritone, December 1, 2007,
Recital Tape 2007-12-1
Description
An account of the resource
Held at 8:00 p.m., December 1, 2007, Casadesus Recital Hall. Works of Ravel, Gurney, Gounod, Ibert, Newman, Rossini, Nicholai.
Creator
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Schum, Jody
Robinson, Todd
Publisher
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Binghamton University Libraries
Date
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2001-12-01
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In copyright
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sound
IIIF Item Metadata
UUID
bde7b9a4-c7b7-485e-ace9-ce1e291d6d96
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45a1980a5235a7ed5891da1c07cf1d3e
https://omeka.binghamton.edu/omeka/files/original/9c8360799fdab0585b2680ec91092a29.mp3
73a7ef09527a6659392df1e6b673a224
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Audio interviews
Title
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McKiernan Interviews
Description
An account of the resource
Stephen McKiernan's collection of interviews includes more than two hundred interviews with prominent figures of the 1960s, which were collected between the mid-1990s to 2023 The collection provides narratives of people who were actively involved in or witnessed events in the 1960s, an era which spurred profound cultural and political transformation in the twentieth century. Interviewees include politicians, artists, scholars, musicians, authors, and veterans who delve into the decade’s most prominent issues and events, including the civil rights movement, the free speech movement, the anti-war movement, women’s rights, gay rights, segregation, the Vietnam War, Woodstock, Hippies, Yippies, and individualism.<br /><br />
<h3>The McKiernan 22</h3>
<div>Stephen McKiernan interviewed legends of the 1960s. When asked in 2021 where one should start when sifting through his vast collection, he provided the following list:</div>
<ul>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/854">Julian Bond</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/1866">Bobby Muller</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/1175">Craig McNamara</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/910">Dr. Arthur Levine</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/837">Diane Carlson Evans</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/942">Dr. Ellen Schrecker</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/876">Dr. Lee Edwards</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/841">Peter Coyote</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/1233">Dr. Roosevelt Johnson</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/899">Rennie Davis</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/1222">Kim Phuc</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/917">George McGovern</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/833">Frank Schaeffer</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/840">Rev. Dr. Frank Forrester Church </a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/1240">Dr. Marilyn Young</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/842">James Fallows</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/835">Joseph Lee Galloway</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/911">John Lewis</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/839">Paul Critchlow</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/888">Steve Gunderson</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/1159">Charles Kaiser</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/2407">Joseph Lewis</a></li>
</ul>
Creator
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Stephen McKiernan
Publisher
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Binghamton University Libraries
Language
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English
Rights
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In copyright.
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Date of Interview
2001-12-16
Interviewer
The person(s) performing the interview
Stephen MeKiernan
Interviewee
The person(s) being interviewed
Krissy Keefer
Language
English
Biographical Text
<span data-sheets-value="{"1":2,"2":"Krissy Keefer is a dancer, choreographer, and artist-activist. In 1975, Keefer co-founded the feminist dance company, Wallflower Order. Later, in 1984, she co-founded another dance company, Dance Brigade, with Nina Fichter. She developed her own kind of dance theater which related to the martial arts, female athleticism, and social justice issues."}" data-sheets-userformat="{"2":15105,"3":{"1":0},"11":4,"12":0,"14":[null,2,0],"15":"Arial","16":10}">Krissy Keefer is a dancer, choreographer, and artist-activist. In 1975, Keefer co-founded the feminist dance company, Wallflower Order. Later, in 1984, she co-founded another dance company, Dance Brigade, with Nina Fichter. She developed her own kind of dance theater which combined martial arts, female athleticism, and social justice issues.</span>
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Binghamton University Libraries
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audio/mp4
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The type of object, such as painting, sculpture, paper, photo, and additional data
1 Microcassette
Material Type
Sound
Interview Format
Video or Audio
Audio
Keywords
<span data-sheets-value="{"1":2,"2":"Hippies; Black nationalist; Democratic Party; Republican Party; Global warming; Women's Rights Movement; Kent State; Prison industrial complex; Beat Generation; The Gulf and Tonkin Resolution "}" data-sheets-userformat="{"2":5017,"3":{"1":0},"6":{"1":[{"1":2,"2":0,"5":[null,2,0]},{"1":0,"2":0,"3":3},{"1":1,"2":0,"4":1}]},"7":{"1":[{"1":2,"2":0,"5":[null,2,0]},{"1":0,"2":0,"3":3},{"1":1,"2":0,"4":1}]},"10":0,"11":4,"12":0,"15":"Arial"}">Hippies; Black nationalist; Democratic Party; Republican Party; Global warming; Women's Rights Movement; Kent State; Prison industrial complex; Beat Generation; The Gulf of Tonkin Resolution.</span>
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
82:04
Subject LCSH
Dancers; Choreographers; Social justice; Political activists--United States; Keefer, Krissy--Interviews
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Transcription
Any written text transcribed from a sound, or alternative text from a visual medium
McKiernan Interviews
Interview with: Krissy Keefer
Interviewed by: Stephen McKiernan
Transcriber: REV
Date of interview: 16 December 2001
---------------------------------------------------------------------------------------------------------------------
(Start of Interview)
SM (00:00:02):
Testing one, two, testing. Again, thank you very much.
KK (00:00:08):
Oh, sure.
SM (00:00:09):
And, hopefully, I will be able to meet you because, actually, I interviewed a couple other people like David [inaudible], who lives in Berkeley. And I know David said, "When you come out, I want you to take my picture," even though I have interviewed him already. Okay, when you think of the (19)60s and the early (19)70s, what is the first thing you think about?
KK (00:00:30):
When I think about the (19)60s and the early (19)70s? Well, I was actually still in high school.
SM (00:00:35):
Also, speak up, because this phone of mine is not that loud.
KK (00:00:38):
Yeah. Well, I was in high school during the (19)60s and early (19)70s, so I graduated from high school in (19)71. So, mostly, I think about the cultural conflict, I do not know, kind of turmoil. It was turmoil, I think, because we were kind of trapped between two value systems that were colliding. The one value system was, get good grades, go to a school, and be a cheerleader. And the other was, give up all worldly possessions, get stoned, and hate the establishment. It was that explosion that was happening, and I felt like I was caught in all of that in high school.
SM (00:01:25):
When you were in high school, were you already interested in dance?
KK (00:01:29):
I had been a dancer since I was a kid. I started studying ballet when I was six. My mother was a dancer, so dance is part of our [inaudible].
SM (00:01:39):
So you knew, when you left high school, you were going to stay in that as a profession?
KK (00:01:45):
I did not know how it was going to take form, but it was definitely my aspiration, my [inaudible]. But I had not built self-confidence around it or anything like that, but it was what I loved to do and what definitely unfolded for me, because I actually was able to get involved with a group of people in Oregon when I was probably 19, so really young, and started Wallflower Order with four other women when I was 22, and doing the same thing since then.
SM (00:02:22):
Before we start to talk about Wallflower Order, what was it in high school? Was it your peers? Was it teachers? Was it things you were seeing on the news?
KK (00:02:34):
All of that? I was in Cincinnati, Ohio, so I was really drawn to, and was one of the personalities in my high school that very much identified with, being a hippie. But I was in the suburbs in a rather affluent neighborhood, trying to be a hippie in that situation where suburb culture, everybody was smoking pot, listening to music, and becoming a hippie through looking at Life Magazine and listening to the news and sort of watching the anti-war movement, but not really necessarily being a real part of it. So it felt rather peripheral, but important. I was a peripheral player, but it was important for me. And when I talk to people my age, we all say we would rather have lived through the (19)60s than be young now. I actually feel sorry for people who had their maturation process take place during the Reagan era and later.
SM (00:03:47):
Yeah, describe that, because certainly growing up being young under Reagan, or even Bush?
