90 10 1775 https://omeka.binghamton.edu/omeka/files/original/21835835ea708d3c23dee520d9157e2a.pdf f0d909c54be83e932450f229a32e3e81 PDF Text Text BINGHAMTO N U N I V E R S I T Y STATE U NI V E R S I T Y  O F  N E W   Y O R K ted/w Es D E P A R T M E N T O Binghamto n  (ZZIII’VBI’J’I’Q Wind Qfiymp/mny presents ”@naa Q fi p m a    C i m e ” D ANIEL F ABRICIU S , C ONDU CTOR Su nday, April 2 6, 2015 3 :00 p.m. Anderson Center Chamber Hal l �PROGRAM UNIVERSITY WI ND SYMPHO NY Daniel Fabricius, Conductor FATE OF THE GODS (2001)  THOUGHTS OF LOVE (1893).  Steven Reineke (b. 1970) Arthur Pryor (1870­1942) Arranged by Charles J. Roberts Christopher Beard, trombone GHOST TRAIN (1994). Eric Whitacre (b. 1970) I. Ghost Train Il. At the Station Ill. The Motive Revolution MARCH OF THE CUTE LITTLE WOOD SPRITES  .P.D.Q. Bach (1807­1742)? Charmingly edited by Professor Peter Schickele ‘  ‘  ‘  ‘  * INTERMISSION ’  0 0 ’   0 THE PHILOSOPHER’S STONE (2000).  MAZAMA, Legend of t h e P  acific Northwest (1984).  .Thomas C. Duffy (b. 1955) J a y  Chatta way PICCOLO Jennifer Bochicchio ALTO SAXOPHONE Julia Dunnigan Riley Monck­Rowley FLUTE Eleni Florakis Jacqueline Robins Cara Natale Shelby Smith Lydia Carolan Devin Kasinki TENOR SAXOPHONE Crystal Fisher TUBA Matthew Vegiard Patrick Jones Michael Burgner Chang Letitia Kar Hoo Jonathan Terner Jason Boniello POLKA AND FUGUE, from the opera, “Schwanda the Bogpiper “ (1927). Jaromir Weinberger (1896­1967) Transcribed by Glenn C. Bainum BASSOON Bailey Thomas Diana Carter Carl Closs EUPHONIUM Ryan Shumaker TRUMPET Rebecca Marwin B ASS C LARIN ET Jacob Solon Joshua Yamuder Michael Sugarman Brandon Young Brandon Ashley (b. 1946) Christopher Beard BARITONE SAXOPHONE Daniel Gross OBOE Jenna Graff CLARINET Erin Annis Allison Battaglia Alaina Mancini Jessica Siegal John Petersen Steven O’Connor Brittany Sheridan Katherine Fottrell Si Yoon Kwon TROMBONE David DeFazio Paul Barber Josh Golub FRENCH HORN Daniel Muller Christopher Patrizzio Jeffrey Barker Ma tt Mc Auliffe Brian Sternberg Austin Hassel PERCUSSION Emily Goetz William Potts Alex Rava Robert Hopkins Daniel Kim Annabel Fair Joey Glowienka Kasha Pazdar David lndictor ORGAN Daniel Rosenau �CONDUCTOR PROGRAM NOTES Daniel Fabricius has been a member of the music faculty since 1992, serving as percussion instructor for twenty years before his appointment as conductor of the Wind Symphony.  He holds degrees from Mansfield University and Ithaca College and has studied conducting with Donald Stanley (Mansfield University), Rodney Winther (Ithaca College), Stephen Peterson (Ithaca College), Col. Arnald Gabriel (US Air Force), and Mallory Thompson (Northwestern University).  In addition to his duties a t BU he also serves as Director of Bands a t Owego Free Academy where he has developed an outstanding instrumental music program. The bands at OFA have received plenty of praises and the OFA Jazz Band has been  honored  to present  concert  performances  at  the  NYSSMA  Winter Conference in 2008 and 2013. FATE OF THE GODS ­ a programmatic work for symphonic band, was inspired by tales of Nordic mythology. The programmatic piece tells the story of Ragnarok, also known as the Twilight of the Gods. An incredible war between forces of good and evil is fought, bringing about the end of the cosmos. After the destruction, a new and idyllic world will arise and this new earth will be filled only with joy and abundance.  The first section of the piece represents the creation of the primordial world in which forces of both good and evil are established. The second section is the development of the dark, devious hemes that symbolize the God Loki, the personification of all things evil. This theme gives way t o  the more soothing music tha t represents the God Balder, son of Odin. Blader personifies all that is good, pure and innocent. When evil ensues once again, Heimdall, the watchman of the Gods, sounds his horn, signaling the beginning of the end.  From all the corners of the world, gods, giants, dwarves, demons and elves will ride towards the huge plain where the last battle will be fought. This tremendous battle brings about the massive chaos and eventually the destruction of the world. All is destroyed save one tree, the tree of life, known as Yggdrasil. The tree gradually brings existence back to the world. This ­time it is on y forces of goodness which are created. Evil has destroyed itself and good has won over all. He is highly regarded in the region as a conductor, as a percussion performer, and  as  a  music  educator.  He  has  been  a  member  of  the  Binghamton Philharmonic percussion section since 1982 but is also comforta ble performing in  popular, rock,  jazz, and  other styles.  He  has  played  as  a  free­lance percussionist, accompanying national touring artists such as Michael W. Smith, Tommy Tune, J erry Vail, Lorrie Morgan, Ringling Brothers Circus, the Smothers Brothers, and Ella Fitzgerald. Professor Fabricius has served the New York State School Music Association as an All­State Percussion adjudicator for many years. He also serves NYSSMA as the Instrumental Jazz Reviews editor of The School Music News and is the Jazz Editor for the NYSSMA Manual.  In addition t o  his collegiate work at BU, he has also served Ithaca College as a consultant, as a member of the Summer Session faculty, and as a cooperating teacher for over 35 student teachers.  He has presented many clinics a t music conventions and conferences and often serves as a guest conductor for honor ba nd festivals. TROMBONE SOLOIST Christopher Beard is a junior from Kingston, N.Y., who is pursuing a dual degree in Computer Science and Mathematics. He has been playing the trombone since fourth grade, and currently studies with Donald Robertson here at Binghamton University. Chris also plays with Don’s Low Brass Studio Ensemble, and has previously performed with the University Symphony Orchestra, directed by Dr. Timothy Perry. In his free time, Chris enjoys programming, solving puzzles, and making multi­track trombone recordings of himself. Born in 1970 and raised in Tipp City, Ohio, Steven Reineke focused his youthful musical pursuits on learning to play the trumpet. At  age fifteen, he taught himself how to play the piano. He continued his trumpet studies at Miami University in Oxford, Ohio, receivin  two bachelor of music degrees with honors in both trumpet performance and music composition. Steven Reineke started his tenure as Music Director of The New York Pops in the 2009­ 2010 season. Mr. Reineke conducts the orchestra’s annual concert series at Carnegie Hall as well as tours, recordings, and nationwide telecasts, including the Macy’s 4 July Fireworks Spectacular on NBC Television. New York’s only permanent and professional symphonic pops orchestra, The Ne w York Pops is the largest independent pops orchestra in the United States. Reineke was appointed Principal Pops Conductor of the National Symphony Orchestra and began his first season in 2011/12. He also serves as Principal Pops Conductor of the Lon  Beach and Modesto Symphony Orchestras. Previously, he was Associate Conductor of the Cincinnati Pops Orchestra, where for fifteen years he served as a composer, arranger and conducting protégé of the late celebrkatled pops conductor Erich Kunzel. [Notes from conductor score ­ Steven Reine e �GHOST TRAIN ­ was a total fluke. In the fall of 1993, while an undergrad at the University of  Nevada, Las  Vegas, I  happened  to hear  the wind symphony rehearsing through closed doors. I snuck into the band room and sa t entranced for 50 minutes, transported by what was, hands down, the single loudest music I had ever heard. 