9 10 1775 https://omeka.binghamton.edu/omeka/files/original/b63bb07e575f9a3bb43d8fb48efc5b3b.pdf 6e853336cf1a4a5d81668dae453621e5 PDF Text Text L} ii) £ 3 ;   R R c BINGHAMTON Q  U  N  1  v  E  R  S I T  Y J ” 3‘1  ape   HS 3  r”­  3 State University of  New York Depart ment of Musi c presen t An Evening of #oft Latin  Jazz with the H ar pur J azz E nsem ble Micha el Car bone,  direc tor and guest artists J e ff  Leder er, saxop hone Chris  Wash burne , trom bone E ric Velez, conga Th ursday, N ovember 18, 2004 8 :00 p.m. Anderso n Center  Oster hout The ater �FIRST HALF Program selected  from the following: Woodchopper’s Ball ...................... Woody Herman, arr. Joe Bishop { Soul Vaccination......................Emilio Castillio and Stephen Kupka arr. Paul Lavender 1 i l ]1 l ­­Intermission­­ SECOND HALF   with  Chris Washburne, Jeff Lederer and Eric Velez Program selected from the following: Caravan............................... Duke Ellington, I rving Mills, Juan Tizol Manteca... Dizzy Gillespie, Walter Gil Fuller, Luciano P. Gonzalez M a u r l c i o   o .  s e T  R I E d  e t e r ............Tito Puente verre... Tito Puente veeeeeeeenn..  Wayne  Shorter, arr. Jeff  Lederer HARPUR JA ZZ ENSEMB LE Chick Corea, arr. Paul Jennings Caught A Touch of Your Love...........C. Bikhardt, J. Keller, J. Best Oye Como Va Speak No Evil Charles Mingus, arr. Sy Johnson Please Send Me Someone to Love............................ P ercy Mayfield Spain  vevreeennn...Chris  Washburne Ran Kan Kan Everyday (I Have the Blues).......................................Peter Chatman Goodbye Pork Pie Hat  Nuyorican Sun Saxophones Mike Casey, 1%  alto David Faranda, 2™  alto Ben Wood, 1* tenor Mike Marchisotto, 2™  tenor Michael Irani, baritone sax Bass Talitha Phillips T rumpets Paul Persichette Alex Rubic Garret Clark Glen Widjeskog Chris Magee Percussion Matt Green Aaron Fumarola T rom bones Sean Kassof Reese Taylor Jamie Cepler Samuel Boyer Cara Rohrer  bass trombone Clarinet Karen Zimmer Piano David Katcher Guitar Darren Klein Jamie Harris Flute Suzanne K ivel Vocalists Emily Resniek Rhonda Plunkett Carbone Angel Reynoso �About the Performe rs MICHAEL J .  CARBONE, conductor, is  a  native of Utica, New York.   He moved to the Binghamton area in 1981 and is an instrumental music teacher in the Johnson City School district where he is Director of Concert Band and Jazz Ensemble  at the middle school.  He  joined the Binghamton University music faculty  in  1997 and serves as  the  Director of the Jazz Studies Program and Director of the Harpur Jazz Ensemble.  He holds a B.M.E. from the Crane School of Music and a M.M. from Binghamton University.  Carbone has performed with many well­known artists including Al Marino, Natalie Cole, Tommy Tune, Mel Torme, The Jimmy Dorsey Orchestra, Danny D’Imperio ’s Big Band, Bloviation, the Central New York Jazz Orchestra, and The Temptations. JEFF LEDERER, born in 1 962, is a saxophonist and composer who has been living in New York City for 15 years, pursuing activities as a performer, teacher and  arranger/composer.  Born  in  Los  Angeles,  he  attended  Oberlin  College, studying comparative religion, and earned the Master of Music degree from Western  Michigan  University,  where  he  studied  composition  with  Ramon Zupko.  As  a  saxophonist,  he  tours  internationally  and  records  with  Matt Wilson’s jazz quartet, which again won this year’s Downbeat Poll for one of the best Acoustic Jazz Groups of the Year. He also tours with Salsa artist Jimmy Bosch. As a freelance musician, Lederer also has performed with the Mingus Big Band and  Latin music legend Tito Puente. Together with vocalist  Mary LaRose, he  has produced  four recordings for various  record label, including Gunther Schuller’s GM Records.  In 2003, his re­imagining of Vivaldi’s Four Seasons,  Los  Sazones­scored  for  chamber  orchestra  and  Salsa  band,  was premiered  by the Chicago Symphony  Orchestra at the  Ravinia  Festival. The concert was repeated in  2004 at Ravinia’s 100th anniversary celebration and performances with major American orchestras are scheduled for next season. Reviewing the premiere, The Chicago Tribune wrote, “Lederer has created a forum in which both the classical and jazz units could collaborate and exchange ideas­yet  without  compromising  or  demeaning  either  musical  language.” Lederer continues to work in areas that cross stylistic boundaries and artistic traditions.  In the fall of 2004, a new work for chorus, winds and percussion by the group VocalEssence in  Minneapolis will  be  premiered. Lederer also will launch his own new group, Shakers n’ Bakers. The group will perform his music inspired by the ecstatic musical practices of the Shaker religious sect. He is also transcribing Central African vocal music for use in school music programs. 1 l CHRIS WASHBURNE  is  a  musician  whose  musical  activities  cross many styles and cultural borders. F rom early in his career, he refused to be pigeon­ holed as just a jazz or classical player, but instead has  continually pursued a diverse path. Washbume  is freelancing as a studio musician and performing trombone, bass trombone, tuba, didjeridu, and percussion with various classical, jazz, rock, and Latin groups in New York City. He also tours extensively with various  groups and  has  concertized  throughout  the  North  America,  Europe, Asian, Africa, South America, Central America, and the Caribbean.  Washburne has performed with Tito Puen te, Eddie Palmieri, Mark Ant hony, Gloria Estefan, 1 1 Celine  Dion,  Celia  Cruz,  Muhal  Richard  Abrams,  Ruben  Blades,  Roscoe Mitchell, Grady Tate, Jaki Byard, Duke Ellington Orchestra, Danilo Caymmi, Daniel  Ponce, Ran Blake, Arturo Sandoval, Hilton  Ruiz,  Lawrence  “Butch” Morris, Anthony Braxton, John Cale, Baba Olatunje, Candido, Freddie Cole, Leslie  Uggams,  Maria  Schneider  Big  Band,  Chico  O’Farrill  Dicapo  Opera Company, Bang on a Can  All­stars, American Microtonal  Festival Chamber Orchestra, RMM Allstar Salsa Band, Regis Philbin, and the Dinosaur Annex, under the direction of Gunther Schuller. He is a regular performing member with the Boston Art Quartet, Manhattan Chamber Orchestra, SEM Ensemble, Sun Spits Cherries, Walter Thompson Big Band, Marie McAuliffe’s Ark Sextet, Dadadah, The Last of the International Playboys, and leader of S.Y.O.T.O.S., a Latin jazz group that features his original compositions.  He can be heard on the S.Y.O.T.O.S. releases, Bobby Sanabria’s Grammy nominated Big Band record “Live and in Clave,” the BAQ’s debut CD “The Fax” and Ray Vega’s self­titled CD, all of which feature his original compositions. He also can be heard on the recordings of David Byrne, Tito Puente, Eddie Palmieri, The Barrio Boyz, Oscar D’Leon,  Louie  Ramirez,  Manhattan  Chamber  Orchestra,  Bang  on  A  Can Allstars, Brian Lynch, Orlando Watusi y su cartel de la salsa, Nerissa, Raulin Rosendo, Danny Rojo, Yorman D’Leon, among many others. He received his Bachelor  of  Music  degree  in  classical  trombone  performance  from  the University of Wisconsin, where he studied with William Richardson, Richard Davis, and Les Thimmeg. In 1988, he completed a Master of Music degree from the New England Conservatory in Third Stream Studies, where he studied with John Swallow, Ran Blake, and Bob Moses. He was the winner of the 1988 New England Conservatory Graduation Concerto Competition. In 1985, he spent two months living in Zambia studying the traditional music of that region. In 1993, he  received  a  Mellon  Fellowship  to  travel  to  and  explore  the  rich  musical traditions of Cuba. In 1996, he received a Sinfonia Foundation grant to assist in the  research  for  his  dissertation.  In  1999,  he  received  his  Ph.D.  in Ethnomusicology  from  Columbia  University.  He  has  commissioned  and premiered more than 20 contemporary compositions for trombone. He holds a teaching position in the Jazz Department at the New School for Social Research and is an assistant professor at Columbia University. �ERIC  VELEZ  is  a  Nuyorican  who  was  born  and  raised  in  the  Bronx. He learned how to play at the age of three with the help of his brother Jose Jusino  and  watching  the  “Rumberito  All  Stars,”  which  include  his  brother, Bobby Allende, Tito Allende and Marc Quinones. His first gig was performing with  Groupo  Fascinacion  at the  age  of  15.  During the  next  two years,  he performed with  Pete  “El Conde”  Rodriquez, Ismael  Mirande, Cheo Felicano, Johnny Rivera. At  17, Velez played  with  Eddie Palmieri, which featured the singing of La India. In  1993, Velez joined the Mark  Anthony band and also made  his  first  recording  with  Anthony  for  the  music sound  track  “Carlito’s Way.”  