KK (00:03:54):
Well, I think, actually, in a way, Reagan's era was more destructive because I feel like the ideological goal of Reagan's reign was to destroy the value system that we created in the (19)60s, which was less is more, and drop out from the rat race, and try to find a sense of peace and brotherly love, and try to get some kind of social justice for the black community and women and poor people. That became the dominant culture. We had a culture. We had a dual power culture operating in the United States that everybody was tied into so that my mother could sing along to Jefferson Airplane songs because our music and our culture is very tightly woven, and it kind of dominated the era. And I think what Reagan did, the goal of that was to undermine that and put [inaudible] personality back at the center, definitely destroy the black liberation movement, and start pumping drugs into the black community, and making social contributions seem more about how much money someone had rather than what they had for contribution. For example, someone like Jackson Brown or Bonnie Raitt who were not... Jackson got more political, but Bonnie Raitt, for example, or somebody like that who was not necessarily political could generate hundreds of thousands of dollars for a benefit for somebody who was working on more a grass roots level like myself for Holly Near that is not generating anywhere the same amount of money, you started to feel maybe your contribution was less significant or less [inaudible] able to participate in that kind of way. And so I felt like all of our contributions, our kind of collective conscious and sharing of resources, all of that, that is what they undermined. And everyone started buying into borrowing money and liquidating their own kind of more political, deep social justice aspirations.
SM (00:06:24):
Kris, could you speak up just a little bit, too?
KK (00:06:26):
Yeah-yeah-yeah.
SM (00:06:27):
Okay. Thank you. When you hear, and I know you have heard it, but I have for many years, these commentators, many of them conservatives, I am not being biased here, but many conservatives who will say that all the problems in the American society today can be placed blame on that period when Boomers were young in the (19)60s and (19)70s. Basically, I know they are making reference to the sexual revolution, the breakup of the American family, the drug culture, the divisions between black and white, the lack of respect for authority, the victim mentality that many people see in our society. And I remember there has even been books written about the Democratic Party was destroyed after McGovern lost in (19)72, and they had to go a different direction because they were identified too much with the anti-war movement. So your thoughts on those critics who blame the problems we have today on what happened when Boomers were young?
KK (00:07:31):
Well, I think that is their point of view, and that is actually a total distortion of what actually happened. The thing is that this country was founded on the genocide of Native American people and the enslavement of African people. That is the foundation of it, and there was never any self-criticism or rectification for either of those social monstrosities. So if you never looked deeply into how we got this land base and got this, quote, great country going, then you do not have any sense of what is really happening. And what the hippies and the (19)60s did is the truth finally started to emerge about what created the wealth of this country and what created our place in the world, so to speak. And I think all of those people... I am never one of the people that say, "Oh, the good old days." The good old days of what? What era are you talking about? So because the African-American population has never been given any economic [inaudible] this country. And that is what the (19)60s revealed is the inequities, not the division started. It was when the inequities were finally pointed out. And then that is what Reagan did. Reagan put a damper, a big clamp down on the black community and destroyed its economic base. So I think those are the apologists for imperialism. That is the white fundamentalist, Christian-based, church conservative movement of which I have family in Cincinnati. Those are my people, too. That is what I am saying, when you get caught kind of in the cross-hairs, the crossfire of two different world views. But that worldview is deeply unfair and inaccurate.
SM (00:09:36):
Let me try to turn my volume up. Hold on one second. Yeah, I am just going to have some beeps here. There?
KK (00:09:43):
Yes.
SM (00:09:43):
Okay, very good. If you look at the Boomer generation, it is hard to state that everybody falls into this category, but when you look at the generation as a whole, what are its strengths, in your view? And what are its weaknesses? And that is looking at all Boomers, male, female, black, white? What do you think were some of the strengths within the generation?
KK (00:10:14):
I am from San Francisco, right? So I [inaudible] KPFA events. Do you know what KPFA is?
SM (00:10:16):
No.
KK (00:10:24):
Okay, KPFA is the public radio, Pacifica. Do you know what Pacifica is?
SM (00:10:29):
Yes, I do.
KK (00:10:30):
WPAI? KPFA? Anyway, for most people in their (19)60s, the most radical radio stations on in the Bay Area, mostly Boomer. It is the older side of the Boomers. And then there is all the Boomers that bought into the Reagan era, and drive SUVs, and spend their time skiing, and shopping at very fancy stores, and travel all the time. You cannot really characterize what the Boomers are now, or what they became. They are just a big group of people. I feel that maybe we had a common experience at one point, and some of us stayed true to our values, but many people did not stay true to the values that were generated.
SM (00:11:19):
Well, one of the things that the Boomer generation, when they were young, thought, and I know a lot of the people that I knew who were Boomers felt they were the most unique generation in American history, and because they were going to change the world for the better they were going to end racism, sexism, homophobia, bring peace to the world. Obviously, we still have these issues, but there was that feeling. What are your thoughts when you hear people say, "We are the most unique?"
KK (00:11:51):
Yeah, I think that the (19)60s-
SM (00:11:51):
Oh, Krissy?
KK (00:11:51):
Yes?
SM (00:11:52):
Could you speak up a little louder? I am not sure what is-
KK (00:11:54):
[inaudible] louder. I am talking really loud. So it is either my phone, or your phone. I cannot talk any louder.
SM (00:11:59):
Okay, very good.
KK (00:12:00):
What do I think they we are? I do not even to think that is interesting, actually. What would that be? We are talking about what is going on right now. We had a very amazing experience in the (19)60s, but we have a catastrophic environmental situation, and race and class situation right now, and it is much more interesting. What is that group of people doing about this problem, and what is the kids? What is everyone doing about this right now? You could see in Obama's campaign, underlying Obama's campaign was the organizing tactics of Caesar Chavez. Through Reverend Wright, there was a Black nationalist politics that Obama was aware of. There was community organizing. All of those things are (19)60s value systems that have been able to take through. At the same time, he had to capitulate and manage a whole very conservative Democratic Party wing at the same time, not to mention the ultra-right-wing Republican Party he has got to deal with every day. So, at a certain point, that is the whole spectrum that is happening right now. And how is that group of people dealing with the fact that all the polar ice caps are melting? We are in big trouble here. And so the Boomers sit around and pat themselves on the back. Who cares? It does not matter. What happened a long time ago, does not matter. It is what is going to happen in the next five years. It is absolutely essential that people stop consuming, and stop patting themselves on the back, and all of that. I always use the analogy of the co-op. In the (19)60s, the co-op was a small room, and it had a bin of rice, a bin of couscous, some tofu floating in some water, and some vegetables. Now you go into co-op health food stores, they are multi-billion-dollar conglomerates, 50 different choices on every kind of thing. It is sickening. It is sickening. That is where our values, in my mind, went completely south. That is where we, in the guise of doing something great, it is just as pathetic as if you walked into Kroger's.
SM (00:14:36):
How did you get to Oregon, when you went to Oregon? And secondly, how did you meet up and start Wallflower Order? And thirdly, what was the basic premise behind Wallflower Order?
KK (00:14:54):
I found out about Oregon through one of my friend's mothers who told me that I should go out there, because my grades were not that good in high school, and University of Oregon said, "If you get good grades in the summer, you could stay [inaudible] go to school here." Well, I did that. I was dancing with a group called Eugene Dance Collective. And out of that, we started the Wallflower Order. And it was 1975, the Vietnam War just ended, and we were a collective. Everybody was a collective. Collectives were sort of the organizational structure that people glommed onto, a lot coming out of Mao and Ho Chi Min and all of that kind of political thought that was operating in Asia, and started a collective like them. So my group was a collective, and Berkeley women's music collective, and all the hundreds of collective stores, and all of that. And we just started dancing together, and did some performances, and got hooked up with Holly Near. Her sister was in our group, and she took us on the road some. And then we just kind of created our own space nationally and toured all over.
SM (00:16:05):
Was there a magic moment early on between that time you left high school and your experiences in Oregon when you knew, I am an activist?
KK (00:16:20):
When I knew I was an activist? I was political in high school, so I was always trying to make sense of it in high school. So I definitely was, in 1975 when we started the Wallflower Order, able to say, "I am an artist as well as an activist." And it was always very important in the Wallflower Order that our dances have social relevance and reflect our community, which at that time was kind of the women's movement. The women's movement was definitely our [inaudible].