6 percussionists! 8 trumpets! I was in love. After the rehearsal I approached Thomas Leslie, the conductor, and asked if I could write a piece for their group. He said (without hesitation), “sure, and if it turns out well we’ll play it at the CBDNA convention in the Spring.” Now, up to this point I had never written for instruments before, only singers, so I got all of my friends who were instrumentalists and took them  through their paces: “What pieces do you love to play? Which register is most comfortable? Which instrument sounds best when doubled with your instrument? etc.” I struggled with the work all through Christmas break (I wrote it in Las Vegas, Lake Tahoe, and Waco Texas) and presented Tom with the first movement when school resumed. He played it beautifully at the convention, and BOOM  the thing took o ff  like a shot. Band directors began calling me a t home, trying to buy it from me, and my formal career as ‘composer’ had begun.  I wrote the second and third movement a year later, and Tom premiered the whole thing in the Spring of 1995. I graduated two months later and headed for Juilliard. Ghost Train is dedicated to the man who brought it to life, Mr. Thomas G. Leslie. The legend of the Ghost Train, a supernatural machine tha t roars out of the night through forgotten towns and empty canyons, is deeply rooted in American folklore, and i t  was this spirit I worked to capture. The compositional challenge came in creating a larger three movement work from the first movement which was originally conceived and performed a s a single event. I felt tha t the use of trains as a source of sounds and inspirations was virtually inexhaustible, but I wanted to save the integrity of the original while using it as an architectural foundation.  At the Station (movement 2) is just that: the train comes to a roaring halt and the passengers depart.  In this movement I see countless images; friends and family reunited, the soaring architecture of the station itself, and the genuine sincerity and innocence of the era.  After a reflective pastiche the locomotive builds up steam and slowly departs, grand and graceful. The Motive Revolution (movement 3) is twofold in it’s implication.  The name refers to t he period between 1850 and 1870 when s team engines revolutionized transportation, and also describes the cyclical treatment of musical motive throughout the movement. The train blazes across the country side, moonlight glistening o ff  it’s dark  steel, and ends with a  fina l heroic tribute to these machines and the people who worked them. The first movement was written in the winter of 1993­94 and received its premier March 7, 1994.  Movements II and III were written in the winter of 1994­95, and the entire triptych received its premiere on March 14, 1995. Ghost Train was written for and dedicated to Thomas G. Leslie and the University of Nevada, Las Vegas Wind Symphony. Born in 1970, Eric Whitacre is quickly becoming one of the bright stars of the American  music  scene.  He  is  a  regularly  commissioned  and  published composer, and has received performances of his works throughout the world. Eric  has  received  awards  from  ASCAP,  the  American  Choral  Directors Association, the Barlow International Foundation and the Dale Warland Singers commissioning program.  As a conductor, Mr. Whitacre has served as principal conductor of the College Light Opera Company, chorus master of the Nevada Symphony Orchestra, and has appeared as a guest conductor with the Gregg Smith Singers and  the San  Francisco Symphony  Chorus.  Eric  has  studied composition with John Corigliano and David Diamond and holds the Master of Music degree from the Juilliard School of Music.  [Notes from conductor score – Eric Whitacre] THOUGHTS OF LOVE – was composed by trombone virtuoso, Arthur Pryor. In 1892, J ohn Philip Sousa ’s newly formed concert band made its first appearance in Plainfield, New Jersey. Tom Shannahan, who was one of many who left Gilmore tojoin the new Sousa Band, informed Sousa of Pryor’s ability, and Sousa invited Pryor to audition for the band. Settled with his work in the opera company. Pryor was at first reluctant to leave. But he decided to accept Sousa’s offer to see him in New York City, arriving there with his trombone and 35 cents. After spending a lonely night on a park bench in Union Square, he attended his first rehearsal. Even as he was warming up he made quite an impression, “We had  never  heard  such  tones come  out of a  trombone  before,  but fast!” trombonist Marc Lyons told Glenn Bridges years later. Lyons also recalled that a t tha t first rehearsal, Frank Holton, then first trombonist, asked Pryor  to play a difficult passage Holton had been having trouble with. A fter Pryor played it Sousa stopped the band and said, “Frank that is fine, and the first time you got it right. Frank stood up and said, “Mr. Sousa i t  wasn’t me playing but this young fellow Pryor.” Holton was ready to s tep down immediately, but Sousa asked him to stay on for a time, since “this young fellow may be just a flash.” Holton reluctantly agreed to stay but left the band in the fall of 1893, and Pryor became first chain (In later years, Pryor was to endorse the trombones made by the Holton Company.) Pryor was only 22 when he played his first solo with the Sousa Band durin  the World Columbian Exposition in Chicago in 1893. According to accounts o f the day, he played his own “Thoughts of Love to a crowd who just stood in awe, then cheered and threw their hats in the air. That was the first of some 10,000 solos tha t Pryor estimated he played during the 12 years he was with the Sousa Band.  [Notes  by  Daniel  F.  Frizane  and  Frederick  P.  Williams  ­  from www.wgpark.com,  a  site  dedicated  to Willow  Grove  Park, referred  to as America’s Summer Music Capital.) MARCH  OF  THE  CUTE  LITTLE  WOOD  SPRITES  –  P.D.Q.  Bach  spent  the considerable bulk of his creative life in the small southern German town of Wein­am­Rhein  a town npt noted for its high incidence of cultural activity. Nevertheless,  its  one  theater,  the  compact  and  charmingly  decrepit H owdvolkstheater, was usually kept busy, either with appearances by touring thespian  or  musical  groups,  or  with  compact  and  charmingly  decrepit productions put on by one of the local outfits.  It was here, for instance, that P.D.Q. first heard the popular string band for whom he Iater wrote the Bluegrass Cantata, Tommy Mann and his Magic Mountain Boys.  It would be natural to assume tha t the title of the march under consideration was simply another example of the naive programmaticism that was part and parcel of the German raly  Romantic  movement,  but  it  turns  out  that  the  piece  was  actually commissioned b  a band of cute little wood sprites, a travelling troupe  of extremely small  olk who played the Howdvolkstheater in April 1783, the Cute Little Wood Sprites, as they called themselves, asked P.D.Q. to write some entrance music for the beginning of their show, and they were so pleased with the result tha t a fter the first performance several members of the troupe, still wearing wigs and halos, climbed up on the top of the composers and did a jig, giving rise, incidentally, to the classic question, “How many angels can dance on a pinhead?”  