He  played  with  Willie  Colon  for  three  years.  In  1996, Velez joined Isidiro Infante and La Elite, where he recorded with Oscar Deleon, Jose Alberto, Isidiro Infante, Eddie Palmieri with Nuyorican Soul. He also traveled with the RMM band, which featured Celia Cruz and Tito Puente. In 1997, Velez rejoined Mark Anthony and joined DLG, with whom he traveled throughout the U.S. Europe, South and Central America, and Japan. He also worked with producer Serjio  George  and  recorded  with  Charlie  Cruz,  Charlie  Cardona,  and  Luis Damon with Olga  Tannon.  In  1999, Velez  recorded  with  Celia Cruz on  the Grammy nominated album “Mi Vida Es Cantar.” Also in 1998, Velez performed for President Bill Clinton with Mark Anthony. Since 2000, Velez has performed with Anthony on two tours and in the 2000 Grammy, Mad TV Latin Grammy, Jay Leno Show, HBO special with Mark Anthony, 2001 VHI Divas Show and Rockefeller Christmas Tree Special. Velez works with La  India, Jimmy Bosch and is finishing a project with his brother. rl l . o = �Coming Eve nts F riday,  November  1 9  –  Charles  Ives  Remem bered  Preview  – Documentary and comments by Paul Goldstaub  8:00 p.m. – Casadesus Recital Hall – free Sunday, Nove mber 2 1 – Charles Ives Remembere d – An afternoon of song and cham ber music – 3:00 p.m. – Anderson Center Chamber Hall ­ $15 general public; $13 faculty/staff/seniors; $7 students Th ursday,  December  2  –  Mid­Day  Concert  with  faculty  and  student performers – 1 :20 p.m. – Casadesus Recital Hall – free for students Th ursday, Decem ber 2 – Studen t Performance  of Elizabethan  Mad rigal Dinner ~ 6:30 p.m. – Mandela Room of University Union – $16 F riday, Decemb er 3  –  Flute Studio R ecital –  10:30  a.m.  –  Fine  Arts Room 1 1 1 – free F riday,  December  3  –  Elizabethan  Mad rigal  Dinner  ~  6:30  p.m.  – Mandela Room of the University Union ­ $35 Saturd ay, December  4  ­  Elizabethan  Mad rigal Dinner – 6:30  p.m.  – Mandela Room of the University Union ­ $35 Sunday, Decem ber 5 – Ho­Ho Holidays!  University Wind Ensemble – 1:00 p.m. – Oakdale Mall – free Tuesday, Dece mber 7 ­­ Univ ersity Percussi on Ensemble – 8:00 p.m. – Anderson Center Chamber Hall – free Thursday,  December  9  –  Holiday  Mid­Day  Concert  –  1:20  p.m.  – Casadesus Recital Hall – free Th ursday,  December  9  –  University  Symphony  Orchestra  –  Field, Forest and  Fiacre – 8:00  p.m. – Anderson Center Osterhout Concert Theater ­ $10 general public; $ 7 faculty/staff/seniors; free for students Sunday, Dece mber  1 2 ­­  Maste r ’s Recital  –  Am ber Alarcon,  mezzo­ soprano – 7 :30 p.m. – Casadesus Recital Hall ­ free i i � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 45:39 56:48 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE252032&amp;change_lng=en&amp;select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE252032&amp;change_lng=en&amp;select_viewer=metsViewer</a> PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource An evening of hot Latin jazz, November 18, 2004 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2004-11-18 Description An account of the resource Works of Herman, Chatman, Mingus, Mayfield, Corea, Bickhardt, Castillio, Ellington, Gillespie, Lederer, Washburne, Puente, Shorter. Held at 8:00 p.m., November 18, 2004, Anderson Center Osterhout Theater. Creator An entity primarily responsible for making the resource Carbone, Michael Lederer, Jeff Washburne, Chris Velez, Eric 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 11/18/2004 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/95d1c542bed15f97dcde49cb1a459e42.pdf f54501aac1df4fe7b6b693e7ccfe582b PDF Text Text UNI AR C State University of New York Depa rtmen t of Musi c TRIO AMI CI Haka n Tayg a-Hro mek, cello Steph en Stalk er, cello Marg aret Reitz , piano with Vero nica Frany utti, sopra no Timo thy Perry , clarin et Friday, Novem ber 12, 2004 8:00 p.m. Casades us Recital Hall �Program Concerto in g minor RV531 .................................... Antonio Vivaldi Allegro (1675-1741) Adagio Allegro Stephen Stalker, cello Hakan Tayga-Hromek, cello Margaret Reitz, piano Four Duets for Two Cellos ...................................... Reinhold Gliere Commodo (1875-1956) Leggiero Flowing Vivace Stephen Stalker, cello Hakan Tayga-Hromek, cello Estrellita ...................................................................... Ponce-Heifetz Hakan Tayga-Hromek, cello Margaret Reitz, piano Among Friends ............................................................. Chan Ka Nin (written 1989) Timothy Perry, clarinet Stephen Stalker, cello Margaret Reitz, piano --Intermission-- �Bachianas Brasileiras, No. 5 ............................. Heitor Villa-Lobos (1887-1959) Veronica Franyutti, soprano Stephen Stalker, bass Hakan Tayga-Hromek, cello Margaret Reitz, piano Pezzo Capriccioso, Op. 62 ......................... Peter Ilich Tchaikovsky (1840-1893) Stephen Stalker, cello Margaret Reitz, piano Kaddisch .................................................................. Maurice Ravel (1875-1937) Hakan Tayga-Hromek, cello Margaret Reitz, piano Original Composition......................................... written by the Trio When In Our Music ........................................... Stephen Stalker Homage to Mahler .................................. Hakan Tayga-Hromek Amici Rag ........................................................... Margaret Reitz ******** ******** ******** * About the Performers HAKAN TAYGA-HROMEK, cello, has attended Ithaca College, SUNY Purchase and SUNY Binghamton. Teachers have included Fritz Wallenberg, Einar J. Holm, Marion Feldman, Peter Wiley, and Stephen Stalker. Hromek has attended Round Top International Music Festival in Round Top Texas, Music Mountain Chamber Program; Falls Village CT, Spoleto Music Festival in Charleston NC, and the International Congress of Strings; Cincinnati, OH. Hromek is principal cellist with the Binghamton Philharmonic and Orchestra of the Southern Finger Lakes. He also performs with Tri-Cities Opera and the Cayuga Chamber Orchestra, and in a piano and cello duo with Margaret Reitz. �STEPHEN STALKER, cello, 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 Artist-inResidence 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. MARGARET REITZ, piano, received her Bachelor and Master of Music degrees in piano performance with accompanying emphasis. She attended Boston University, New England Conservatory and Binghamton University. She has studied piano with Jean Casadesus, Victor Rosenbaum, Seymour Fink and Walter Ponce and accompanying with Allen Rogers. She has accompanied throughout the United States, in England, South America, and at the American Institute of Musical Studies in Graz, Austria. Reitz has been on the faculty at Binghamton University since 1991 and The Ithaca College School of Music since 1999. VERONICA FRANYUTTI, soprano, has participated in master classes with Nico and Ca r olv Castel of t he Metropolitan Opera and with directors from the Syracuse 1 .ll Opera. She has performed in several academic events and sings for local operatic groups. Last summer, she was a guest in the Cornell University summer music series. Franyutti received a BA in French Literature from SUNY Binghamton and has studied voice for four years with Mary Lou Muratori. 