SM (00:16:59):
A lot of people, when they see dance, they think, certainly, it is an art, but they do not always see the linkage between politics and dance. And obviously from the get-go, from your first experiences in Oregon, to what you are doing today with the Dance Brigade, that is the definition of what you do, politics and dance. That is an activist type of a thing, and it is certainly a little bit different. Explain in a little more in detail?
KK (00:17:29):
Well, from 1975 on, the women's movement was all about your personal life as political. That was a big part. So we would make dance up, say, about being women, and we would also make dances up, about the environment, or we would make dances up about anti-war dances, or we made dances up about working class women. So we were all studying and thinking together. The whole movement was studying and thinking about all these issues about race and class. So we would use the poetry or the writings of feminist women who we considered part of our national art scene, the Holly years. We used that a lot. We used Baron's music. We used [inaudible]. We had a whole bunch of artists, women artists, that we could draw from. And telling our story was political. And then, as we kept going, we had study groups, and then we got involved in the movements to support the war in El Salvador against... We were involved in the women's solidarity movement, supporting struggles with Chile, El Salvador, and Nicaragua, that whole thing that happened in the early (19)80s. We were involved in that. We got involved in the environmental movements. We were involved in lots of different organizations and things that were working on different causes.
SM (00:19:04):
One of the things about the civil rights movement and the anti-war movement is that women were often put in secondary roles. And in some of the history books that have been written on the period, many of the women shot away from those groups and became part of the leadership of the women's movement that we saw in the late (19)60s and early (19)70s. And I know it has become a sensitive issue in the civil rights community and some of the anti-war community, but is there truth that, in some of these movements that took part when Boomers were young, and I even asked... I just interviewed Denis Hayes today, of-
KK (00:19:45):
Who is that? I do not know who that is.
SM (00:19:47):
He is the founder of Earth Day.
KK (00:19:50):
Oh, yeah-yeah-yeah.
SM (00:19:50):
He and Gaylord Nelson, Senator Nelson. And I asked him the same question about the environmental movement in the very beginning as well as the Native American, the Chicano, the gay and lesbian movement, did men dominate? And in a lot of them, they did.
KK (00:20:06):
Yes.
SM (00:20:07):
And just your thoughts on if you sensed this as a young person back in Oregon, and then as you came to San Francisco? But, basically, in Oregon you saw this sexism that happened and women had to take the lead on things?
KK (00:20:24):
What is the question, then?
SM (00:20:25):
The question is about the movements. Do you think most of the movements were sexist?
KK (00:20:32):
Yeah. I think we all agree with that. I do not think there is any disagreement on that. And I think the sexism is actually what gave birth to the women's movement. And then I think what happened is the women's movement, actually it is kind of autonomous, had its own leadership, its own culture, and its own social relationships, and all of that. And I think now, for women to try to get involved in politics, and it is like you have not improved enough in relationship to being since 2010. I mean, the homophobia is still rampant throughout the country. There is enormous sexism, not that many women [inaudible] in the government really, not close to 50 percent. In San Francisco, it is very hard for women politicians to get elected, very hard. So, do I think it is improved? Actually, not that much.
SM (00:21:25):
Wow.
KK (00:21:26):
In fact, I think a lot of things are actually a lot worse than they were 20 years ago. I do not think we improved the environment at all. I think we dropped the ball on that completely. We dropped the ball on the war. We still have not been able to keep the United States going to war. We have not been able to rectify poverty at all. We have hideous class... When I was growing up, it was one out of 10 percent of the people own 90 percent of the wealth. Now it is 1 percent of the people own 90 percent of the wealth, and it used to be one out of four African-Americans had a relationship [inaudible], and now it is out of three. None of our social movements actually improved the last 30 years, and I attribute that a lot to what happened during Reagan's era. I think that was the goal, to put a brake on what kind of exploded in (19)60s.
SM (00:22:18):
You make a good point, because I can remember when he became President, his famous two words were, "America's back." And he was making a reference, I think, to the Vietnam War and the breakdown of the military and the army. And he was going to build the military back up again because, well, a lot of the issues from the (19)60s and Vietnam. And then, of course, President Bush, that followed him, said, "The Vietnam syndrome is over." So, between the two of them, they made those kinds of comments. And when I look at those comments, I say, yeah, maybe taking pride in America is what he wanted to see, but it basically a slap of what had been before.
KK (00:23:01):
Right.
SM (00:23:04):
How important were the college students in your opinion on the campuses in the late (19)60s and early (19)70s in ending the war in Vietnam?
KK (00:23:12):
I think very important. I think the draft is why we ended it, because people got sick of being drafted and watching their relatives die. And, unfairly, if you are drafted and you do not want to go, to have to go is completely... everybody [inaudible] that. After a while, so many people died, they got sick of watching it. So I think everybody started to rebel. It was very, very close to home. The fact that there is no draft, who is going is kind of removed in a way that it was not then.
SM (00:23:43):
Do you think the Boomers have, and, again, this is just subjective based on your experience in knowing people who are Boomers, been good parents and grandparents in terms of sharing what their experiences were when they were young in the (19)60s and early (19)70s? And in terms of activism, passing some of these lessons on to them?
KK (00:24:10):
Yeah. I am in the Bay Area, so they are the liberal backbone of the country. You know what I mean? I probably have a very different kind of pulse on it. When I see the Boomers, when I am in Cincinnati, are my friends in Cincinnati radical and political? No, they are not. And a lot of them are fundamentalist Christians. So do I go back to high school and have the same kinds of head space that was there? Absolutely not. But is San Francisco and Sonoma and that whole northern California area, [inaudible] people might think like me, yeah. You know what I mean? It is a geographical thing a lot.
SM (00:24:53):
Good point. Very good point.
KK (00:24:57):
Probably in Boston, the Boomers are on a certain, same page, and Cambridge, and Northampton, and that. It is true. The liberals want to sort of live with each other, and they create enclaves, but are the Boomers down in Miami, Florida thinking like me? I doubt it.
SM (00:25:14):
And certainly some of the college environments in different parts of the country may have had different experiences, too. In your view, when did the (19)60s begin? And when did it end?
KK (00:25:25):
(19)60s, okay, I would probably say with the death of Kennedy, probably, on some level. You are talking to somebody who was 12. I am not a historian, so I have not given it an enormous amount of thought. But I would say from Kennedy through the death of Martin Luther King and then Malcolm X, I would say that is when the shit the fan pretty much in terms of people getting out in the streets and all of that. And when did it end? I would probably say, when did Reagan get elected? When did Carter, lose get election?
SM (00:26:04):
He lost in (19)79, and Reagan came in (19)80.
KK (00:26:06):
Yeah, there you go. That was the end.
SM (00:26:11):
And again, this is purely subjective.
KK (00:26:13):
You have to see what happened, too. What I see happened in the (19)70s, when the Vietnam War ended, all of that energy that was out in the street turned into creating kind of a social change network of collectives across the United States. So people, instead of fighting the government, they started building a cultural movement in the communities. In Eugene, for example, there was the Woman's Press, there were women's restaurants, there was women's bicycle repair, there was dance companies, there was women's trucking collectives. There was women's [inaudible] collectives, there were dance collectives, there were karate schools, all huge amount of collective business, and they were doing social change work by doing that. So the emphasis shifted. We reported, were sharing resources and ideas, and trying to work together. That is what the end of the Vietnam era gave birth to in my opinion. Then, at the end of the (19)70s, the recession hit, Reagan came in, and it was all survival of the fittest again.
SM (00:27:29):
If I were to have 500 Boomers in the room from all backgrounds, and I am talking about male, female, all different ethnic groups, sexual orientation, you name it, and we were to ask them, "Is there one specific event that had the greatest impact on your life?", what is that event? And I know there would be different answers, but there would be one that would probably stand out. What do you think that one would be?