The vocal passage in the eighth measure is based on the reaction of the audience to seeing the sprites come on stage; P.D.Q. was so pleased by the sound that he incorporated it into the score.  A large wind and percussion ensemble is called for, but how many players actually  show up is another matter. (Notes from conductor score ­ Professor Peter Schickele] �Binghamton Community Orchestra Ie  U Precentig Quality  Orchestral  Eporivnscs  for  the 2071­2075 S e a s “The Mighty Handful”  NRE  v  §  ._y  ..i  = 35  E r–  ,  i ‘ J   5 Saturday. February 28. 2015 I–  u  2  Welcoming back to the podium as conductor J}  #  ‘  BINGHAmTON  PHILHARMONIC Josi­Luisllow  ( D M  usnc Director 3 4  S '; = S S _ 0 DrJImottyPerry E  [43 C  oncerts sun at  7 pm East Middle School  wv e R ) A    Yeu, Crchesfha “ Romantic Spring” Saturday. May 9. 2015 167 585!  Frederick Street  .  BmglnmmNY13904  20142015 SEASON T~­;E “How Suite It Is!” Saturday. November 22. 2014  m  3 ae   \ E N S Binghamton  I ­ Commaity      &  1 i  607­723­3931 I  o e ay  T A ‘  l W  CY  rk  ‘ L   =  .  “1  & J  @  [ L i f   EE  FE  ‘  J ) “15   J ” , ­  A ’ S   ­ c —  _  p e   By  o 34  if...  '    E  4  G i f F 607­217­4110  6 ; g    5    #  , N   mton  \1'  .  — & ­ s 0   S I E   Lessons and Carolsf’or Chrimnns  Sunday, Ma y 1 7, 201 5, 3:00 p. m .  Trinity M emorial Church, 44 Main Street, Binghamton  .  3  ­  a  3..  r?v   1 1 1 ;  y  : 5 Down town S  tyr  , ­ Dvorak Requiem  wryy ­ O r. rchesrta 11,175.17.me  . 8 0  3, 3  J,“  A  ,  Y  .  o‘  FEC  ­. 3°“ M“ “m“ I“""’°" W Y .  AnnualHandel’SMmiah  Will; Orchestra and Soloists  December, 2015  .  ~ 3 '  ' m x x l x x — x x m x x m  r r o  e  1 B u y O   n eT   i c k e t  ­  G e t  O n e F   R E E   } a  a  n o ..1  .  . . 13 ? H M 1,1   5  M fl fi ‘ ” “ "  " " ’   " ” “ “""““"'““'  V  , .  ,  , y . ­  ,  Coupon redeemableon concere days only at nurmnccrrrsireboxotfice  ,  w . v ­  H a sc   m   D The M   a d r iga l  C hoir  of B i ngha mt on   201 3­ 2014  3 37th Sea son  7 2 : 1   “  D ,eva w i l l ­ 1 9 5 m m  (Admiral/r. o f .  Tm i oht .  _ ‘  E  ­ . . ” J oh n s oSarurd  n  Memorial M ENM   flhodi“ M a y  30, 2015 Sat u rday, Nove m ber 29, 2014, 7:30 p. m .  Sunday, November 30, 2014, 3:00 p.m.  Church of t he Holy Trinity, 346 Pr os pec t Street, Binghamton  =  M  r i n   Concer t 7 s e   A n n u a l spring fi,‘  Sunday, Octo ber 19, 2014. 3:00 p.m. ”  Uni e   b yterian Churc  ton  “I  d Pres i  h , 4 2 ChI e na n g o  Street , Blngham  Bi Psinging the Psalms  e H   A .  How can [ keep from singing  ( bd w w w . mad r l g a l c h o i n c o m ‘ .   3  e www.binghamtonphilharmonic.org J " ;   J Visit wwvt'BinghamtcanummityOrdxestraorg for more information! I An,  _  310Lvi\C7TT1151(J V a h d fi r a n y  2 0 1 5  D o w n t o w n  S i n g e r s1 . . .“ r u n / 1 m   i  X   www downtownsingers.org cancercsa smyrrcom­m7m50325‘  x h – – . – . . – . . – . – . – . n . " 1 “ . . . – 1 ‘ �B i n g h a m t o n Un iver s i t y M u s i c  D e pa r t me n t’s Co m i n g  E ve n ts M M f V M b M G G V E – M M Tuesday, April 28 ­  Percussion Ensemble ­  7:30 p.m. ­  Anderson Center Chamber Hall ­  $7 general public; $5 aculty/staff/seniors/alu mni; free for students Thursday, April 30 ­  Mid­Day Concert ­  1:20 p.m. ­  Casadesus Recital Hall ­  free Th ursday, April 30 ­  Piano Ensemble ­  7:30 p.m. ­  Casadesus Recital Hall ­  free Friday, May 1 ­  Flute Studio and  Flute Chamber Concert ­  10:15 a.m. ­  Casadesus Recital H a l l  – free F r i da y, M a y  1 ­  Bra s s R e c i t a l  – 4 p.m. – Ca sadesus Rec ita l H a l l  ­  free Saturday, May 2  – Senior  Recital: Daniel Malinovsky, piano –  12  noon  ­  Casadesus Rec ita l H a l l  ­  free Saturday, May 2 ­  Master’s Recital: Jenny Gac, soprano ­  3 p.m. ­  Casadesus Recital Hall ­  free Sunday.  May  3  ­  University  Chorus  and  Symphony  Orchestra:  Mendelssohn’s­ “Lobgesang”  ­  3:00  p.m.  Osterhout  Concert  Theater  ­  $7  general  public;  $5 fa c ul ty / s t a ff / se nior s / a lum n ni ;  free for  student s Sunday, May 3 ­  Joint Recital : J unior Max Rydqvist, baritone and Senior Ricky Nan, tenor – 7:30 p.m. ­  Casadesus Recital Hall ­  free Th ursday, May 7  ­  Student Recognition  Mid­Day Concert  ­  1:20  p.m.  ­  Casadesus Recital hall ­  free Th ursday, May 7 ­  Ha rp u r Chorale and Women’s Chorus Spring Concert ­  7:30 p.m. ­  A nderson Ce n t er  C ha m b er  H a l l  ­ $7 general public ; $5  fa culty/ staff/ seniors/ a lum ni ; free for students M M M M M ' fi M M M M M M b For  tickets or to  be  added  to our  email  list, nsit anderson.binghamton.edu or  call  (607) 777’ARTS. For a complete list of  our concerts call  (607) 777­2592. l’lSit music.binghamton.edu or  become a fan on Faceboolc. If you were inspired lw  this performance, consider supporting the Department —  »  [ = ]   — [ = ] of Music wi th a financial gift. Your support helps to continue the work of   students, faculty , and guest artists and their contributions to our community. Please make your donation payable to the Binghamton University M us ic   Department, and  send  your check to B U Music Department, P.O. Box 6000sss, Binghamton, N Y 1 3 902 * * * � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:18:08 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74828">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74828</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Binghamton University Wind Symphony presents Once Upon a Time  Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Reineke, Pryor, Whitacre, Bach, Duffy, Chattaway, Weinberger. Held at 3:00 p.m., April 26, 2015, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource University Wind Symphony Fabricius, Daniel  Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Reineke, Steven Pryor, Arthur Whitacre, Eric Bach, P. D. Q., 1742-1807 Duffy, Thomas C. Chattaway, Jay Weinberger, Jaromir Date A point or period of time associated with an event in the lifecycle of the resource 4/26/15 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/acc966c9ed33a9020c83dbf6e5fe0890.pdf d2cc0de6b9fc568b82ab540d4683f3a1 PDF Text Text BINGHAMTON U N I V E R S I T Y S T A T E   U N I V E R S I T Y   O F   NEW  Y O R K widee D E P A R T M E N T MASTER OF MUSIC RECITAL JAKE STAMATIS, BASS­BARITO NE WlTH JOHN ISENBERG, PIANO SPENCER PHILLIPS, DOUBLE BASS FRIDAY, APRIL 24, 2015 7:30 P.M. CASADESUS RECITAL �&  PROGRAM  ~€s “Per questa bella mano”, KV 612 W.A. Mozart (1756­1791) Spencer Phillips, double bass ...Anton Webern (1883­1945) .. Alban Berg Der Tod ..  Tief von fern  Abschied .  (1885­1935) Traurigkeir  .Amold Schonberg (1874­1951 ) Wamung . .. Jules Massenet Riez, allez..  (1842­1912) from Don Quichotte  @» Interm ission @» L’Horizon chimérique, Op. 1 18..  La mer est infinite  ] e  me suis embarqué Diane, Séléné . Gabriel Fauré (1845­1924) Vaisseaux, nous vous aurons aimes Eight Songs of Americana, Op.22  Vision  Arizona Three Black Crows Beaver Ca p, Sir Pretty Molly Mother­In­Law Old White Mule The Maple on the Hill Song of Black Max. Richard Hugunine (b. 1955) . William Bolcom (b. 1938) This program u offered in partial fulfillment of the requirements for the degree of Masters of Music in Opera. Jake Stamatis is a student of Thomas Goodheart. �Program Notes Wolfgang Amadeus Moza rt was one of the most influential composers of the classical era, and perhaps of all time. His music is characterized by a consonant playfulness. as well as melodic intricacy that reflect the sort of spirit that Mozart had in his own life. Per questa bella mano is no exception to these traits. This concert aria, composed in 1791 (the year of Mozart’s death) for the first singer to play Sarastro in Die Zauberfléte, is truly unique in  the  repertoire  in  that  it  features  a  particularly  difficult  double  bass obbligato line.  