1 Clarinetist, Conductor and Professor of Music, TIMOTHY PERRY, joined the Binghamton University faculty in 1986 as Director of the Orchestral and Wind Ensemble programs and Instructor of Studio Conducting and Clarinet. Perry holds D.M.A., M.M.A. and M.M. degrees in Clarinet from the Yale School of Music (as a pupil of Keith Wilson) and a Bachelor of Music degree from the Manhattan School of Music (as a student of Leon Russianoff). He has served as Principal Clarinet in numerous orchestras including the Wisconsin Chamber Orchestra, New England Chamber Orchestra, the Catskill Symphony, Glimmerglass Opera and was Assistant Principal Clarinet of the New Haven Symphony and Northeast Pennsylvania Philharmonic. A devoted chamber music player, Perry has performed frequently as a member of the Catskill Woodwind Quintet, Catskill Chamber Players and Finger Lakes Chamber Ensemble and has been selected for festivals in Vinalhaven, Maine and Thy, Denmark. As a soloist, he has been featured with the Binghamton Philharmonic, Catskill Symphony and Binghamton Community Orchestra, toured Latin America and the Caribbean for the U.S. Department of State as a Musical Ambassador in 1997. �HEITOR VILLA-LOBOS Bachianas Brasileiras No. 5 Text: Ruth Valadares Correa (Aria); Translation: J.D.B Griffin Aria (Cantilena) In the evening, a rosy, translucent cloud slowly crosses the drowsy and beautiful firmament! The mood gently rises into infinity, Adoring the evening like a gentle maiden who dreamily primps herself, yearning in her soul to become beautiful. All nature cries to heaven and earth! The birds are silent in their sorrowful lamenting, and the sea reveals all its richness. The soft moonlight now awakens the cruel longing that laughs and cries! In the evening, a rosy, translucent cloud • slowly crosses the drowsy and beautiful firmament! � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 43:54 42:44 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE252028&amp;change_lng=en&amp;select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE252028&amp;change_lng=en&amp;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 Trio Amici, November 12, 2004 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2004 11-12 Description An account of the resource Works of Vivaldi, Gliere, Ponce-Heifetz, Nin, Villa-Lobos, Tchaikovsky, Ravel, and original compositions written by the trio. Accompanying program includes translation of work of Villa-Lobos. Held at 8:00 p.m., November 12, 2004, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Tayga-Hromek, Hakan Stalker, Stephen Reitz, Margaret Franyutti, Veronica Perry, Timothy 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 11/12/2004 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/3ef0afc7d7c415cc33da82c2b6cb3df0.pdf 7b873a8ac2acd2c8a0b0842a8d6f1b66 PDF Text Text '  RRC l“?! y 3 ;j  _  Binghamton University Department of Music Re  {Ye 2004 THURSDAY MID­DAY CONCERT November 11, 2004 – 1:20 P.M. – Casadesus Recital Hall 1"w­n Sec Lon Fanfare, Aria, and Echo  . ...........Daniel Pinkham (b. 1923) Matt Cosnett, timpani Patrick Lokken, horn Greg Cecere, horn P. Hindemith (1895­1963) Sonate...............  . Leicht bewegt­­Langsam­­Marsch­­Pastorale Robin Kindig, bassoon Margaret Reitz, piano .....G1oacchino Rossini Selections fromSoiréesMusicales.................. .............................. (1792­1868) 1.  La pastorella delle Alpi 2.  La promessa 3.  L’invito 4.  L’orgia (translations on back) Leslie Hochman, soprano Margaret Reitz, piano h .............Fritz an CL  B (1875­1962) arr. by George Hamilton Greene Tambourin Chinois Matt Cosnett, marimba Margaret Reitz, piano .. Among Friends (1989)  Timothy Perry, clarinet Stephen Stalker, violoncello Margaret Reitz, piano Ka Nin Chan (b. 1949) �The Alpine Shepherd ess I’m the pretty shepherdess Coming down every morning. I offer a little basket With fresh fruit and flowers. Whoever comes at dawn Will have some pretty roses And dew sprinkled apples. Come all to my garden! Ahu, ahu. .. Whoever in frightfulness of night loses his way At my little hut Will find his path again. Come o traveler, The shepherdess is here, But her most tender thoughts Are given to one alone! Ahu, ahu. .. The Promise That I will ever be able to stop loving you No, don’t believe it, dear eyes! Not even to joke would I deceive you about this. You alone are my sparks, and you will be, dear eyes, my beautiful fire as long as I live, ah! The Invitation Come Ruggiero, your Eloisa Cannot stay separated from you: You’ve already responded to my tears, Come and grant my request. Come beautiful angel, come, my delight, Here on my bosom come to rest! Feel my throbbing heart, When love invites you, Come, my life, come, make me die! The Orgy Let’s love and sing of woman and wine, Life is a joy between Bacchus and Amor! I ’ve got love in my hea rt And wine in my head. What a pleasure, what a feast, What a lovely passion. Loving and joking, Drinking some wine animates me and calms my sorrow and pain. Let’s dance and sing, Life is a joy between Bacchus and Amor Let’s dance and sing, Let’s raise the glass, Let’s laugh and forget Our sorrow and pain. O divine queen, mother of love, With joy renew every heart! Leaping, sparkling, Foaming over life Is the wine divine, Ruler of the world. Already I dance, I stagger, What smell, what steam! So drink, over and over again In a holy frenzy. Let’s dance and sing Life is a joy between Bacchus and Amor! � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:01:12 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE252025&amp;change_lng=en&amp;select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE252025&amp;change_lng=en&amp;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 Thursday mid-day concert, November 11, 2004 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2004-11-11 Description An account of the resource Works of Pinkham, Hindemith, Rossini, Kreisler, Chan. Accompanying program includes translation of text from Rossini's work. Held at 1:20 p.m., November 11, 2004, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Cosnett, Matt Lokken, Patrick Cecere, Greg Kindig, Robin Reitz, Margaret Hochman, Leslie Perry, Timothy 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 11/11/2004 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/cf8efa67d3b6063b13400cb70e15669a.pdf b271ccbc7f807c187835b6c1f0a74474 PDF Text Text BINGHAMTON VG U N I V E R S I T Y State University of  New York De part men t of Mus ic G uest Artist Ma rin a L om azo v, p ian o Satu rday, Novem ber 6, 2004 8:00 p .m. Anderson C enter Cham ber Ha ll �Program About t h e Performer Praised  by  critics  as  “a  diva  of  the  piano”  (The  Salt  Lake  City  Tribune),  “a mesmerizing risk­taker” (The Plain  Dealer, Cleveland), and  “simply spectacular” (International Music Foundation Website, Chicago), dynam ic Ukrainian­American pianist Marina Lomazov has established herself as one of the most passionate and charismatic performers on the concert scene today. Her performances in North and South Americas, Europe, Japan, and Russia have prompted several reviewers to call her “one of the best young pianists in America today.” Lomazov  has  been  awarded  top  prizes  in  several  of  the  world’s  major  piano competitions  including  Cleveland  (Silver  Medal),  Gina  Bachauer  (Outstanding Female Performer), William Kapell (Carmen Sasmore Prize) and Hilton Head (First Prize).  She  has  appeared  with  the  Boston  Pops, Rochester  Philharmonic, Graz Hochschulorchester, Ohio Chamber Orchestra, Missouri Chamber Orchestra, South Carolina Philharmonic, and Spokane Symphony Orchestra, to name a few. She has performed in Weill Hall, Merkin Hall, Steinway Hall, and Rockefeller University (New  York  City),  Symphony  Hall  and  Steinert  Hall  (Boston),  Abravenel  Hall (Utah), Lyon de Opera (France), Theatro Sao Pedro (Brazil). Before  immigrating t o  the  United  States  in  1990,  Marina  studied  at  the  Kiev Conservatory, where she became the youngest First Prize winner of the All­Kiev Piano  Competition.  Lomazov  holds  degrees  from  the  Juilliard  School  and  the Eastman  School  of  Music,  the  latter  granting  her  the  highly  coveted  Artist’s Certificate – an honor the inst itution has not bestowed upon  a pianist for nearly two decades.  Her  principal  teachers  include  Natalya  Antonova,  Barry  Snyder,  and Jerome Lowenthal. Lomazov is a frequent guest artist at music festivals across the United States and abroad including Moulin d’Andé Arts Festival in  France, the Chautauqua Music Festival (NY), the Northwest Piano Festival (OR), the Wassermann Piano festival (UT), and the Grand Teton  Music Festival (WY). She has been featured on the “Bravo” Canada cable channel, and her live performances are broadcast regularly on public radio stations including such programs as NPR’s “Performance Today”, “Young Artist  Showcase” on New York’s  WQXR, “Morning Pro Musica” and “Classics in the Morning " on Boston’s WGBH, Dame Myra Hess concert series on Chicago’s WFMT. Lomazov is an Assistant Professor of Piano of the faculty at the University of South Carolina School of Music, where she is also the Artistic Director of the Southeastern Piano Festival. In summer of 2003, Lomazov joined the artist Faculty of the Brevard Music Center. Modest Moussorgsky Pictures at an Exhibition . (1839­1881) p Promenade  l. Gnome 2. The Old Castle 3. Tuileries (Children’s Quarrel After Playing) 4. Oxen (The Oxcart) 5. Ballet of the Unhatched Chicks 6. Two Jews, One Rich and the Other Poor Promenade 7. Limoges.  The Market (The Big News) 8. Catacombs.  Roman Sepulchre (Con mortuis in lingua mortus) 9. The Hut on Chicken Legs (Baba Yaga) 10. The Great Gate (in the Capital, Kiev) ­­Intermission­­ Variations (2003).. Image, Book I .. 