KK (00:27:58):
Well, when you would say, "What was the biggest part of our movement?", I would say, the music. So then you might say, "Well, maybe it was Woodstock," but it depends on if you were thinking politically with Democratic convention and what happened there. Was it the riots in Watts? I do not know. It depends on how you were kind of plugged in. The Beatles and the Sergeant Pepper's Lonely-Hearts Club Band coming out, that who Maharishi going off to India, I do not know. There is so many different parts of it, the assassination of Fred Hampton in Chicago. I mean, it is [inaudible]-
SM (00:28:46):
It is hard to pinpoint.
KK (00:28:48):
What you cared about. What do you think?
SM (00:28:55):
Oh, I am trying not to put my opinion in there. To me.
KK (00:28:59):
Off the record?
SM (00:29:00):
Off the record, to me, it would be John Kennedy's death. But that is been a lot, and certainly the death of Dr. King and Bobby Kennedy in the year (19)68, and Kent State.
KK (00:29:13):
Yes.
SM (00:29:14):
I might even say Kent State above Kennedy because of what it did. I am going to read this to you. I got a whole lot of questions here that are specifically based on your career, but this is a question that we asked Senator Edmond Musky before he passed away. I worked at Westchester University. We took 14 students leaders to meet him as part of our leadership on the road. He had just gotten out of the hospital, was not feeling very well, but he still met us. And he, I guess, had seen the Ken Burns series when he was in the hospital on the Civil War. And the students came up with this question because they thought he would respond by replying, "1968 and all the issues in America," but he did not let me read the question to you?
KK (00:29:57):
Okay.
SM (00:29:58):
Do you feel Boomers are still having problems from healing from the divisions that tore the nation apart in their youth? Divisions between black and white, divisions between gay and straight? Divisions between those who support authority and those who criticize it? Division between those who supported the troops and those who did not? And let us see here. Certainly, the Vietnam Memorial has helped a lot of the veterans, but the question is beyond the veterans. Do you feel that the Boomer generation will go to its grave, like the Civil War generation, not truly healing? Am I wrong in assuming this after 40 years? Or is there true to the statement that time heals all wounds?
KK (00:30:47):
Framing a question is not adequate. We are suffering. The [inaudible] suffering. The Boomers are not suffering. It is our parents' generation who would suffer, because it was their world that was rocked open. They had a certain idea about how it was supposed to be. We ripped the scab off the sore, but it was not a bad thing that we did that because it was a sore. You know what I mean? So your question demands certain supposition. I think it is backwards. I think we were liberated by that. And so I am not suffering. I am suffering because [inaudible] maintain it. When you say that the (19)60s made the division between gay and straight, there were no gay people that were allowed out of the closet in the (19)60s. So it was not like everything was hunky dory. There was a pretending that everything was hunky story. It was a pretending like Eisenhower and that suburban golf course, pill-popping housewife culture was okay. It was all screwed up. There is the trauma. The trauma was not in what we did. The trauma was the inebriated housewife sucking on Secanol, that is where the problem was, the women that did not have any jobs, women who could not work, the women who were only supposed to have children as their only alternative. That was the trauma. The trauma was not me running around without a bra on. Do you understand what I am-
SM (00:32:22):
Yes, I do.
KK (00:32:24):
Yeah. So that is how I feel about it.
SM (00:32:25):
That is very important because you talk about, what was it, in the (19)50s, these 70-plus million kids who seem to have solid homes, father and mother at home, even in the African-American community, the statistics will show that there was a mother and father at home in the (19)50s and then something happened in the (19)60s. But what was it in those times when parents were trying to give-
KK (00:32:53):
Let us talk about what is marriage. I mean, look at Tiger Woods. Look at what marriage is. Nobody even really wants to talk about what marriage is. What is monogamy? What is the expectation that two people are going to stay together, raise five kids, and are going to have enough money to do it throughout their whole life and their kids are going to go off to college and make more money than they did, that people are not going to get addicted to drugs an alcohol and end up in [inaudible] prison-industrial complex, and all of it. The whole thing is a mythology. The (19)50s was a mythology, and it was actually a very short amount of time. And who was really served by that?
SM (00:33:28):
Do you think the beats had any part in this too? The beats?
KK (00:33:34):
Absolutely. The beats were the beginning of the cultural revolution. Absolutely, absolutely.
SM (00:33:41):
Because they questioned authority and they did not like the status quo, and Kerouac and Ginsburg were such influences?
KK (00:33:47):
Very important, very important. Here is deal. I do not know how you describe the black working class in the (19)50s and early (19)60s. I grew up in South Carolina. It was virtually apartheid for black people. We had a maid in our house we paid 50 cents an hour. We were not rich. My mother and father had five kids. It was a young black girl that came in and ironed for my mother. She got 50 cents an hour. We drove her home. They lived in some shanty town. There was no economic base there at all. There was whites only everything, on every library, on where we washed our clothes. Whites and blacks were not allowed to be in the same space together. So where was the good old days? Tell me about that?
SM (00:34:39):
Well, you raised some very good points, and I have heard some other comments, too. I can remember when my dad won trips to Florida and we went from the Syracuse, New York area down to... And we did not have highways back then, and (19)57, (19)58 and (19)59, we stopped at these restaurants and went by these homes, and I kept asking my parents, "Why are these homes so terrible? They are just shacks." And I do not know if I have ever gotten an answer from them, but I tell you, it was a wide-opening experience for someone that was like nine and 10 years old starting to question.
KK (00:35:17):
[inaudible] swimming. Black people and white people were not allowed to integrate. Blacks whites were never together anywhere when I was growing up in South Carolina, 1953 until Kennedy was killed. So I do not know when... That is what I am saying. It depends on... It is like Howard Zinn. It is like, who is telling the history? You know what I mean?
SM (00:35:35):
Right.
KK (00:35:37):
From their point of view, I do not think it was so [inaudible]. Maybe from somebody else's point of view, it is when we all got along. It is not when we got along. It was when black people had no political power at all, anywhere in the United States. Women had no political power. Gays and lesbians had no political power. So did it appear to be okay? Yeah. But there was a rumble underneath the whole thing.
SM (00:36:01):
Right.
KK (00:36:04):
It was the, quote, calm before the storm. You cannot go back to that. You cannot go back.
SM (00:36:09):
As someone said to me when I was asking another scholar, she said to me, "You are talking as a white male. You are talking the way white males may have thought about what it was like in the 1950s, but it was not white females because if you ever really talked to your mom about how she felt, you never heard it."
KK (00:36:32):
Yeah, exactly. [inaudible], exactly. I totally agree with that, yeah.
SM (00:36:39):
There is another issue here, too. And one of the characteristics of the Boomers that is often been written about is that they did not trust anybody, and this lack of trust came from leaders that had lied to them. Obviously, we saw President Johnson with the Gulf of Tonkin resolution, which was a lie. But we all know about Watergate and Richard Nixon. Even in recent years, there has been questions about John Kennedy and his linkage to the overthrow of the [inaudible] regime and the issues with Cuba. Then President Eisenhower lied on U2. Then as Boomers aged, there has been issues within every presidency about truth. And Bill Clinton, "I did not have sex with that woman," and weapons of mass destruction by George Bush. Every president seems to have had something. And the question I am asking is this, when I was in college, I had a professor who told me and told our class that no one can be a success in life if they do not trust someone. And so the question I am asking, is the lack of trust that the Boomers have toward anybody in positions of leadership during when they were young, and that included everyone, university presidents, heads of corporations, ministers, priests, rabbis, no matter who was in position, they did not trust them, is that a truthful statement? That one of their qualities is they do not trust?