The scale work and virtuosic double stop  sections have made this aria both thrilling and notorious among bass players throughout history. 1 am truly lucky to have Spencer Phillips with me tonight who is more than willing and able to take on the pieces unique challenges! 1. Per questa bella mano For this beautiful hand, For these lovely eyes,  1 swear, my dear, that 1 shall love  none but you.  The breeze, the plants, the  stones, that know my sighs well,  will tell you of my undying  faithfulness.  Turn to me with happy or proud glances, tell me even that you hate me or love me, I am always enflamed by your sweet arrows, your voice always calls to me. Neither earth nor heaven can change that desire that lives in me. The  Second  Viennese  School  was  a  group  of  composers  under  the leadership and tutelage of Arnold Schénberg in  the early part of the 20* Century.  A  prominent  composer  influenced  by  the  expressionist movement, Schonberg accepted an elite group of pupils into the school who devoted their lives to  the innovation and advancement of German music.  Among  his  most  well known  pupils  were  Anton  Webern  and Alban Berg. Their advances led  to the atonal movement in Germany in the  first half of the  1900s, a compositional style that is, today. credited almost entirely to Schonberg, Webern, and Berg. Tonight’s program features five songs from each of these composers’ early periods.  These  lieder  were  composed  between  1901  and  1907  and represent the Second Viennese School’s final moments of romanticism in their compositional styles before giving way to complete atonality in 1908. While each of these pieces still maintains a tonal center and a harmonic organization,  the  use  of  incidental  chromaticism  and  expressionistic coloring hints towards  the  tonal revolution that the composers were on the brink of. In choosing the program for this evening, 1 found that at the core of each of these five poems are starkly different characters and emotional actions. Webern’s Der Tod is powered by an exhausted fear after the singer finds himself  in  Death’s  chamber,  while  Tief  van  fern  depicts  the  abstract character of the ocean as  it reaches  for  the setting sun and  then waits longingly for it to return. Berg’s more extroverted Ahschied and Traurigkeit contrast Webern’s more introverted preferences. A sly traveling musician bids  farewell to a woman in Abschied.  The low tessitura paired with the juxtaposition  of very  articulated  and  then very  legato  phrases  creates  a smarmy sort of charm that depicts this “Don Juan” as he moves on, not only  to  the  next  town,  but  also  from  this  love  inertest  to  the  next. Traurigkeit  brings  out  a  more  sincere  character,  as  the  singer  tries  to console  a  weak  and  tearful  young  girl.  Schonberg  brings  us  the  most bizarre  and  dangerous  character  of  the  five  in his  setting  of  Richard Dchmel’s Warnung. The tempo marking “Rasch, mit uerhaltener  Heftigkeit” (“Rapidly,  with  restrained  violence")  perfectly  describes  the  unstable character  that  speaks  to  us  in this piece.  Obsession  and  jealousy  have created  this  terrifyingly  unpredictable  man  that  opens  the  song  saying, “My dog, at you, had merely snarled and I have poisoned him.” The piece begins very agitated with wildly syncopated rhythms in the piano while the erratic vocal line leaps and plummets above it. At the peak of the tension, the music calms and  becomes more legato as the singer is calmed by the thoughts of the romantic gestures he has sent his loved one. As he talks about  coming  to  visit,  he  grows  progressively  more  aggressive  in  his demands for her to be alone when he arrives. He then reveals that he saw her in the sunset with another man, and his jealousy builds as the piano travels upward  in  chromatic  scales.  His  final warning,  “denk  an  meinen Hand” causes an eruption of emotion. “ Think on my dog.” He killed him out of his love for her. Imagine what he will do if she betrays it. 11 .  Der Tod (Death)  Ah, it is so dark in Death’s  chamber, he sounds so sad, when he moves about and now lifts his heavy hammer and strikes the hour. Deep from far from mornings gray waves, the great bank longs for the star. Tief von fern (Deep from far) From evening’s white waves plunges a star; deep from far comes the young moon, drawn. touch. Abschied (Farewell) A musician who must travel, this is an old custom. His drumbeats are always done with a farewell Whether I once again will return? My love that I do not �know. The heavy hand of Death breaks many rosebuds. Traurigkeit (Sad ness) Weep, gentle maiden So long she weeps, carrying the world in her sad heart. Weep gentle maiden! Hold your hands before your trembling face. When you lower them, smiling, it is over. Wamung. (Warning) My dog, at you, had merely snarled and I have poisoned him; and I hate all mankind who provoke quarrels. I sent you two blood­red carnations, my blood for you. On the one a bud; those three should please you until I arrive. I will come tonight, be alone, you! Yesterday, when I arr ived, I saw you with someone in the sunset. You: think on my dog! Jules Massenet was a French composer best known for his operas, which include  the  popular  Manon,  Werther,  and  Cendn’llion.  Another  of  his famous  compositions  is  the  operatic  setting  of  Don  Quichotte  (Don Quixote),  the  story  of  the senile  old man who puts on armor,  climbs aboard  his weak old  horse and sets out  in search of valor, chivalry, and honor. With his trusty partner, Sancho Panza, at his side, and his beloved Dulcinée never far from his thoughts, he goes on a disillusioned journey that eventually leads to his end. At  the climax of  the third act of the opera, Don Quichotte encounters Dulcinee and confesses his love for her. She denies him respectfully, bur this creates a chain reaction as onlookers burst into laughter and mock his tattered clothes, rusty armor and  geriatric horse.  The everloyal Sancho steps between the chastisers and Don Quichotte and scolds them in the aria Riel, allez. He turns from them and li fts up his friend saying, “Come, my master, come! Let us again take up our noble quest!” III. Riel, allez (Go on, laugh) You, all of you are com mitting an appalling deed, lovely ladies, gentlemen, by insulting the admirable and bold hero who stands here before you! Laugh, go on, laugh at this poor idealist who walks in his dream and speaks to you of pastoral simplicity, of love and goodness as did another: Jesus! Mock without pity his tattered stockings, his threadbare doublet, his muddy breeches, you lowly rascals, sluts, beggars who should fall at the feet of the saintly being whom you mock. Come, my great one, come! Let us again take up our noble quest! Let us charge against all cowardice, and let us give to the unhappy the bread of goodness! French composer Gabriel Fauré was  one  of  the  most  influential composers of his generation. His compositional  style  provides  a link  between  Romanticism  and 20™  Century  Modernism  as  he was  born  into  a  time  when Chopin was still composing and died as  the atonal music of the Second  Viennese  School  was attracting  attention.  