1. Reflets dans l’eau 2. Hommage a Rameau 3. Mouvement Andante spianato and Grande........................ Polonaise brillante, Op. 2 2 ...John Fitz Rogers (b. 1963) Claude Debussy (1862­1918) Frédéric Chopin (1810­1849) �Com ing Events Sunday, N ovember  7 –  University Wind  Ensemble : Amer­A rcana – 3 :00 p.m. – Anderson Center Chamber Hall – free Friday, N ovember  12  –  T rio  Amici  –  Stephen  Stalker  and  Hakan  Tayga­ Hromek, cellists and Margaret  Reitz, piano – 8:00 p.m. – Casadesus Recital Hall ­ $10 general public; $7 faculty/staff/seniors; free for students Satu rday, November 13 – ViolaFest ’2004 – All­day workshop for violists of all  levels  featuring  afternoon  concerts,  guest  artist  performan ces  TBA  – Concerts are free; information about the workshop will be announced at a later : date.  Sunday,  Novembe r  14  –  University  Chorus  –  “How  Can  I  Keep  from Singing” – 3:00 p.m. –  Anderson  Center Osterhout Concert Theater ­ $10 general public; $7 faculty/staff/seniors; free for students Thu rsday, November 18  —Jazz Mid ­Day Con cert with guest artist – 1:20 p.m. – Anderson Center Osterhout Concert Theater – free Thu rsday, November 1 8  – An Eve ning of La tin Jazz w ith the Ha r pu r Jazz Ensemble  and  guest  artists  –  8:00  p.m.  –  Anderson  Center  Osterhout Concert Theater ­ $1 0 general public; $7 faculty/staff/seniors; free for students Sunday, N ovember 2 1 – Charl es Ives Re membered – An afternoon of song and  chamber  music  –  3:00  p.m. –  Anderson  Center  Chamber  Hall  ­  $15 general public; $13 faculty/staff/seniors; $7 students  ' J l J } Thursday,  December  2  –  Mid­Day  Concert  with  faculty  and  student performers – 1:20 p.m. – Casadesus Recital Hall – free for students Thursday, December 2  – Studen t Perform ance of  Elizabethan Mad rigal Dinner – 6 :30 p.m. – Mandela Room of University Union – $16 Friday, December 3 – Elizabethan Mad rigal Dinn er – 6:30 p.m. – Mandela Room of the University Union ­ $35 Satu rday, December 4 ­ Elizabethan Mad rigal Dinn er – 6:30 p.m. – Mandela Room of the University Union ­ $35 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 51:41 36:29 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE252021&amp;change_lng=en&amp;select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE252021&amp;change_lng=en&amp;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 Guest artist, Marina Lomazov, piano, November 6, 2004 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2004-11-6 Description An account of the resource Works of Moussorgsky, Rogers, Debussy, Chopin. Held at 8:00 p.m., November 6, 2004, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Lomazov, Marina 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 11/6/2004 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/63c1084c682e1f9862d616a339169fe0.pdf f11578c08aab2cd8973f6799f07b0d5a PDF Text Text U N I V   Bre Binghamton University Department of Music R   ~~ THURSDAY MID­DAY  CONCER T November 4, 2004 – 1:20 P.M . – Casadesus Recital Hall I \ Sonata for Solo Violin Tempo di ciaccona Akira Maezawa, violin Linden Lea Jennifer Curiano, soprano Chai­Kyou Mallinson, piano G l Boy  Amorosi miei glorni Kate Metzler, soprano Chai­Kyou Mallinson, piano Fantasie for Viola and Piano Melissa Mattern, viola Margaret Reitz, piano ...............Béla Bartok (1881­1945) .....Ralph Vaughan Williams (1872­1958) ................Fred Weatherly (1848­1929) ...............Stefano Donaudy (1879­1925) Johann Nepomuk Hummel (1778­1837) vivssmessorssidy  Kompaneyec Bashkir Humming­son Timothy Perry, clarinet Margaret Reitz, piano Prelude for Viola and Clarinet Timothy Perry, clarinet Roberta Crawford, viola Trio for Piano, Clarinet and Viola, KV 498 Menuetto Rebecca Clarke (1886­1979) Wolfgang Amadeus Mozart (1756­91) Timothy Perry, clarinet Roberta Crawford, viola Michael Salmirs, piano Eight pieces for Clarinet and Viola, Op. 83, no. 2 Allegro con moto Timothy Perry, clarinet Roberta Crawford, viola Michael Salmirs, piano ............Max Bruch (1838­1920) � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 0:41:11 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE252018&amp;change_lng=en&amp;select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE252018&amp;change_lng=en&amp;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 Thursday mid-day concert, November 4, 2004 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2004-11-4 Description An account of the resource Works of Bartók, Williams, Weatherly, Donaudy, Hummel, Kompaneyec, Clarke, Mozart, Bruch. Held at 1:20 p.m., November 4, 2004, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Maezawa, Akira Curiano, Jennifer Mallinson, Chai-Kyou Metzler, Kate Mattern, Melissa Reitz, Margaret Perry, Timothy Crawford, Roberta Salmirs, Michael 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 11/4/2004 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&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 0:24:44 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE252015&amp;change_lng=en&amp;select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE252015&amp;change_lng=en&amp;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 Thursday mid-day concert, October 28, 2004 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2004 10-28 Description An account of the resource Works of Brahms, Schumann, Shaw. Accompanying program includes translation of Brahms selection. Held at 1:20 p.m., October 28, 2004, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Alarcon, Amber Mallinson, Chai-Kyou Cheng, Jessica Cecere, Greg Epelman, Emie Jacobsen, Alfred Lokken, Patrick 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 10/28/2004 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/1ae40e9d734f3c1e15574d7b1dde23d9.pdf 822ba1d6c77b65a7b02c339abf699a57 PDF Text Text Binghamton University Department of  Music " 3 ' \ ‘ ‘­  C E RT “ T H U R S D A Y  M I D ­ DAY  CO N Recital Hall October 14, 2004 – 1:20 P.M. – Casadesus  Y e Etude, 0p.4, n r 3   0 Etude, C R s nr1 Ewa Mackiewicz­Wolfe, piano Tanzlied des Pierrot (from Die Tote Stadt) Zuezgnung Timothy LeFebvre, baritone Duane Skrabalak, piano Nocturne #6, e p 6 3 Chai­Kyou Mallinson, piano from Licheslisger (“Love Songs”), BLES 2.  Moderato 4.  Poco sostenuto 7.  Andante Karol Szymanowski (1882­193 7) ............Fryderyk C hopin (1810­184 9) Erich Korngold ( l  897­ 1 957) Richard Strauss (1864­1949) Gabriel Fauré (1845­1924) Antonin Dvorak (1841­1904) Mary Burgess, soprano Duane Skrabalak, piano Trio in E­flat major for Clarinet, Viola and P1ano KV 498  “Kegelstatt” Timothy P erry, clarinet Roberta Crawford, viola Michael Salmirs, piano W.A. Mozart (1756­179 1) �Translations from Liebeslieder (“Love Songs”), op.83  2.  (Moderato) In many hearts there is death inside like a dark wasteland; the heart is a place for sadness and pain only. A delusion of hot love enters into the heart and the heart pines with grief: This means it loves. The sweet feeling changes the dead heart into a paradise; and it sings the old legend (of love). 4.  (Poco sostenuto) I know that in a sweet hope I can love you; still more anviously we want the love to grow. And yet, when I look into the delightful night of your eyes, and learn how the heaven of love from your eyes bestows power on me: my eyes are filling with tears, For brooding o’er our love, I see a cruel fate looking at us in happiness. 7 . (Andante) In that sweet power of y our eyes How gladly I would die for thee; If laughter of your beautiful lips did not invite me to live. I would choose immediately that sweet death, with no fear; I know your smiling lips will awaken me to life again. Antonin Dvorak � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 0:42:56 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE252012&amp;change_lng=en&amp;select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE252012&amp;change_lng=en&amp;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 Thursday mid-day concert, October 14, 2004 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2004-10-14 Description An account of the resource Works of Szymanowski, Chopin, Korngold, Strauss, Fauré, Dvořák, Mozart. Translation of text from one work on program. Held at 1:20 p.m., October 14, 2004, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Mackiewicz-Wolfe, Ewa LeFebvre, TImothy Skrabalak, Duane Mallinson, Chai-Kyou Burgess, Mary Perry, Timothy Crawford, Roberta Salmirs, Michael 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 10/14/2004 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/767e18109e2a4ecfcef5ec31a7f6341b.pdf 66c4a0b67502b6e399a097f92c5f899a PDF Text Text A4 x /  { \ /   b . ly yoy SYY BINGHAMTON U N I V E R S I T Y State University of N ew York Department of Music Guest Artist Timothy Olsen organ Sunday, October 10, 2004 4 :00 p.m. First Presbyterian Chu rch �PROGR AM Tr uly, then, I have no complaint, For though she be fair and fairer, There is none so fair as she In my heart. Introduction and Passacaglia............................................ Max Reger (1873­1916) [11. Upon a High Place I stood upon a high place, And saw, below, many devils Running, leaping, And carousing in sin. One looked up, grinning, And said: “Comrade! Brother!” Onder een linde groen ...  ...................Jan Pieterszoon Sweelinck (“Under the Green Linden”) (1562­1621) Nun komm, der Heiden Heiland BWV 659 ...Johann Sebastian Bach (1685­1750) Prelude and Fugue in E­flat ..........................Johann Sebastian Bach BWV 552 C a r m e n G e o r g e s Bizet   (1838­1875) * * = I = * * * * * * * * * * * * * * * * * * * * * * * * * * ­­Intermission­­ ABOUT THE PERFO RMER Symphonie III, op. 28 . Louis Vierne (1870­1937) Prélude, Fugue et Variation . César Franck (1822­1890) Allegro Maestoso Three Pieces for Organ (2000).... (Based on poetry of Stephen Crane) I.  Black Riders Black riders came from the sea. There was clang and clang of spear and shield, And clash and clash of hoof and heel, Wild shouts and the wave of hair In the rush upon the wind: Thus the ride Sin. II.  Here and There I looked here; I looked there: Nowhere could I see my love. And—this time— She was in my heart. .. Aaron Travers (b. 1975) TIMOTHY OLSEN is professor of organ and harpsichord at Ithaca College, Ithaca,  NY,  where  he  also  teaches  in  the  theory  department.  Olsen  is concurrently serving as A cting University Organist  of Cornell  University for two years, 2003­2005, as sabbatical replacement for A nnette Richards. A native of Frost, Minnesota, Olsen began his study o f the organ at the age of 13 with Sandra Krumholz of Fairmont, MN, and went on to further study with Peter Nygaard at Concordia College in Moorhead MN, where he received a Bachelor of Music degree in 1997.  Before graduating, he was chosen to perform as solo organist with the Concordia College Orchestra.  Olsen is finishing his doctoral studies  as  a  student  of  David  Higgs  at  the  Eastman  School  of  Music  in Rochester, NY, where he  received the Master of Music in Organ Performance and Literature in 2000. From 1999­2002, Olsen was Professor Higgs’ teaching assistant. He will also receive the Master of Arts Degree in Theory Pedagogy in the  Fall  of 2004.  Olsen  served  on  the  faculty  of the  Eastman  Community Education  Division  and  was  a  teaching  assistant  in  the  Eastman  theory department. He also served as sabbatical replacement for Jonathan Biggers as Organ  Instructor  at  Binghamton  University  in  the  Fall  of  2003. Olsen is the first­prize winner of the 2002 National Young Artists Competition in Organ Performance sponsored by the American Guild of Organists. As part of the first­prize,  Olsen has concertized across the United States under the concert management of Karen McFarlane Artists, and has recorded a compact disc on the NAXOS label. In addition to his many concerts, Olsen recently has been featured on Minnesota Public Radio’s Pipedreams. �Coming Events Thursday, O ctober 1 4 – Mid­Day Concert featuring faculty performers – 1 :20 p.m. – Casadesus Recital Hall – free Friday, Octo ber 1 5 – Child ren ’s Concert – Carnival of the Animals – University  Symphony  Orchestra ­­  an  introduction  to  the  orchestra, Saint­Saens’ Carnival of the Animals with piano soloists, art and poetry – 9:30 a.m. ­ Anderson Center Osterhout Concert Theater – all tickets $4 (Co­sponsored  by  Press and  Sun­Bulletin).  This perform ance is  for school groups. Saturday, October 1 6 – Child ren ’s Concert : Carnival of the Animals – University Symphony O rchestra  – an  introduction  to the orchestra, Saint­Saens’ Carnival of the Animals with piano soloists, art and poetry and a visit from the Ross Park Zoo mobile ­ 3:00 p.m. – Anderson Center Osterhout Concert Theater – all tickets $5 (Co­sponsored by the Press and Sun Bulletin) Thursday,  October  2 1  ­  Mid­Day  Concert  with  faculty  and  student performers – 1 :20 p.m. – Casadesus Recital Hall – free Thursday,  October  2 1  –  Czech  Mates  –  Chamber  music  by  Czech composers  Martinu,  Dvorak,  Husa  and  Janacek  performed  by  music faculty, in association with the exhibit “The Prague P roject” – 8:00 p.m. – Roberson  Museum  and  Science  Center  ­  $15  general  public;  $13 faculty/staff/seniors; $7 students  : I Satu rday,  October  23  –  Family  Weekend  Concert :  Harpur  Chorale, Women ’s Chorus, University Wind Ensemble  – 4 :00 p.m. ­  Anderson Center Osterhout Concert Theater – free Thursday,  October  28 ­­  Mid­Day  Concert  with  faculty  and  student performers – 1:20 p.m. ­­ Casadesus Recital Hall Thursday, November  4  –  Mid­Day Co ncert  with  faculty  and  student performers – 1 :20 p.m. – Casadesus Recital Hall Saturday, November  6  –  Guest  Artist :  Marina  Lomazov, p ianist  – Silver  Medalist  of  the  Cleveland  Piano  Competition  –  8:00  p.m.  – Anderson  Center  Chamber  Hall  ­  $15  general  public;  $13 faculty/staff/seniors; $7 students � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:16:06 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE252009&amp;change_lng=en&amp;select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE252009&amp;change_lng=en&amp;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 Guest artist, Timothy Olsen, organ, October 10, 2004 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2004-10-10 Description An account of the resource Works of Reger, Sweelinck, Bach, Vierne, Franck, Travers, Bizet. Held at 4:00 p.m., October 10, 2004, First Presbyterian Church. Creator An entity primarily responsible for making the resource Olsen, Timothy 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 10/10/2004 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/62ae9f82ae0e3ea9629ba684b6f78588.pdf ea53985befd771b3dd15152d156b674d PDF Text Text Li  i  e c \  Binghamton University Department of Music Xe!   THURSDAY MID­DAY CONCEallRT October 7, 2004 – 1:20 P.M. – Casadesus Recital H lok $50) oN Margaret Reitz, piano § G Donizetti (1797 ­ 1848 ) t z a Aria: Chac un le s from La Fille du Régiment  Nili Riemer, soprano .. .. R. Hahn (1875 ­ 1947) A Chloris ......  Timothy Fallon, tenor F  Schubert (1797 ­ 182 8) Gretchen am Spinnrade  Katarzyna Januzczyk, mezzo soprano G Torelli (1650 ­ 1703) z a Tu lo s Julia Ebner, soprano [ch grolle nicht...  from Dichterliebe  D e r N R  Schumann (1810 ­ 1856) Mark Kratz, tenor / u ’ o a b u Stefanie Sudduth, soprano O mio babbino caro...  from Gianni Schicchi  Wlendnacht = F fi  s i Andrew Sudduth, baritone Aira: Ach, ich  fiihl’s...  from Die Z auberflite  Julia Ebner, soprano Cdes Horosho... Nili Riemer, soprano   e e Aria: e from La Fille du Régiment  Timothy Fallon, tenor F Re  r   e (1797 ­ 1828) ..G. Puccini (1858 ­ 1924) Leslie Hochman, soprano s m l e Schumann   (1810 ­ 1856) W.A. Mozart (1756 ­ 1791) S. Rachmaninoff (1873 ­ 1943) G  Donizetti (1797 ­ 1848)   � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 0:36:18 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE252006&amp;change_lng=en&amp;select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE252006&amp;change_lng=en&amp;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 Thursday mid-day concert, October 7, 2004 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2004 10-7 Description An account of the resource Works of Donizetti, Hahn, Schubert, Torelli, Schumann, Schubert, Puccini, Schumann, Mozart, Rachmaninoff, Donizetti. Held at 1:20 p.m., October 7, 2004, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Riemer, Nill Fallon, Timothy Januzczyk, Katarzyna Ebner, Julia Kratz, Mark Sudduth, Stefanie Hochman, Leslie Sudduth, Andrew 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 10/7/2004 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/c8f87d46d524e684a44e807c6d6c1098.pdf c787e28bab583601d747950acc8cef25 PDF Text Text BINGHAMTON o N 1   V  E  R  oS]  T  ¥ State University of  New York Depart ment of Mus ic La Femme! A Celebration of Women Gig i M itchell­Velas co, mezzo­soprano '  F rank Corliss,  piano Sunday, October 3, 2004 3:00 p.m. Casadesus Recital Hall �Program La Femme!  A Celebration of Women : ­­Intermission­­ Impetuous Youth .  Zwei Lieder aus Goethe’s Egmont, Op. 84..  