KK (00:38:09):
I think that that was a cultural collective consciousness. I would say that was a collective consciousness. It was also sort of a glib remark at the same time, although it did become a headline, never... do not trust anyone over 30. I would say that it was very driven by youth movement, between 18 and 30, or something like that. But I do not think that Boomers... Trust is the kind of personal sort of... I do not know. I would say the collectively, probably black people do not trust white people. Native Americans do not trust United States government. You can say that about groups of people that have been systematically ripped off by a [inaudible]. I would probably say there is all kinds of groups of people that do not trust other groups of people. And I do not know that, as the Boomers age, that they still do not trust. You know what I mean? I do not think [inaudible] was maybe disheartening, or maybe you, or some people, it is just that the Boomers [inaudible] stay true to their original values. And that is a real heartbreak. Not that they disrupted something, it is that what they have disrupted they have not been able to make good on. And I think that is the kind of heartbreak that is out about Obama right now. Obama, had the values of the (19)60s in his campaign. We were hoping, out of that, that he would take our values system and put it in the center rather than having it be some peripheral concept. And what we are seeing is that the whole thing that happened with Van Jones. Do you know who Van Jones is?
SM (00:40:17):
Yes, he quit, had to leave. Yes.
KK (00:40:20):
Yeah, he was forced out, kind of an ideologue, and he is only 40, or something. So for thinking Boomers, for political Boomers, for Democratic Party-plus, Green Party-type Boomers, people who still hold those anti-war social justice issues, they might be heartbroken and disappointed, but I do not think trust is very big. We do not trust, because why would you trust United States government? You know what I mean? That kind of thing.
SM (00:41:01):
I have three statements here that were at the time that I would like your response to see if they truly define the Boomer generation? The first one is Malcolm X, when he said, "By any means necessary." The second one is Bobby Kennedy, which he quoted the Henry-Henry David Thoreau quote, "Some men see things as they are and ask, why? I see things that never were and ask, why not?" And the third one is actually from a Peter Max poster that was very popular in 1971 when I was in grad school, and the words were, "You do your thing, I will do mine. If by chance we should come together, it will be beautiful." And what those three statements talk about is the more radical group, the people in the movements that were very idealistic for the betterment of society, and then you have got more of the hippie mentality. Would you say those three could define the generation?
KK (00:42:04):
Yeah. I would say that Malcolm X for my [inaudible] represented people that were very political and interested in building a different kind of political government, socialism and all of that, and just doing something really different. Who was in Washington? I would say Kennedy's statement is more philosophical, or perhaps forward-thinking for writing and intellectuals and all of that. And I think the third one was for people who were rebelling by hanging out. People rebelled by just not working.
SM (00:42:41):
Right.
KK (00:42:44):
They stopped plugging in. They stopped plugging in, and that became a value and a virtue.
SM (00:42:50):
What are the photographs that you think... I am going to change the side of the tape. Photography has always been used to define eras and periods of time and events. When you think of the Boomer generation, what are the pictures that you think of when you think of the (19)60s and the early (19)70s? And I am concentrating a lot in when Boomers were young, which is in the (19)50s, (19)60s, and (19)70s.
KK (00:43:23):
Well, I think that the child from Vietnam running from the Napalm, I think all the Kennedy assassination pictures, Jackie and the pink dress and the hat and all of those pictures, but those have also been played over and over and over again. I would think the Life Magazine photos of the American people wrapped in the American flag, maybe those were from Woodstock, somebody in America, the way people started wearing the American flag, that whole kind of thing. Photos from photos from Woodstock, to see all people that were there. Kent State, the woman on her knees at Kent State.
SM (00:44:13):
Yeah, Mary Vecchio. You have you have listed just about all of them. The other one is Tommy Smith and John Carlos at the (19)68 Olympics with the black power fists up.
KK (00:44:24):
That one.
SM (00:44:27):
And, obviously, some of the Vietnam pictures too, that were classic of the troops, and certainly My Lai and the guy shooting-
KK (00:44:34):
The Beatles. I think Beatles played a big part in the whole thing. I am an artist, so I track the influence of art and stuff like that. But the music was very diverse, and everybody tapped into all different kinds of music, from rhythm and blues, to Beatles, to acid rock that came out of San Francisco, to Ike and Tina Turner, the whole thing. Everybody, they are all listing all of that together, and those photos of Timmy Hendrix playing his guitar, for lots of people, that is as big of an icon as the napalm child, you know what I mean? It was all of it was all it together. You cannot have one without the other. It was all hooked up.
SM (00:45:26):
Would you believe that the social commentary, just like your dance, that the arts... I would like your thoughts, just some general thoughts, on the arts of the period, which you have gone on with your career? But the music, you talked about the Beatles, but I always kind of defined it, and the Motown sound was important.
KK (00:45:48):
Totally important.
SM (00:45:51):
And certainly the rock music, and the different types of rock music, and folk music.
KK (00:45:55):
Totally important. Or, Marvin Gay, Sly and the Family Stone, Diana Ross, pop, the whole thing, I mean all of it. The Coasters, the Four Seasons, I mean the whole thing. That is what was so amazing. It was so much, and no matter which song you hear from that era, it reminds you of a particular time.
SM (00:46:22):
Did the (19)60s make the music and the art? Or did the art and the music make the (19)60s?
KK (00:46:26):
No, they happened together. They happened [inaudible] what happens with leftists, with the intellectual left [inaudible]. They underestimate power of art to actually hold and transform [inaudible]. And so they do not give enough credit to it. But I think that Jimmy Hendrix smoking pot [inaudible] broke people open, just like the Vietnam War broke [inaudible]. So it is just everything about what your parents told you just was not true. And how you got there just was all different kinds ways. But lots of people were not in the university. Lots of people dropped out of college, so they were not having the Kent State experience. They only had the Kent State experience through the newspapers. They were having their own experience somewhere else sitting in a park smoking pot, you know what I mean?
SM (00:47:23):
What did you think of the communal experiences from that era?
KK (00:47:28):
I thought they were pretty amazing. I think that is what I was saying about my experience with all the collectives all over the country. I felt like we tried to create dual power structure of business, a dual power structure on how to relate socially, how to make money, how to share power, share money, and get something done at the same time. That was pretty amazing and I am really glad I went through it.
SM (00:47:54):
Let me ask you some question also about the books? Were there any books that were popular with you and your peers?
KK (00:48:03):
Oh, I do not know. There is all the Richard Brautigan. I am sure I am not kind of... It depends on what era. When I was in high school, it was Zen and the Art of Motorcycle Maintenance and Richard Brautigan, and Kurt Vonnegut, and mostly male writers, Ken Kesey, all of those guys. Then I switched over to the women's movement in the (19)70s, so then it was [inaudible] and Joyce Carol Oates, I am kind of lost right now for all of them, Judy Braun, all the kind of women lesbian poets and writers from the early (19)70s. And then Ginsburg and all those guys had a huge impact.
SM (00:48:50):
Well, before I ask some questions directly about your experiences in San Francisco and what you are doing now, I wanted you to respond to... You do not have to be long on any responses, but just gut level reactions to these terms or words or people? Are you ready? What does the Vietnam Memorial mean to you?
KK (00:49:13):
Not very much. I have never seen it, so I do not have a feeling about it.
SM (00:49:19):
What does Kent State and Jackson State mean to you?
KK (00:49:23):
Trauma, total trauma.
SM (00:49:26):
What does Watergate mean to you?
KK (00:49:28):
The end of the Presidency as he knew it.
SM (00:49:34):
Woodstock? Summer of love?
KK (00:49:39):
Transformational.
SM (00:49:42):
1968?
KK (00:49:44):
Traumatic.
SM (00:49:46):
The term, counterculture?
KK (00:49:50):
Far out.
SM (00:49:52):
Okay. Hippies and yippies? They are two different groups.
KK (00:49:58):
I think they are sort of the same, really. They are all part of the same cultural movement. I know they separated themselves from each other, but it is just that era, a certain era in time.
SM (00:50:10):
Any thoughts on them?
KK (00:50:11):
No, mm-mm?
SM (00:50:13):
No? How about Students for a Democratic Society?
KK (00:50:18):
I appreciate what they tried to do.
SM (00:50:20):
How about the Weatherman?
KK (00:50:22):
I appreciate what they tried to do.