Fauré's music  is  characterized  by advanced  harmonic and melodic style,  contrasted  by  subtle  and repetitive rhythmic motives, The romantic  charm  of  his  earlier works  gave  way  to  tonal experimentation  at  the  end  of his life as he aimed to create the impression  of  several  tonal centers  at  once,  with  complex and  unpredictable  harmonic motion. Fauré’s  final  vocal  composition L’Horizon chimerique (1921) is no exception  to  this.  Each  of  the cycle’s four poems by Jean de la Ville  d e  Mirmont  (1886­1914) usc images of the sea to depict a longing  for  adventure,  destiny, and serenity as  well as a  fear of the unknown. In  the first piece, La  mer  est  infinie,  the  singer expresses  his  excitement  for adventure  by  imagining  the  sea carrying his dreams away  in the wake  of  ships  (his  desires)  that his heart has been chasing all  his life.  The  energetic  and  agile rhythm in the piano depicts the restless excitement that he has in the face of infinite possibility. Je me  suis embarqué  is characterized by the uneven rhythmic pattern that  is  repeated  in  the  piano, representing both the rocking of a ship on water, and the feeling of  u neasiness  that  looms  over the  singer.  He  feels  most  at home at sea, and denies his ties to  land  saying,  “My  brothers,  I have  suffered  on  all  of  your continents.  1  want  nothing  but the sea, 1 want nothing but  the wind  to  cradle  me,  like  an infant,  in  the  trough  of  the waves.”  As  he  sings  this,  the dotted­rhythmic in the le ft hand o f the  piano dissipates  and  the music  evens  out.  Immediately after,  the  pattern  returns,  and with  it  comes  the  singer’s uneasiness.  He remarks  that his home  is  nothing  more  than  a faded image and that the tears of leaving  it behind  “do not burn [his]  eyes  anymore.”  He remembers  nothing  of  his  final farewells  and  that  shocks  him. Now  he  is  left  wondering  if  his numbness  to  leaving  his  home behind means that he has lost a piece of his humanity. Diane, Séléné  is a love song to the moon. The rhythm is simple and the  harmonic  density  of  the earlier  two  songs  is  now  wiped away  to  reveal  a  subtle  clarity that the singer sees in the moon. His  expressions  of  love  are colored  by  envy,  as  there  is  a sense that he desires such clarity in his own life. The final piece, Vaisseaux,  nous vous aurons aimés, �returns  to  the   ke y   a n d   tempo marking (Andante quasi allegretto) of the first piece of the cycle, but expresses a  different  feeling  not only in  the text  but also  in  the length  of  the  musical  gestures. Mirmont’s  poem  speaks  of staying  behind  on  land  and allowing  others  to  seek  their destinies at sea. La mer est infinie, the sort of “sister” to  this song, used  driving  sixteenth  note rhythms in the piano as well as quick  and  flowering  melodic lines  to  depict exhilaration and reckless abandon  in the  face  of possibility.  This  final  piece  is more  restrained;  the  agile sixteenth  notes  have  become lyrical  eighth  notes.  The expressive  motion  of  the  vocal line  is  more  gradual  than explosive as it makes one single, elongated crescendo to the climax at  the  end  of  the  song.  The singer encourages his loved ones to seek their destinies at sea even though it will leave him deserted on  land.  He  says,  “the  breeze that intoxicates you fills my heart with  fear".  At  the  peak  of  the four­page­long  crescendo  he admits that he wants them to go because  he  understands  the feeling  of  despair  that  comes from  never  seeking  out  one’s destiny; a feeling he knows well since  his  fear  of  the  unknown has  kept  him  from  his  own departure. IV. L’Horizon chimérique (The Shim mering Horizon) IL.  La  mer est infinie The sea is infinite and my dreams are mad. The sea sings to the sun, striking the cliffs, and my joyful dreams taste more of the pleasure of dancing on the sea like drunken birds. The vast movement of the waves carries my dreams. The breeze shakes and tumbles them in folds; Playing in the wake, they form an escort to the ships my heart has followed in their flight. Wild with air and salt, and scalded by the foam of a sea that consoles, that washes away tears, They will know the ocean and its good bitterness; Stray gulls w ill take them for their own. 11. Je  m e suis emba rqué I am embarked on a ship that dances and rolls from side to side and pitches and sways. My feet have forgotten the land and its ways; the supple waves have taught me other cadences, lovelier than the weary rhythm of human songs. To live among you, alas! Have I a 7 My brothers I have suffered soul?  on all of your continents. I want nothing but the sea, 1 want nothing but the wind to cradle me, like a baby, in the trough of the waves. Out of the port, which is no more than a faded image, the tears of leaving no longer burn my eyes. [ do not remember anything of my last goodbyes. Oh my pain, where have 1 le ft 7  you!  Ill . Diane, Séléné Diane, Selene, moon of lovely metal, who reflects to us, upon your desert face, in the immortal ennui of quiet stars, the regret o f a sun whose loss we weep for. Oh moon, I GOV“ your clarity,  Insult to the vain turmoil Of  poor souls, and my heart, ever  weary and ever restless, aspires toward the peace of your nocturnal flame. IV. Vaisseaux, nous vous aurons aimés Ships, we would have loved you even if all were lost. The last of you all have gone to the sea. The setting sun took so many open sails that this port and my heart will be deserted forever. The sea has taken you to your destiny, beyond the shore on which we stand. We could not keep your souls in chains; you need the distances that I do not know. I am among those whose desires are on land. The breeze that intoxicates you fills my heart with fear, but your call, in the depths of evening, fills me with despair, because 1 have great unfulfilled departures as well. The most daunting challenge of composing for unaccompanied voice is to successfully  suggest  harmony  while  simultaneously  conveying  the sentiments  contained  in  the  texts.  Sometimes  the  sentiment  takes precedence, sometimes the harmony. In the context of this set of songs, 1 believe I have been successful in suggesting the (occasionally very difficult) harmonies. I know I have relied  on Jake Stamatis’s talents and vivaciou. personality to provide the texts’ sentiments in places where my craft may have proved less than sufficient. My goal in composing these songs was to impart a sense of the expressive nature of American folk music when it was part and parcel of life in the recently­opened West; when one sang a funny song about one’s mother­in­ law to lighten a mood, or sang about an old white mule just to be silly, just to make people laugh. Texts were  taken from  the Charles L. Todd and Robert Sorkin Migrant Worker  Collection.  The  collection,  contained  within  the  Library  of Congress.  is available as  a transcript of a series of recordings made  in California during  1940  and  1941.  