Freudvoll und Leidvoll  Die Trommel geriihret  Ludwig van Beethoven (1770­1827) Pride, Defiance and Bravery La Mort de Cleopatre.................................................................Hector Berlioz (1803­1869) Courtship, Marriage and Fidelity Frauenliebe und­Leben, Op. 42 n Seit ich ihn gesehen  Er, der Herrlichste von Allen Ich kann’s nicht fassen Du Ring an meinem Finger Helft mir, ihr Schwestern Susser Freund, du blickest An meinem Herzen Nun hast du mir den ersten Schmerz getan o Schumann (1810­1856) Coquette and Longing Mein Liebster hat zum Tische mich geladen..................cc.c.c............... Wolf 1860­1903) Miihvoll komm’ ich und beladen  Verschwiegene Liebe In dem Schatten meiner Locken Ich hab’ in Penna einen Liebsten   Today ’s Woman Speaks o No Ordinary W Bones Be Good  Turning Homage to my Hips Homage to my Hair My Thirty­Eighth Year m a n   ’ Gwyneth Walker (b. 1947) �PROGRAM NOTES Dear Friends: Welcome to another afternoon of song.  For those of you who have never attended one of my programs, you are in for a l o t German Lieder ­   perhaps more than most people ever hear at one sitting.  My teacher and mentor was one of the greatest German Lieder singers and it seems only natural  that  since  I have  an  affinity with  her voice  and technique, so should I also have affinity with the Lieder.  Today’s program, however, offers a bit of a departure from my normal recital style, as I have added two relatively unfamiliar works in other languages.  The first half offers a steady diet of Lieder, and the second half has two different t hings on the menu:  the rarely performed Death of Cleopatra of Berlioz in French and the whimsical jazzy cycle No Ordinary Woman! of Gwyneth Walker in English. In planning this program, I was offered a date in October and decided that, since October is National Breast Cancer Awareness Month, I would love to do a tribute to women. Each set offers a different look into the varied personalities of women and how they deal with their lives.  Each shows us a different strength and vulnerability.  Presumably, no woman is alike, but I am conspiring to prove today that there are things we all share and have in common, whether it is a desire we have had in our deepest fantasies or something that we have stood for outwardly in  how we live our lives. There is a common thread of sisterhood, which crosses all boundaries of race, color, social status or religious belief.  No more is that apparent than in  the  poetry  of  Lucille  Clifton,  a  distinctively  “Black  voice”  which speaks clearly of Black issues, emotions and values, and yet s p e a k s  all of us with such ease and familiarity that we see a part of ourselves in her writing. Be active and become involved either by donation to the charity of your choice or by moral support of someone you know who needs you.  We all depend  on  women  for  their  nurturing,  their  encouragement  and  their female intuition that make our earth a gentler, more beautiful place to live in.  We are all a community of souls that can combine our small lights into one larger one that can light the world.  You can make a difference in someone’s life.  I’m sure you already have!  It  is my sincere hope that today I will make a difference in yours, so please pass it on! Love and Light to you all and do continue reading to enjoy some personal and occasionally irreverent program notes! The two Kliirchen Lieder that open the program are from incidental music that Beethoven wrote for the Goethe play Egmont (like a modern film score of sorts) in 1809.  The idea of a hero in Beethoven’s mind was in  fact inseparable from that of working for a liberated humanity.  The beliefs of Egmont, Goethe and Beethoven were similar in  many ways, and it has been said that Beethoven was so impressed with Goethe’s play that  he  refused  to  take  any  payment  from  the  theater  for  writing  the music.  Egmont is a stirring dramatization of a quintessentially romantic subject: a heroic individual’s fatal struggle against injustice.  His beloved and  devoted  Klarchen  was  a  Burgher’s  daughter  who  plots  to  free Egmont  from imprisonment and, having  failed in that attempt, poisons herself.  In these particular music selections, Klirchen shows her young and  rambunctious side as well as her sentimental side.  Freudvoll und Lcidvoll seems to be a lyric hymn to emotions themselves, emotions that seem to be marked typically by ardent youth.  In Die Trommel geriihret, one can hear the drums rolling in the lower piano and the fife tweeting up high getting ready for battle.  One can hear the middle chords played in off­beats, imitating the shooting guns of battle.  These songs are popular with  voice  and  piano  in  any  range,  but  were  originally  written  for soprano  with  orchestral  accompaniment.  One  is  reminded  of Beethoven’s opera Fidelio, which also portrays a heroine disguised as a man who infiltrates a camp to save her imprisoned husband. The beautiful song cycle of Schumann to the poetry of Chamisso has aroused disdain every time I discuss it with a German speaker.  Many native German speakers (mainly men), while acknowledging the beauty and  importance  of  this  cycle,  have  almost  unanimously  decided  that these texts are insipid and sexist.  1 find that terribly amusing, as i t is a product  of  the  time  in  which  they  were  written.  Indeed,  there  are moments that speak of obeisance and blind adoration.  What I think so interesting, period notwithstanding, is that almost every person who has been  in  love  in  the  delicate  flower  of their  youth  has  had  just  these feelings!  I have planned for many years to sing these songs and I have always felt that they say how I feel about my husband.  Finally I have programmed them, and you know what?  I still feel that way about him! There are eight bricf songs woven together with such stunning simplicity that  it  makes  one  marvel  at  the  honesty  of  emotion  they  portray. Following her li fe from the first time she lays eyes on “him,” Seit ich ihn gave/ion opens with a gentle theme as she recounts how she fell in love at first  sight.  In  E r,  der  Herrlichste  von  Allen,  she  “shouts  from  the �r rooftops,” so to speak, his  praises and  how grand  he  is  in  every way.  Ieh kann ”s  nicht fassen finds her bewilderment as she realizes that he too feels the same way and has professed to “always be hers.”  Du Ring am meinem Finger shows her gazing at her wedding ring, singing of the promises she will fulfill and the responsibility and honor of becoming the wife of the man she adores. In  Helft mir, ihn Schwestern, she asks her sisters to adorn  her and make her ready  for  her  wedding  day.  One  clearly  hears  the  theme  of  this  song transformed  into a wedding march  in  the piano ending.  Siisser Freund, du blickest finds tenderness and intimacy as they consummate their marriage and as she tells him that she hides a beautiful secret; one day his beloved  image will gaze back at him.  The following An meinem Herzen, the happiest of all of these in many ways, is a playful session with their beautiful child as she nurses him and tickles him, making him  laugh.  What a shame it is, she says, that a man can never experience this level of joy!  At the end of this song we  hear clearly the three notes that she has sung at the end of the previous one, ‘dein Bildniss’ (your image).  It is in this three note porten t that we next hear, in the final song, Nun  hast  du  mir den ersten Schmerz get an, the death knell  in a single minor chord.  Here she curses him for her deep sadness caused by his death, leaving her all alone.  She withdraws into herself, a nd there she will find her lost happiness and her w orld.  A fter these words, the theme w e heard at the beginning of the cycle returns.  It is up to you whether or not to believe it is an actual physical death for her, but most definitely i t i s the death o f the woman she was, and this opening the me poignantly cradles this de ep and sad passing. H ugo  Wolf’s first i m portant works, the  songs of  1877­8, arose  from  the effec ts o f  h is sexual initiation and first romantic attachment.  Some are bright, others  agonized,  reflecting  his  depression  and  illness  from  a  syphilitic infection.  Physical  exhaustion  and  depressive  phases stemmed  the  flow  of original  music.  He  wrote  his  last  songs  in  1897,  then  had  the  mental breakdown  that  led  to  his  terminal  illness.  Wol f’s  strength  was  the compression of large­scale forms and ideas ­ the essences of grand opera, tone poem and dramatic symphony ­ into song, combining the Lieder traditions of Schubert and  Schumann.  