SM (00:50:24):
How about the Vietnam Veterans Against the War?
KK (00:50:26):
I appreciate what they tried to do.
SM (00:50:34):
Jane Fonda?
KK (00:50:35):
I appreciate what they tried to do, very much.
SM (00:50:39):
How about Tom Hayden?
KK (00:50:40):
Yeah, same.
SM (00:50:43):
Abby Hoffman and Jerry Rubin?
KK (00:50:45):
Yes.
SM (00:50:46):
The same? How about Timothy Leary? How about the Black Panthers, which is Angela Davis?
KK (00:50:55):
Far out, yes. God, they had their day.
SM (00:50:59):
Angela Davis, Huey Newton, Eldridge Cleaver, [inaudible 00:51:04] Brown, Stokely Carmichael, that whole group?
KK (00:51:05):
They were important.
SM (00:51:08):
How about Richard Nixon?
KK (00:51:13):
Well, he played his part. That is the heartbreak. Very few people make it to that level of power without having to stop being a criminal.
SM (00:51:27):
How about Spiro Agnew?
KK (00:51:29):
I do not have a big opinion on Spiro Agnew?
SM (00:51:32):
Eugene McCarthy?
KK (00:51:32):
Yeah, I like what he tried to do.
SM (00:51:35):
George McGovern?
KK (00:51:36):
Yeah.
SM (00:51:38):
John Kennedy and Bobby Kennedy?
KK (00:51:43):
Rich people. Bobby Kennedy, I actually think really suddenly really got it. He actually was a hero. He really got it, all of it. He got what class war was, but tried to do the right thing.
SM (00:51:58):
How about LBJ and Hubert Humphrey?
KK (00:52:01):
Not that interesting.
SM (00:52:03):
Not that what?
KK (00:52:04):
Not that interesting. I do not think about them.
SM (00:52:07):
Okay. Robert McNamara?
KK (00:52:09):
Well, he is interesting because he turned state evidence, right?
SM (00:52:14):
Yeah.
KK (00:52:14):
Yeah, I appreciate what he tried to do.
SM (00:52:18):
George Wallace?
KK (00:52:20):
Yeah, another fool of the right wing.
SM (00:52:23):
Ronald Reagan?
KK (00:52:25):
Big problem. Big problem.
SM (00:52:29):
Daniel Elsberg?
KK (00:52:31):
Good guy.
SM (00:52:34):
Benjamin Spock?
KK (00:52:37):
Good guy. Yeah.
SM (00:52:40):
What about the Berrigan brothers, Phillip and Daniel?
KK (00:52:42):
Do you realize you have only mentioned one woman in the whole group?
SM (00:52:45):
No, I am coming to them.
KK (00:52:47):
The Berrigan brothers? Yeah, good guys.
SM (00:52:50):
Gloria Steinem?
KK (00:52:51):
Good. Great. Right on. Good.
SM (00:52:54):
Bella Abzug?
KK (00:52:56):
Good.
SM (00:52:57):
Betty Friedan?
KK (00:52:59):
Good.
SM (00:53:00):
How about Shirley Chisholm?
KK (00:53:02):
Yes, great.
SM (00:53:05):
Barry Goldwater?
KK (00:53:08):
Republican, probably a nicer guy than what we have right now.
SM (00:53:12):
The ERA?
KK (00:53:14):
Equal Rights Amendment? Yeah, [inaudible].
SM (00:53:19):
And, let us see, I guess that is... no more names. And I think the last one was John Dean here?
KK (00:53:28):
John Dean, you mean the actor?
SM (00:53:29):
No, no, no. The guy who was came out at Watergate. That move from Eugene to San Francisco, that was in 1984, correct?
KK (00:53:46):
We moved from Eugene, Oregon to Boston and lived there for a year-and-a-half. And, in that time period, we traveled over to United States, Europe, and we went Nicaragua with a group called Grupo Raiz, R-A-I-Z, from [inaudible]. And we did anti-war work around El Salvador and Nicaragua.
SM (00:54:09):
One of the things that was in some of the literature I read on the web is they defined you as a politically committed choreographer.
KK (00:54:17):
Yes.
SM (00:54:18):
Could you define the meaning of that? And I know what the meaning is, but just to-
KK (00:54:27):
I am a choreographer, but I consider myself part of the social justice movement. I form and work for... do my work [inaudible] forward-thinking, and they use that. They call me that because it is easy to understand what [inaudible]. For me, I [inaudible] based on the [inaudible] Book of the Dead. I did it about the environment. I did a birthday letter Fidel Castro. I mean, my work is crosses the gamut. I did [inaudible] 10th century, so I have pieces about all those things, but I can get pigeonholed being called a political choreographer. But I do not really care what people say.
SM (00:55:24):
One of the things, I listed some things here when I read the material. You have what I call spirit in the performing arts. And of course spirit was a very important part of the (19)60s and the (19)70s, too, within the Boomer generation. I think it is an important quality. When did you have that sense of spirit that what you do can truly influence your audience? And give some examples of where your performances, you know that it has really had an effect on people?
KK (00:55:59):
Well, I can tell when I do a show that it is successful because I would say 95 percent time that I have performed in all different venues all over the world, I have gotten a standing ovation for my work. And what that means is that, at a certain point in the evening, audience and the performance got into a groove together and we had epiphany, or a yes, me too, kind of experience at the end. So I can watch that happen in my work. Then I get feedback and letters from people that say, "I have come to see this show three times. It is really helped me out. It is an important part in my time in my life when I was really depressed, or contemplating breaking up in a relationship, or blah, blah, blah, blah, blah." So it has just been, throughout my career, I have had enough of the same experience to know that it was working on some level.
SM (00:57:04):
One of the other things too, I look at all the issues that have been involved in your work, the issues you care about, whether it is about class and justice, war, racism, violence against women, even the issue of breast cancer, and certainly people's indifference to the AIDS crisis in the beginning. And I know, I lived in the Bay Area, and I know people out there in terms of the gentrification and the taking away of homes, and that was a big issue when I was out there, and I got so furious as a citizen that people would actually do that. These are great things to put into your work. They are really the spirit of what the (19)60s is all about. And, again, you have what I call, I wish all the Boomers had, a concept of longevity.
KK (00:57:54):
Yes.
SM (00:57:57):
And do you find in your audiences, and beyond San Francisco now, that you see a lot of people that are like you? That longevity is very important in terms of making a difference in the world?
KK (00:58:11):
No, I do not know. Longevity, people either stay true to the original impulse, or they did not at all, or they stayed true to part of it. Or they see me and... When I go up to Sonoma, there is so many lesbians that live in Sonoma. And when I go up to Sebastopol, they look at me and they maybe have not danced in 20 years. They are like, "You used to be in Eugene, Oregon in the Wallflower Order." You know what I mean? There was something that we did then that people resonate with. The fact that they remember me from then means something about their life is still similar to what it was. And I really think that the Bay Area is unique because people go to the Bay Areas so they can live among like-minded people. All the real bashing up of social issues, how you deal with social problems, the best and the brightest ideas come out of the Northern California. And not in Cincinnati. I would ask those questions. If I was in Cincinnati, I would feel completely defeated. But see there, everybody around me, all my women friends, we were all biting up the bit talking about Obama and what he has been able to do and what he has not been able to do, and where the disappointments are, and how we are trying to raise our kids feminists, and how we are dealing with the overt sexuality that is all over the news, the media, that our daughters are having to look at. I 400 kids in the kids program. I have 80 girls in the Girl Brigade. People send their kids to me who are feminist women because they want their kids to be raised in a feminist setting. So I have a very active and very committed (19)60s-2009 life that is very connected to the original impulses there. Our city council in San Francisco is radical. We have the biggest gay lesbian population in Oakland in the whole country. Gay men run San Francisco. It is happening. And we are- it is still living it. We are still living it in Northern California. Also, a ton of money though, and there all is a lot of over-consumerism, I will say that. But a lot of people have the same values in Northern California.