The  single  exception  is  the  text  of Vision, which text is a poem by Robert Penn Warren, and is in the public domain. During the research phase of this project, it was  interesting to discover  that nearly all of the texts  in  the  Todd/ Sorkin Collection are �abbreviated versions of 1 7 “  and 18” century English folk songs. All of the melodies are original, with the exception of Three  Black Crows, which is an adulteration  of  a  very  old  English  folk  tune  that  probably  predates Elizabeth I. ­Richard Hugunine V. Eight Songs of Americana 1. Vision I shall build me a house where the larkspur blooms in a narrow glen in an alder wood. Where the sunset shadows make violet glooms, and a whippoorwill calls in eerie mood. I shall lie on a bed of river sedge, and listen to the glassy dark. With a guttered light on my window ledge, while an owl stares in at me, white and stark. I shall burn my house with the rising dawn and leave but the ashes and smoke behind. And again give the glade to the owl and the fawn, when the gray wood smoke drifts away with the wind. 2. Arizona We were out in Arizona on the painted desert ground. We had no place to call our own home, and work could not be found. We started to California, but our money, it didn’t last long. [want to be in Oklahoma. Be back in my old home. Away out in the desert where water is hard to find, it’s a hundred miles to Tempe and the wind blows all the time. 3. Three Black Crows There were three crows sat on a tree and they were black as black could be. Said one black crow unto his mate, “what shall we do for meat to eat?” “ There is a horse on yonder plain, was by some cruel butcher slain. We’ll sit upon him in the sun and pick his eyes out one. by. one.” 4. Beaver Cap, Sir I went to town the other day to buy me a hat, Sir, and everything that they put down it was a beaver cap, Sir. I went home that very night, [ laid it on my bed, Sir, so every time that I woke up I tried it on my head, Sir. I went to work the other day a­ feelin’ mighty flat, Sir. When I came home my mother’d set a hen in my old cap. Sir. I picked them eggs up one­by­ one; you bet I had some fun, Sir! Threw them at my mother’s head, they fanned her as she ran, Sir! My wife got mad the other day; she took me by the nape, Sir. Threw my right out in the yard and stomped my beaver cap, Sir! 5. Pretty Molly “Pretty Molly, pretty Molly, come go along with me. Before we get married some friends for to see.” Oh, his back’s caved in and he’s He led her over hollers and valleys so deep, at last pretty Molly began for to weep. “Sweet William, sweet William, you’re leading me astray, an innocent love you shall betray.” “Pretty Molly, pretty Molly, you’re guessin’ jest right, for I dug at your grave one half all  last night! Stand back! No time to stand!” and innocent he stood with a big knife in his hand. He stabbed her to the heart and her blood it .did flow, and into her grave, her kind of thin, but his legs are strong and fine; I ’ll  sing a ‘lil’ song as I ride along on this old white mule of mine. Oh, they’re plannin’ a dance in the valley, I’ll quit my work at body did go. 6. Mother­In­Law Now, friends, if you listen I’ll sing you a ditty of the ugliest woman that ever you saw. She is so ugly she frightens the children whenever they go for a walk on the street. With a hole in her head like a crack in a pun’kin and a lump on her back and such very large feet, O, my life is all trouble, no pleasure I see, wherever I go that old bag watches me. I’d rather be drug off to jail or to congress than spend my whole life with my mother­in­law. I told that old lady when I married her daughter; I did not intend the whole fam’ly to wed. 7. Old White Mule Oh, I live high up in the mountains in the kingdom of the pine. I live alone with my old pal, this old white mule of mine. the still; I’ll climb aboard the old white mule, and ride him down the hill. Oh, the other day we had quarreled, I had called him a nasty name; He kicked me down the mountain, but I love him all the same. Oh, he shares with me my sorrow, he shares my bread and wine; He also wants to share my girls, but there I draw the line. 8. Th e Ma ple on the H ill In a quiet country village grew a maple on the hill where I sat with my sweet darling long ago. As the stars were shining brightly we could hear the whippoorwill as we sat beneath the maple on the hill. Don’t forget me, little darling, when they lay me down to die. Just a little wish, my darling that I crave; as you linger there in sadness, you are thinking of the past, and your tears shall kiss the flowers on my grave. We that sang love­songs together when the birds had gone to rest, we would listen to the murmur of the till. Will you love me, little darling, as you did that starry night when we sat beneath 7  Don’t the maple on the hill?  �Masters Degree in  Opera here at Binghamton U niversity where  he studies with Thomas  Goodheart  and  coaches  regularly  with  Diane  Richardson,  Steven Crawford. and Willie Waters. John Isenberg, a native of End icott, NY. holds Bachelor of Arts degrees in Music and lmlian, as well as a Master’s Degree in Italian Literature from Binghamron University.  He performs many different musical genres ranging from Opera and Musical Theater to traditional Scottish and various styles of sacred music. From 2001­2012, John worked for the Tri­Cities Opera in Binghamton, NY, first as Accompanist, then additionally as Education Outreach Coordinator and Chorus Master. During that time, he accompanied over 500 outreach performances in schools throughout New York State and northern Pennsylvania. He has performed for WSKG public radio broadcasts of opera preview performances including Puccini’s Madama Butterfly, Verdi’s La traviata and Mozart’s The Magic Flute. An active church musician since childhood, John is currently the Organist/ Pianist a nd Choir Director a t Sa rah Jane Johnson Methodist  Ch urch in Johnson City. He has served as Pianist/Choir Director for the high holy days of Rosh Hashanah at Temple Concord in Binghamton.  For the past two summers, John has also participated in the Songe d’été Music Festival in Lambton. Quebec (Canada). Spencer Phillips is highly sought a fter as both an orchestral bassist a nd chamber musician  throughout  the  United  States  a nd  abroad. Recent  performance engagements  include  a US tour  with  the  Munich  Symphonilter,  performances with the Michigan Opera Theater. Solo Bassist with the international Chamber Orchestra led by  violinist Dimitri Berlinsky, as  well as  recording the complete Beethoven Symphonies with Orchestre de la  Francophonie Canadian, under Jean­ Philippe Tremblay. Mr. Phillips is a graduate of the lnterlochen Arts Academy. Michigan, where he studied with Derek Weller. He  went on to study with Jack Budrow (Michigan State University) and Orin O’Brien (New York Philharmonic) at the Manhattan School of Music, NYC. 1n the fall of 201 3 Mr. Phillips accepted a teaching assistantship as a doctoral candidate under James VanDemark, Eastman School of Music. Mr. Phillips was a prize winner at the International Society of Bassist competition in 2005 When he is not playing the bass Spencer is an avid hockey fan, deadly snooker player and was a volunteer firem an for the Brooktondale Fire Department, Ny. n . " n " n " s " n " . " n . " n " . " n u n – " n u n . " – Special thanks to: My parents. Thomas Goodhean. John Isenberg, Diane Richardson, Christopher Bartlette, Steven Crawford, Suzanne Tuch, Meme Kahlia Adeeb. Jenny Gag, Li ndsay Brown, Mrs. Lindsay’s Mom, and all who have supported me through this seemingly impossible, yet ever­ rewarding journey of music. �Bi nghamton Univer s i ty M us ic Depart ment ’s Co m i ng E vents 6 M 6 M M M M M M i V Saturday, April 2 