It  is  rare  to  hear the songs of  Wolf programmed within a song recital.  First of all because they require a monster pianist playing on a monster piano, and almost all o f his songs demand flawless technique and musical intellect from both s inger and pianist.  However, all o f that without a capricious virtuosity means nothing.  Simple, yet someti mes strange melodies set  against  complex  rhythms  and  harmonies  make  for  a  powerful  musical journey.  Three of these songs tonight are of the comic and light  nature, and two are heavy­laden with stunning cf fcct.  Mein Liebster hat zum Tische mich geladen, from an original Italian text, is a romp with pianist and singer recling o ff s eemingly predictable notes that, i f  heard attentively, arc really odd leaps. / ] skips and strange intervals echoing the text vividly.  Miihvoll komm’ ich und beladen  is  from the Spiritual Songs of the Spanish Songbook.  A woman sings in great pain and shame; she begs God to take her and wash her clean of her sins.  Here you hear the full splendor of Wolf‘s complex harmonies.  Verschwiegene Liebe was written by Eichendorff, a favorite poet of Wolf’s.  A serene and quiet mood is set from the very beginning. In the undulating piano chords, one can hear and experience being alone in  nature, watching clouds go  by across the dark sky, and  thoughts of love permeate the air and become almost tangible.  There is a rhythmic disconnectedness  between  piano  and  voice  that  demonstrates  this solitude.  The quietness and gentleness that each use to weave these lines together despite the disconnect is a marvel, creating a calm stillness.  It is as if each  is  resigned in  its separateness, yet woven  together.  In  dem Schatten  meiner  Locken  is  taken  from  an  original  Spanish  text.  A coquette lets us in on an intimate scene where her lover has fallen asleep. She knows she has him just where she wants him.  In the meantime she is terribly  preoccupied  with  her  hair  and  every other  little  thing.  Both pianist  and  singer  must  play  back  and  forth  with  pianist  playing  the spoken words and thought processes.  Ich hab ’ in Penna einen Liebsten is  the “Catalogue Aria” for a woman.  Like the aria in  Mozart ’s opera Don Giovanni that tells how many lovers he has had in which countries, this young lady proceeds to give us the lowdown on her paramours!  The bopping chords in the piano in the beginning give the feeli ng of her brain ticking  and  counting  each  boy  and  his  whereabouts,  ending  with  a fabulous flourish worthy of such propitious luck in love. L a Mort de Cléopétre, a marvelous “little opera” as I am wont to call it, is a marvel of writing and a real  hard sing!  Written by  Berlioz as an entry to a competition, the te xt was provided and strict rul es given.  With orchestral  accompaniment  he  gives  the  orchestra  flashes  of  color, painting  broad  strokes  to  highlight  a  very  dramatic  personality  and historic account of this glorious and proud woman as she recounts her risc and  fall and ultimately screws her courage up to take her own  life with a poisonous asp’s fatal fangs.  It is hard to believe that this entry did not win.  He was a second prize winner the year before and was favored to win.  It was the amazing chances he took in this composition and the individualistic complexities that obviously baffled the judging panel that caused his demise and stood in  the way of his claiming first  prize.  The following  year,  he  entered  again  and  conformed  strictly  to  the compositional rules and at long last, won fiv e years ’  financial support, with an obligatory period of residence in  Italy.  What remains from that �fourth entry  is an extraordinary piece of music that  is  rarely performed  but always well received.  ­ There are a select  few who  hold  this piece  in  their  repertoire, and  one might say it is written  for a certain type of singer, since it has a considerabl e range and resides a great deal  in  the soprano territory.  lt has been sung by sopranos  and  mezzo­sopranos  alike  and,  despite  its  considerable  vocal demands, concerns  itself more  with  an  attitude and d ramatic  portrayal  than vocal category.  This scéne  lyrique or operatic  scene as Berlioz calls it,  is divided  into  sections  and  opens  with  an  overture­like  introduction.  A » ­ recitative,  C ‘en  est  donc  fait!,  follows  as  Cleopatra  recounts  her  story  in narrative style, which eventually gives way to a simple song, Ah! Qu ’ils sont loin ces  jours, when she recalls her past glory.  Another narra tive follows – Au comble des revers – on  how quickly  fate can turn  giving way to misery and disaster.  Where w ill she flee with no place to go, no parents, no  country?  Here she decides that nothing is  left to her but death – “eternal night.”  The second hal f, Méditation,  is inscribed with Juliet ’s words from Shakespeare : “ I f  when in the tomb 1 am laid...”  A somewhat ritualistic dirge begins in the orchestra’s depths, a droning yet jerky  rhythm  from the strings accompanied by muddy dull  brass chords  seemingly  invoking the  underworld.  Cleopatra  intones a prayer, Grands Pharaons, to the gods and pharaohs of old to accept her into the poetry, the words of not only a Black woman but of “Every Woman,” “Today’s Woman,” as she speaks with  clarity  and honesty  about  her shortcomings,  her  disappointments,  expectations,  and  the  inevitable loneliness that comes with the wisdom o f “coming of age.”  The music, itself  sometimes  in  a  through­composed  jazz,  is,  just  as  the  poetry, alternating between  lyricism and  percussive humor.  Generic but also ethnic  in  nature,  it  encompasses  a  wide  range  of emotion  which  is intensified by the use of humor in describing potentially touchy subjects: round hips, nappy hair and of course the big “4­0.”  It recounts crossing A fterlife.  A defiant sect ion follows – Non, j’ai d ’un époux déshonoré la vie – where she proclaims that she w ill take control o f her destiny and decides to k ill herself by a poisonous asp.  She cries out to Osiris and then says, “To  Typhon, l deliver all m y days.”  It is here that she takes up the vile reptile, and one hears clearly in the accompaniment the very moment when she is bitten.  Here the frenzied  accompaniment  winds  down  to  two  low  notes  undulating  an unmistakable heartbeat, in itially quick­paced, then accelerating as  the poison takes affect.  A ll the while she tells that she w ill leave this li fe, even as the the threshold  from Maidenhood to Womanhood and from Womanhood to  the  Wise  Crone,  a  passage  all  we  women  make  sometimes humorously, sometimes painfully, but in this lady’s case always with her eyes wide open for the journey! Emperor Octavius awaits her on his chariot, and through her courage to take her own li fe, she is at la st worthy o f Cacsar.  As she says these her final words, we  hear her  heartbeat slowing down and missing  beats, stopping,  restarting, then fast again as if she is revived, and then it halts to only an occasional beat, Finally, we hear nothing, as the chords swell to bring down the curtain on one of history ’s most glorious and proud women. I  can thank my soprano friend, Maria Ferrantc, for introducing me to the wonderful  song  cycle  No  Ordinary  Woman!  which  was  commissioned  by soprano  Denise  Walker and pianist  Estrid  Eklo f  for  its  premiere  at  Brown University in  December 1997.  1 am compelled to write about the composer, Dr.  Gwyneth  Walker,  since  she  is  the  only  woman  composer,  the  only A merican, as w ell as the most contemporary one (b. 194 7) in today ’s program. She  is a  graduate  o f Brown Univ ersit y  and the  Hartt  School o f Music, and holds B.A., M.M. and D.M.A degrees in composition.  A former faculty member  of  the  Oberlin  College  Conservatory,  she  resigned  from academia in 1 982 to compose music fulltime.  She now lives on a dairy farm in  Braintree,  Vermont, and  is  a  recipient  of the  2000  Lifetime Achievement Award  from the Vermont Arts Council. The cycle’s rich text was written by the A fro­American poet laureate Lucille Clifton.  Clifton, Maryland’s poet laureate from 1979 to 1985, has led anything but an abstract life.  She grew up poor in Buffalo and was abused by her father, something she will not let get in the way of seeing  him  as  an  individual,  a  flawed  but whole  person.  “I  identify myself in many ways,” she told Jean Marbella of The Baltimore Sun in 1996.  “Victim is not one of them.  