SM (01:00:56):
Would you say San Francisco... I lived out there and I know how important it is. I felt great out there because just about every issue is discussed.
KK (01:01:07):
Openly.
SM (01:01:07):
I mean openly and Jesus, there is a sense of community out there, and a community with a sense of what the (19)60s tried to do, to create a sense of community where people were around people that agreed with them or disagreed with them. Would you say that, when you look at the United States, that San Francisco is the one area that is still like the (19)60s?
KK (01:01:28):
Yes, I would say so.
SM (01:01:31):
One of the things that I found very interesting in looking at your background was you did a program called Women Against War after 9/11.
KK (01:01:42):
Yes.
SM (01:01:42):
And that you performed in the facility where the United Nations Charter was signed?
KK (01:01:49):
Yes.
SM (01:01:52):
Wow. To me, that is a wow experience. Can you explain that? A little bit about that experience?
KK (01:01:58):
Well, the first thing we did was, the anniversary of 9/11, we did a women against war event because it was when Bush was beating the war drums. And we kind of did it in collaboration with Code Pink, and we had Dance Brigade and Holly Near, and [inaudible] and Naomi Newton, all kinds of women artists I cannot even forget. And then in the spring, right before Bush announced the war I think, we went up to Sonoma and went down to Santa Cruz. And then on the anniversary of war four years later, we did the whole concert again. And these were very well attended events of women, mostly from women's music network cultural things. And they were strong anti-war events to give a voice to women who were trying to think about the whole thing in a very different way. And the fact that it was at the [inaudible] Theater was that much more interesting. It made it have more depth, stuff like that.
SM (01:03:17):
Well, I tell you, Eleanor Roosevelt would probably have been in the room and giving you high-fives, because this is the 125th anniversary of her birth.
KK (01:03:28):
Oh, really?
SM (01:03:29):
Yes. It was the 10th of December is when she was born, 125 years ago, because I think what you do is what she would be so pleased with. I do not know if there is any way you can link up with the Eleanor Roosevelt papers, or with Alita Black, to do something because what you do is what she was all about?
KK (01:03:52):
Right, yeah.
SM (01:03:55):
And I would probably have to say that her spirit was probably in the room that night.
KK (01:04:00):
Yeah. Oh, that is nice [inaudible].
SM (01:04:02):
No, I really believe that, because I am a big Eleanor Roosevelt fan and I have done a lot of studying, and we have done programs on her. Oftentimes, the best history books are written 50 years after an event, and of course are a period. Like, World War Two, the best ones have come out in the last 10 years. When the sociologists and historians 50 years from now write about the Boomer generation, what do you think they will say?
KK (01:04:38):
It is 50 years from now?
SM (01:04:40):
Yes, 50 years from now? Or even after all the Boomers have passed away?
KK (01:04:46):
It depends on what happens in the next five years around the environment. I do not [inaudible] talk about them in 50 years so all of what is happening in the world with the demise of capitalism and the disruption of United States' number one imperial power, and all of those things that are going on, on top of the fact that we have no idea if we are going to be able to maintain our food belts inside the United States and all of that. So let us assume that something... I really believe that what happened in the (19)60s was trying to rectify contemporary culture, contemporary history. And contemporary history, I would mean probably the last 500 years of history, the founding of the United States, the beginning of the slave trade, all of that. I would say that last 500 years is contemporary history. And really the hippies, the Boomer generation, rights, and international too, France, they had a big wake-up in France and England, and Western civilization had to really sit back and look at itself. And that was a moment when western civilization had to look at itself in the mirror and the mirror cracked, and we have been reeling from that ever since.
SM (01:06:11):
Wow. One of the questions I want to ask too, is-
KK (01:06:16):
That is a good thing. That is where I feel like that was so important that that happened.
SM (01:06:25):
In my last interview with Mr. Hayes, he mentioned that many Boomers have gone on to take the leads in many corporations as CEOs and all the other things, and there is positives and negatives with what they have done. But the question I want to ask is about universities. The university, the free speech movement, was in California back in (19)64, and I think universities learned a lot from that experience in terms of students and student empowerment. But today, most of the universities are being run by Boomers. And this is my thought. I think today's leaders in higher education are afraid of activists, not volunteers now, because volunteerism is so crucial. But they are afraid of activism coming again on university campuses like it is at Berkeley right now, because it sends messages back that there is disruption on the campus. And when there is disruption on the campus, parents are a little uneasy and they do not want their kids to go there, and they will take their kids out of school. And so they do not want any remembrance of that time, and I think what is happening at Berkeley and wherever there is activism is scary to them, and they are Boomers and they knew about it. And so a lot of the people that run the universities today are both Boomers and generation X-ers, the group have followed them. Do you think universities learned anything from the (19)60s, especially with respect to student protest or activism?
KK (01:07:59):
Bring in the police faster.
SM (01:08:01):
Yeah. Pardon?
KK (01:08:03):
Bring in the police faster.
SM (01:08:05):
Oh, you think?
KK (01:08:06):
Less tolerance.
SM (01:08:08):
Yeah. Am I right in thinking this?
KK (01:08:13):
Yeah, I think so. Yeah. I think everybody's thing is, the (19)60s was sort of unprepared. What happened in the (19)60s, they were not prepared for, and now they are prepared. Now they have SWAT teams. Now they bring them in quicker, they break it up faster. They have less tolerance. When the Boomers took over ideologically, a lot of the parents also collapsed, because they were living in unhappy marriages. They were all alcoholic and drug-addicted. So everybody kind of rolled their heads together. I think now they maneuver much quicker to [inaudible]. So I think that is what is happening.
SM (01:08:57):
I want to go back to your roots again, because each of these interviews is not only about general questions about the generation, but it is about each of the individuals, too. I know you already mentioned about the influence in your high school, the hippies and all the other stuff, but what was it growing up in Cincinnati in the 1960s and (19)70s, and maybe late (19)50s, (19)60s, (19)70s, that made you who you are?
KK (01:09:24):
My parents, my mother and my father. My mother has her own wild, very free spirit. And she was personally very liberated on a lot of levels, so she modeled that. And my parents were young, and I do not know. I feel like it sort of was [inaudible] fate, sort of. And I think that I was lucky enough to be an artist, and I have a certain kind of inquisitive mind and a really good memory. So I always wanted to be putting things together and understand what my own... trying to understand myself and my... because, like what I said earlier, I had a rough high school experience. I got into a lot of trouble. It all backfired. I got busted, had all kinds of own personal traumas during that time. I almost flunked out of school. I got suspended all the time, but my energy was not really channeled. It was more reactive. I was very reactive as a kid. And so I feel like having experience on top of the education of what was happening around me, and then going into the collective model, I do not know, I just feel like it all unfolded in a really great way. And I still am kind of a hippie. I identify with being a hippie, and I identify with it as a good thing. When I say I am a hippie, people say, "Oh, you are not a hippie." People have a bad idea about the hippies did not do anything. But what I mean is I am a counterculture Boomer girl. I say that I am on the baby on the tail end. I was born in (19)53, and I was not in college during the height of the whole thing. I was in high school. That is experience, too. I did not have the personal freedom. I still had to be home at 11 o'clock and all of that. I did not have that experience that college people had.
SM (01:11:30):
How do you respond to those people that say, "Oh, the hippies were irresponsible, laying around, having sex and not really responsible."
KK (01:11:39):
I do not believe that.
SM (01:11:40):
Okay. There people that say that. And now the yippies were the more political wing, but they were more into theater.
KK (01:11:47):
Yeah. I think of the movement. I do not think it is necessary to pick one part of the movement out to criticize. It all supported everything. And even Carter, the whole thing. When we had the energy crisis, Carter told everybody to put on a sweater, turn the heat down and put on a sweater. Reagan came in and told everybody to jack up the heat, work harder, snort cocaine and work 80 hours a week, and get cars in your garage, and zoom, and we went into the lifestyles of the rich and famous. And in the (19)70s, the best movie was... What was the name of that movie where that young boy was in love with that 80-year-old? Harold and Maud?