One goes on i f one can.”:  Her words are  strong  like  a tasty heavy meal  peppered with piquant  words that trickle over the tongue.  Clifton’s humor is wonderfully bold, even as her writing itself is subtle; this is one strong woman who has lived a full and thorough  life  and celebrates her  femaleness.  This is strong beautiful k ­ ~ 1 k r  t r r t r e r t k r �ABOUT THE PERFORMERS Mitchell­Velasco  has also performed in  recitals extensively in  Russia, Switzerland, Singapore, Manila, New York, Boston, Seattle, Honolulu, Fort Worth and Providence. Her repertoire includes Berlioz’ Les Nuits d ‘Eté and La Mort de Cléopdtre, Ravel ’s Chansons Madécasses, Falla’s Siete  canciones  populares  espariolas,  Fine’s  Childhood  Fables  for Grownups,  Walker’s  No  Ordinary  Woman!,  Beethoven ’s  Kldrchen Lieder  from  Egmont,  Schumann’s  Frauenliebe  und­Leben,  Wolf’s Mignon Lieder, and many other Lieder of Brahms, Mahler, Schubert and Strauss.  She has taught privately with her husband, tenor Noel Espiritu Velasco, privately and also in masterclasses in Manila at the University of the Philippines College of Music and in Little Rock, Arkansas at the Rob Taylor Choral Festival.  She was invited to adjudicate in the 2004 Canadian  Music  Competitions  in  Toronto.  She  recorded Korngold’s Einfachelieder and  Abschiedslieder with  Bruckner Orchester  for  ASV which received rave reviews. GIGI MITCHELL­VELASCO is among emerging artists of the world’s opera and concert stages. With a voice ideally suited to the German romantic repertoire,  she  has  been  praised  by  the  critics  and  public  alike  for  her interpretations of Mahler, Strauss and Wagner. She was personally invited by her mentor, Christa Ludwig, to sing in the Carnegie Hall Mahler & Brahms Song Workshop/Recital. Of her Mahler Kindertotenlieder, New York Times’ Anthony  Tommasini  wrote  that  she  sang  with  a  “dark­hued  sound  and elegance,” and the  Wall  Street Journal called  her  “the most finished artist, sensitive to every nuance of the text.” Of her Brangaene at Florentine Opera last February, Erik Eriksson wrote: “Gigi Mitchell­Velasco is world­class in every aspect. Slim, even willowy, she creates a devoted companion who seeks to do right, but sets loose forces beyond her comprehension. Mitchell­Velasco’s mezzo  is  beautiful,  compact  and  supple,  offering  an  unbroken  legato unmatched since her mentor, the great Christa Ludwig, commanded the role. To hear her pour forth measure after measure of inexhaustible tone carries one back to the era when Wagnerian titans regularly trod the world stages. Her extensive concert engagements include  Mahler’s Das Lied  von  der Erde with Ural State Philharmonic (Sarah Caldwell), Oak Ridge Symphony (John  Welsh),  and  Sacramento  Chamber  Symphony  (Nov.  2004),  Second Symphony in Calgary (Hans Graf) and Pioneer Valley (Paul Phillips), Third Symphony in Santa Barbara (Ben­Dor) and West Virginia (2005) and Eighth Symphony  in  New York,  Philadelphia  (Robert  Page) and  Boston  (Zander); Verdi’s  Requiem  in  Avery  Fisher  Hall,  New  Philharmonia,  Ural  State, Charleston (David Stahl) and Florida (Jahja Ling); Bach’s Weihnactsoratorium in Saint Paul and Matthduspassion in Milwaukee (Andreas Delfs); Dvorak ’s Requiem  (Prague  Autumn  Festival)  and  Stabat  Mater;  Beethoven’s  Ninth Symphony in Minnesota (Eiji Oue), Houston (Graf) and San Francisco (Tilson Thomas, 2005); Berlioz’ Romeo et Juliette in San Antonio, Berlioz’ L ’Enfance du Christ in Boston (Jeffrey Rink), Ravel ’s Shéhérazade and Falla’s El Amor Brujo. In opera, she portrayed Brangaene (Tristan und Isolde) also with Opera Orchestra of New York (Queler) and Charleston, Octavian (Der Rosenkavalier, Minnesota),  Carmen  (Prague  State  Opera),  Maddalena  (Rigoletto, Braunschweig  Stadtstheater),  Dorabella  (Cosi  fan  tutte,  Toledo),  Composer (Ariadne auf Naxos) and  Fricka (Rheingold) with New York Opera Project, Orlovsky (Fledermaus), Federica (Luisa Miller, Opera Boston, Spring 2004) and Elizabeth Proctor (Crucible, Opera Boston, 2005). An accomplished recitalist, Summer 2003 saw her debut at Newport Music Festival  in  Mahler’s  Lieder  eines  fahrenden  Gesellen,  Mozart ’s  Ch ’ia  mi scordi di te, and 13 other concerts of various works, mostly by Poulenc. Ms. T FRANK  CORLISS  is  the  rehearsal  pianist  for  the  Boston Symphony Orchestra and the Tanglewood Festival Chorus, and is the Director of Music at the Walnut Hill School.  A frequent performer on the  Boston  Symphony  Prelude  Concert  Series,  he  also  performs throughout the United States as a chamber musician and collaborative pianist. Corliss also works as a musical assistant for Yo­Yo Ma. He has assisted  Ma  in  the  musical  preparation  of  many  new  works  for performance and recording, including concertos by Elliot Carter, Richard Danielpour, Tan Dun, John Harbison, Leon Kirchner, Peter Lieberson, Christopher Rouse and John Williams. A graduate of the Oberlin Conservatory of Music, he received his Master of Music  from SUNY at  Stony Brook where  he studied with Gilbert Kalish.  While at Oberlin, he received the Rudolf Serkin Award for Outstanding Pianist and was a member of the Music from Oberlin Ensemble, which toured throughout the U.S.  He has also studied at the Mozarteum in Salzburg, Austria, and the Cracow Academy of Music in Cracow, Poland.  Corliss has participated in several summer festivals, including the Tanglewood Music Festival and the Taos Chamber Music Festival.  He was appointed as an Artistic Ambassador for the United States Information Agency and in that capacity went on a three­week concert  tour  of  Eastern  Europe.  He  can  be  heard  on  Yo­Yo  Ma’s Grammy­winning  SONY  disc  Soul  of  the  Tango  as  well  as  a  Koch International disc of music by Elliot Carter for chorus and piano with the John Oliver Chorale. �Coming Events Thursday, October 7 –  Mid­Day Concert with  Master of Music  in  Opera Program student performers – 1 :20 p.m. – Casadesus Recital Hall – free Saturday, October 9  –  An  Evening of  Jazz : Houston  Person Q uartet – Houston Person, tenor saxophone; Stan Hope, piano; Per­ola Gadd, bass; and Chip White, drums – 8:00 p.m. ­ Anderson Center Osterhout Concert Theater – $20 general public; $15 faculty/staff/alumni/seniors; $8 students Thursday, October 14 – Mid­Day Concert featuring faculty performers – 1:20 p.m. – Casadesus Recital Hall – free Friday, October 1 5  –  Children ’s  Concert  –  Carnival of  the  Animals – University Symphony Orchestra ­­ an introduction to the orchestra, Saint­ Saens’ Carnival of the Animals with piano soloists, art and poetry – 9:30 a.m. ­ Anderson Center Osterhout Concert Theater – all tickets $4  (Co­sponsored by Press and Sun­Bulletin).  This performance is for school groups. Saturday, October 1 6  –  Children ’s  Concert : Carnival of  the Animals  – University Symphony Orchestra  – an introduction to the orchestra, Saint­ Saens’ Carnival of the Animals with piano soloists, art and poetry and a visit from the Ross Park Zoo mobile ­ 3:00 p.m. – Anderson Center Osterhout Concert Theater – all tickets $5 (Co­sponsored by the Press and Sun Bulletin) Thursday, October 21 ­ Mid­Day Concert with faculty and student performers – 1 :20 p.m. – Casadesus Recital Hall – free Thursday, October 21 – Czech Mates ­­ Chamber music by Czech composers Martinu,  Dvorak,  Husa  and  Janacek  performed  by  music  faculty,  in association with the exhibit “The Prague Project” – 8:00 p.m. – Roberson Museum and Science Center ­ $15 general public; $13 faculty/staff/seniors; $7 students Saturday, October 23 – Family Weekend Concert : Harpur Chorale, Women’s Chorus, University Wind Ensemble – 4:00 p.m. ­  Anderson Center Osterhout Concert Theater – free Thursday,  October  28  –  Mid­Day  Concert  with  faculty  and  student performers – 1 :20 p.m. – Casadesus Recital Hall � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:19:58 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE252003&amp;change_lng=en&amp;select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE252003&amp;change_lng=en&amp;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 La Femme!: a celebration of women, October 3, 2004 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2004-10-3 Description An account of the resource Works of Beethoven, Schumann, Wolf, Berlioz, Walker. Held at 3:00 p.m., October 3, 2004, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Mitchell-Velasco, Gigi Corliss, Frank 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 10/3/2004 Rights Information about rights held in and over the resource In copyright