SM (01:12:31):
Oh yeah.
KK (01:12:31):
It went from Harold and Maud into that Michael Douglas film where she boiled the rabbit alive, Fatal Attraction. That is the flip that happened. We went from peace and love and warmth and comradery into psychopathic behavior in our relationships. That was like 1981-82, or (19)86 or (19)87 when that killing the rabbit movie came out, when Michael Douglass did that. And that set stage for the rest of our culture. We never went back to Harold and Maud, and that is what I am talking about. There was a head space that was created and we were not able to maintain it. Some of us still hold it, and we are fighting, basically, a loose battle at this point. We are not going to get out of it. That is my feeling. My feeling is the polar ice caps are going to melt and it is going to be mass migration over six or seven years, like that.
SM (01:13:32):
If that happens, we are in deep trouble. I got two more questions and I will be done. One is, again, to go back to the arts, you are in dance, of course there is dance theater, there is movies, TV, and painting, and sculpture, and all the other things. What was it about the arts in the (19)60s and early (19)70s that was so unique? And give some examples of how not only dance, but theater and-
KK (01:13:57):
Everything with the Living Theater was really big. San Francisco [inaudible] Group was really big. There was all of that European theater that was really important. The music, I have talked about the music a lot. The music really held us all together. Then there was all the poetry that came out. There was a lot of... People are really dancing now in a way that I do not think they ever have before with television picking up on it so much. But, again, a lot of it was collective. A lot of it was political. A lot of it was oriented around demonstrations, which is still happening. Every movement has had its poets and its artists, from the New Song movement in Latin America and Chile, and nueva trova, and all of that. So I think every movement has this.
SM (01:14:53):
And, of course, Andy Warhol and Peter Max were big names in that era with their paintings. You ran against Nancy Pelosi in the primary.
KK (01:15:06):
Yes.
SM (01:15:07):
And, of course, she is a stalwart in the Democratic Party. She is part of the established Democratic Party. That took a lot of courage. And when did you decide to do it? And why did you decide to do it?
KK (01:15:22):
Well, part of the reason I decided to do it was everybody always told me I should run for office because I am so opinionated and he generally talk pretty well. And I have kind of a personality for making speeches and stuff like that. So that is probably the main reason I did it is people kept saying to do it, do it. I learned a lot. I did not really know what I was doing at all. And the unfortunate thing is she was poised to be Speaker of the House, which I did not really get that that was going to happen. So once that became clear, I knew I was never going to get any real traction. And I wanted to raise the issues against the war, and I really thought that Bush should be impeached. I never understood why they did not impeach him. I feel like without an impeachment, you do not have any barometer for justice. That was a terrible, terrible mistake on the Democratic Party not to impeach him. And I have been obsessed about the polar ice caps melting for the last 15 years. So, I raised that in the campaign. That was before Al Gore put out his movie. So again, global warming, war, some people are paying attention, but lots of people are not. So it was very of interesting to have that conversation when people were not really talking about it.
SM (01:16:49):
Yeah. I had heard rumors that the person Sheehan was going to run against her, the woman who lost her son in-
KK (01:16:57):
Yeah, Sheehan ran last year against her.
SM (01:17:01):
A lot of people thought she was going to win.
KK (01:17:04):
Mm-mm.
SM (01:17:05):
No. Next to last question, and I am done. Bill Clinton and George Bush Jr are Boomers, and they are the only Boomers that have been in the White House. President Obama is a Boomer. He was two years old the last two years of the Boomer era, (19)62. But your thoughts on when people say that Bill Clinton and George Bush Jr. are the epitome of the Boomer generation? The qualities they both possess, if you knew who they were and how they ran their government and what they did in their lives, ah, they are Boomers?
KK (01:17:45):
What does that mean? Be a little more specific?
SM (01:17:48):
Well, it is that they had the qualities that-
KK (01:17:50):
Is that like a character defect? Is that what you are saying?
SM (01:17:55):
Yeah, or something like that they epitomized some of the strengths, the qualities that were in the Boomer generation through their actions and deeds. And I just asked that. Do they typify Boomers?
KK (01:18:10):
Well, they are Boomers. So that is what I am trying to say is I do not think that you can... Well, okay. I would say that Bush had a very freewheeling relationship to drugs and alcohol, which I can say probably has got some, quote, Boomer characteristics to it. When I look at Hillary and Bill Clinton, I see inside of them very much affected by the Hillary and feminists and social justice advocates at one point. I think being the President of the United States is a whole other ballpark. So it is kind of hard to say what is different between Bill Clinton and Barack Obama? Would it be Bill Clinton's promiscuity? Well, Tiger Woods is not a Boomer, you know what I mean? So I do not know what about that, how you talk about that, really.
SM (01:19:33):
And my last question is two qualities that were defined about your dance brigade, because I am fascinated by the organization you created. In an article I read, and I think it was in the Chronicle, they gave that a lot of your work is because you are enraged and engaged. Could you explain that a little bit more?
KK (01:19:59):
Well, I think that part of my personality type is I am quick to anger and outrage at injustice. I am a defender of the underdog, and I often do it by getting mad. And people who know me have dealt with that about me. I have no problem getting up and saying what I do not like about what is happening. So that is probably a [inaudible]. And I am very much engaged. I pay attention and I give people feedback. And I am surrounded by lots of people all day long. I run a business. There is 400 kids that come in every week. There is 300 adults. I have seven people in the office, and we are always engaged in talking and making it work. So I am very engaged, and I am a mother, and I have my own friends, and I have a dance company, so I have a lot going on.
SM (01:20:49):
Is there something that you have not done that you would like to do down the road?
KK (01:20:55):
Reach enlightenment.
SM (01:20:57):
Pardon?
KK (01:20:58):
Reach enlightenment.
SM (01:21:01):
Are there any questions that I did not ask you, you thought I was going to ask in the interview that you expected?
KK (01:21:08):
Did you read the C Magazine interview?
SM (01:21:10):
Did you see the what?
KK (01:21:12):
Did you read the C Magazine interview?
SM (01:21:14):
No.
KK (01:21:14):
Okay, well, read that. Go [inaudible], go to the magazine and read November's issue. My dance company, Dance Brigade, is on the cover. And then there is a really good interview in there of me by Holly Near.
SM (01:21:29):
Oh?
KK (01:21:30):
Yeah, read that. And then if you have any more questions, you can call me back. Okay?
SM (01:21:34):
Great. And what is the magazine?
KK (01:21:36):
C? Just the letter C.
SM (01:21:39):
I have that magazine.
KK (01:21:41):
Okay.
SM (01:21:42):
I have not read it yet. It is the November issue?
KK (01:21:45):
Yeah.
SM (01:21:46):
Oh, you are in there? Okay.
KK (01:21:47):
Well my dance company, Dance Brigade, is on the cover.
SM (01:21:52):
Oh, I did not know that.
KK (01:21:52):
There is an interview, an article with me and Holly Near. So read that, and if you have any questions, call me back. Okay?
SM (01:21:58):
Super. Well, thank you very much. My condolences.
(End of Interview)
Dublin Core
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Title
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Interview with Krissy Keefer
Contributor
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Keefer, Krissy ; McKiernan, Stephen
Format
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audio/wav
Subject
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Dancers; Choreographers; Social justice; Political activists--United States; Keefer, Krissy--Interviews
Description
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Krissy Keefer is a dancer, choreographer, and artist-activist. In 1975, Keefer co-founded the feminist dance company, Wallflower Order. Later, in 1984, she co-founded another dance company, Dance Brigade, with Nina Fichter. She developed her own kind of dance theater which combined martial arts, female athleticism, and social justice issues.
Publisher
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Binghamton University Libraries
Date
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2001-12-16
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In copyright
Language
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eng
Type
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Sound
Identifier
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McKiernan.Oral.10.2016.73
Date Modified
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2017-03-14
Is Part Of
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McKiernan Interviews
Extent
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82:04