5 – Kevin Truax, baritione ­  7:30 p.m. ­  Casadesus Recital Hall ­  free Saturday, April 2 5 ­ Joint Recital: Rachel Young, soprano and Eleanor Kras ner, violin – 7 :30 p.m. ­  Casadesus Recital Hall ­  free Sunday, April 26 – U n iversity Wind Symphony: Once U pon a Time ­  3 p.m. ­ Anderson Center Chamber Hall ­ $7 general public; $5 faculty/staff/seniors/alumni; free for students Tuesday, April 28 – Percussion Ensemble ­  7:30 p.m. ­ Anderson Center Chamber Hall ­ $7 general public; $5 aculty/staff/scniors/alumni; free for students Th ursday, April 30 ­  Mid­Day Concert ­  1:20 p.m. ­  Casadesus Recital Hall ­  free Th ursday, April 30 – Piano Ensemble ­  7:30 p.m. ­ Casadesus Recital Hall ­  free Friday, May 1 ­  Flute Studio a nd Flute Chamber Concert ­  10:15 a.m. ­ Casadesus Recital Hall ­  free Friday, May 1 ­  Brass Recital – 4 p.m. ­  Casadesus Recital Hall ­  free M M M M W é M M M M M M b For tickets or to he added to our email list, visit anderson.hinghamton.edu or call (607) 777­ARTS. For a complete list  of our concerts call (607) 7 7 7­2 592, visit  musrc.binghamton.edu or become a fan on Faceboo8. —­  [ = ]   If you were inspired by  this performance, consider supporting the Department of Music with a financial gift. Your support helps to M  ex [ = ]   continue the work ofstudcnts, faculty, and guest artists and their contri butions to our community. Please make your donation payable to the Binghamton University Music Department, and send your check to BU Music Department, P.O. Box 6000sss, Bmghamton, N Y  13902*** � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 42:13:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74831">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74831</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Master of music recital with Jake Stamatis, John Isenberg, piano and Spencer Phillips Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Mozart, Webern, Berg, Schoenberg, Massenet, Faure, Hugunine, Bolcom. Held at 7:30 p.m., April 24, 2015, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Stamatis, Jake Isenberg, John Phillips, Spencer Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Mozart, Wolfgang Amadeus, 1756-1791 Webern, Anton, 1883-1945 Berg, Alban Schoenberg, Arnold, 1874-1951 Massenet, Jules, 1842-1912 Faure, Gabriel, 1845-1924 Hugunine, Richard Bolcom, William Date A point or period of time associated with an event in the lifecycle of the resource 4/24/15 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/d9a508b81a808becb749e5629a116cba.pdf dba936871da632195e0b9cf3024eedbc PDF Text Text BINGHAMTON U N I V E R S I T Y S T A T E   U N I V E R S I T Y   O F   NEW  Y O R K [4 1245724 D E P A R T M E N T String S tudents and Faculty from the Studio Lesson and Chambe r Music Program present STRING FEVER Assisted by Marga ret Reitz, piano with Special G uests Adarsha Ramakumar, Indian classical violin James Bu rns, keyboard .. Gavin Webb, percussion Tuesday, April 21, 20 15 7:30 p.m. Casadesus Recital Hall �80  PROGRAM  08 Metallica (1991) arr. Apolcalyptic (1998) “Nothing Else Matters”  muMmmdhmquMCMn Allison Butler, Evan Fetten, Deborah Mariottini. Kelly Mercer, Charlie Miller, Greg Scala, Mary Spencer, Zachary Sweet Fritz Kreisler Sicilienne and Rigaudon  (1875­1962) Jiwon Nam, violin Margaret Reitz, piano (1841­1904) (  Rebecca Sgroi, violin Margaret Reitz, piano George Frederic Handel (1685­1759) Sonata for Two Violas in G Minor. Op.2, No.8  Andante ­ Allegro  Jessica Funnel & Kaitlyn MacDonald, violas Margaret Reitz, piano Tempo di Menuetto  Antonio Bartolomeo Bruni Duet No.3 in  D Major, Op. 38.  Allegro  (1757­1821) .Jacques­Ferol Mazes (1782­1849) Emma Lecarie & Rebecca Sgroi, violins ®  INTERMISSION  ca Sonatas for 2 Violins  Op 3 no 2  Allegro ­ Maya Orlofsky & Cricket Tombs Allegro – Kieran Murphy Gt  Eleaner Krasner Adarsha Ramamkumar, violin James Burns, keyboard Gavin Webb, percussion Concerto No. 3 in  G Major, BWV 1048  Johann Sebastian Bach (Allegro) ­ Adagio ­ Allegro  (1685­1750) String Fever Chamber Ensemble Violins . Antonin Dvorak Duet No.6 in D Major. Op.34  (1767­1847) i t i t t i t i t i t * i * * i i t t t t t t t * * Sonatina in G Major, Op. 100  Allegro  .Tyagarja Brovabarama.  Jean Marie Leclair (1697­1764) Op 3 no 4 Allegro assai ­ Sara Kohtz & Nathaniel Christman Aria gtatioso: Andante ­Alexio Chang & Emily Sui Giga: Allegro moderato ­ Jiwon Nam & Kristin Moriarty Alexio Chang Nathaniel Christman Sara Kohtz Eleanor Krasner Emma Lecarie Kristin Moriarty Kieran Murphy Maya Orlofsky Rebecca Sgroi Emily Sui Cricket Tombs Violas Daniel Cooke Jessica Funnel Justin Lafond Kaitlyn MacDonald Hannah Watrobski Cellos Allison Butler Evan Fetten Deborah Mariortini Kelly Mercer Charlie Miller Greg Scala Mary Spencer Binghamton Un ivers ity Mus ic Department String Faculty Janey Choi, Roberta Crawford, Zachary Sweet, Stephen Stalker �Bingha mton Un iversity M usic Depa rtment’s Coming Events W W W Thursday, April 23 ­ Harpur Jazz Ensemble Concert with saxophonist Camille Thurman – 7:30 p.m. ­  Osterhout Concert Theater ­ $ 7 general public; $5 facu lty/staff/ seniors/ a lumni; free for students Friday, April 24– Master’s Recital: Jake Stamatis, baritone ­  7:30 p.m. ­ Casadesus Recital Hall ­ free Saturday, April 2 5­  Master’s Recita l: Kevin Truax, tenor ­ 3 p.m. ­ Casadesus Recital Hall ­ free Saturday, April 25– Joint Rec ital : Rachel Young, soprano and E leanor Krasner, violin ­  7:30 p.m. ­  Casadesus Recital Hall ­ free Sunday, April 26 – University Wind Symphony: Once Upon  a Time ­ 3 p.m. ­ Anderson Center Chamber Hall ­ $7 general public; $5 faculty/staff/se niors/alumni; free for students Tuesday, April 28 – Percussion Ensemble – 7 :30 p.m. ­ And erson Center Chamber Hall ­ $ 7 general public ; $5 faculty/ s taff/ seniors/ a lumni; free for students Thursday, Apr il 30 ­ Mid­Day Concert ­  1:20 p.m. ­ Casadesus Recital Hall ­ free Thursday, April 30 ­ Piano E nsemble ­ 7:30 p.m. ­ Casadesus Recital Hall ­ free W M fi M é fi ­ M fi u b fl é é fl For  tickets or to  be  added  to  our email  list, visit anderson.binghamton.edu or call (607) 777­ARTS. For a complete list of our concerts call (607) 777­2592, vis it music.binghamton.edu or become a fan on Faceboolt. E — =  [ = ]   If  you were inspired  by this performance, consider supporting t he  Department of  Music with a  financial gift. Your  support  helps  to  continue  the  work  of students, faculty, and guest artists and the ir contributions to our community. f = ]   &  Please  make  your  donation  payable  to  the  Binghamton  University  Music Department, and send your check to B U Music Department,    P.O. Box 6000, Binghamton, NY 13902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:10:13 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74834">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74834</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource String students and faculty from the Studio Lesson and Chamber music Program present String Fever  Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Kreisler, Dvořák, Handel, Bruni, Mazas, Leclair, Bach. Held at 7:30 p.m., April 21, 2015, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Reitz, Margaret Ramkumar, Adarsha Burns, James Webb, Gavin. Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Kreisler, Fritz, 1875-1962 Dvořák, Antonín, 1841-1904 Handel, George Frideric, 1685-1759 Bruni, Antonio Bartolomeo, 1757-1821 Mazas, Jacques-Ferol Leclair, Jean-Marie, 1697-1764 Bach, Johann Sebastian, 1685-1750 Date A point or period of time associated with an event in the lifecycle of the resource 4/21/15 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/fe2447923b3d6f15ec9e7fe318c34464.pdf 69c45e8408d3d46618d14e3abce12293 PDF Text Text BING HAM TON U N I V E R S I T Y S T A T E   U N l V E R S I T Y   O F  N E W   Y O R K D E [4 W P A R T M E HARMONY CLUB F a nd  ra i s er  C o n c e r t Celeb rating Ado lphe Sax Th ursday, April 2 , 2015 7:30 p.m. Casadesus Rec ital Ha ll N 0 T �80  P ROG RAM  (93 Suite for Five Saxophones From “Fuenfstimmigte Blasende Musik ” (1685) .  1.  Intrada  II.  Sarabande III.  Bal Joha nn Pezel (1639­1694) Nicholas Follett, Danielle Stoner, sopra no saxophone Stephanie Ve rhage, Julia D unnigan, alto saxophone Benjamin Va nDerAa, Crystal Fisher, tenor saxophone Darin Mihalik, Daniel Gross, baritone saxophone 4 Introduction and Comments Rhapsody in  Blue (1925)  ..George Gershwin Symphony No. 2 (1907). .Serge Rachmaniof Symphony No. 3 “Scottish ” (1942) Felix Mendelssohn (1808–1847) . Ferde Grofe Grand Canyon Suite.  Th e  Sorcerer’s Apprentice (1897) .. The Saxophone Fdhily Syrinx (1913) ...  ..Claude Debussy Nicholas Follett, alto saxophone (1862­1918) i The Nutcracker Ballet (189 2) . Symphony N o. VI (1939) Symphony Fa ntastique (1830).. Orchestral Excerpts . Traditional Arr. Ralph Martino Danielle Stoner, soprano saxophone Stephanie Ve rhage, alto saxophone Benjamin VanDerAa, tenor saxophone Darin Mihalik, baritone saxophone Rossini a la carte (Medley) Eb Soprano, Bb  Soprano, and Bass Clarine ts Concerto in F (1925) . Adolphe Sax, A Short History Americana Suite..  Orchestral Excerpts to be chosen from the following: ..Gioacchino Rossini Arr. Rolf Sch neebiegl Nicholas Follett, soprano saxophone Crystal Fishe r, tenor saxophone Julia Dunnigan, alto saxophone Daniel Gross. baritone saxophone Till Eulenspiegel’s Merry P ranks (1894­95) (1898­1937) (1873­1943) (1892­1972) ..George Gershwin (1898­1937) Paul Dukas (1865­1935) .. Antonio Vivald i (1678­1741) Dmitri Shosta kovich (19061975) Hector Berlioz (1802­1869) Richard Strauss (1864­1949) Soprano, Alto, Tenor and Baritone Saxophone American in  Paris..  Original Orchestration Rhapsody in Blue ..  ..George Gershwin (1898­1937) ..George Gershwin (18984937) Lieutenant Kijé . Sergei Prokofiev Bolero (1928) .. . Maurice Ravel Symphonic Dances from  ..  “West Side Story” (1957)  (1891­1953) (1875­1937) .. Leonard Be rnstein (1918­1990) �L’arlésienne, Second Suite.  (18384875) The Plow that Broke the Plains (1940). .Virgil Thomson (18824961) Danielle Stoner Danielle  is a senio r with a double major in  integrative neuroscience and music.  She is a graduate of Rube n A Cirillo High School in Walworth, NY.  Recently named the National Residence Hall Honora ry’s Febr uary 2015 Smdent of the Month for her service to the Binghamton University and surro unding communi ty, Miss Stoner is also a past president of Mu Phi  Epsilon  and  is  music  director  of  Newman  House  (the  campus Catholic Church).  Danielle  is a  2014­2015  recipient of the Gardner­ Stéwart  Memoria l Schola rship fro m  the  Bingham ton  Universi ty Music Department.  She is a member of the U niversity Saxophone Quartet and the Harp ur Jazz E nsemble and plans to attend medical school with hopes of becom ing a neu rologist. (19061975) Stephan ie Verha ge (1896­1989) Porgy and Bess ..George Gershwin (18981937) Tableaux d’une exposition.  .Modest Mussorgs ky (Pictures at an Exhibition)  '  (1839­1881) Orchestration by Maurice Ravel (1875­1937) Hary Janos Suite (1926).  l  British Folk Music Settings N r. 12 ..  Age of Gold..  .. Zolton Kodalv (1882­1967) 1  ..Percy G rainger 2 La création du monde..  (The Creation of the World)  is About the Performers .George Bizet .Dimitri Shostakovich *  .Darius Milhaud (1892­19 74) Stephi  is  a  junior  with  a  double  major  in  Psychology  and  PPL (Philosophy, Polit ics and  Law) and  is also a  music m inor.  Stephi  is a graduate of Williamsville North  High School in  East Amherst, NY.  A member of Phi Be ta Kappa Honor Society and Mu Ph i Epsilon, Stephi is planning to attend law school after graduation. Benjami n VanDe rAa Ben is a  freshman majoring in engineering.  He is a graduate o f Acton Boxborough Reg ional High School in Massachusetts.  Ben is a member of the B inghamton University Saxophone  Quartet and the Harpur Jazz Ensemble.  After pu rsuing a post grad uate degree, he would like to work for a com pany tha t builds cars or bo ats. Darin Mihalik Darin is a senior physics major.  He is a graduate of Patchogue­Medfo rd High School in NY.  A recent recipien t of the Robert Pe nfield Award in Physics,  Darin  is a member of the Phi Be ta Kappa  Honor Society.  He will pursue a doctorate at Stony Brook in the fall in Condensed Matter Physics a nd hopes to have a career in Coun ter­Terro rism. �Nicholas Follett Nicholas is a graduate saxophone performa nce major  from the studio of April Lucas.  He holds a Bachelor of Music Education from  Mansfield University in PA. and is currently a membe r of the No rwich H igh School Field Band staff where he is the instructor of music for winds a nd brass. As a subst itute teacher in several area school districts, Nick really enjoys working  with  kids  and  hopes  to  have  a  career  as  a  music  educator. Nicholas is currently p reparing to fill a long­term mater nity leave position as a third grade E I A  teacher in the Norwich City School District. He is also working on  a second master’s degree  in  literacy and  is  an alumni from Norwich H igh School in Norwich, NY. J ulia Dunn igan Julia  is  a  graduate  of  North  Rockland  High  School  in  NY  and  a sophomore  at  Binghamton  University  studying  mathematics  and economics. She works as the  Multimedia  Promotions Assistant at  Late Nite  Binghamton  and  is  the  Fellowship  Chair  for  the  Binghamton Chapter  of  Circle  K  International.  In  addition  to  the  University Saxophone Quartet,  she perfor ms with the BU Wind Symphony. She hopes to become an ac tua ry after graduating fro m BU. Crystal Fisher Crystal  is a  graduate  of Vestal  H igh School  in  Vestal, NY .  Now, an undeclared  freshman  with  an  interest  in  music  and  science,  she participates  in  the  University  Saxophone  Quart  and  the  BU  Wind Symphony.  No matter what direction her fu ture takes her, she ho pes to always part icipate in a musical ensemble. Daniel Gross Dan is a graduate of East Meadow High School in NY.  He is a junior majoring  in  history.  Dan  is  a  member  of  the  University  Saxophone Quartet and the Wind Symphony.  He hopes to have a  career with the National Park Service after grad uation. A sincere “ Thank Yo u” to the H armony Club of Binghamton fo r all the awards, encourageme nt, and opportunities they have given  to so many deserving h igh school  students.  Harmony C lub award winning students are  just  like  the  performers   in  this  evenings‘  concert,  they  are  not necessarily music ma jors, but loved music  in high school and continued to participa te in music programs in their chosen colleges and universities. Harmony Club, we sincerely appreciate your support! Thank  you  to  Mu  Phi  Epsilon  for  your  help  in  the  logistics  of  this evenings’ p rogram  and  for your continued service  and  participatio h  in the field of music to o ur University and our Commun ity! If you would like to help support the Harmony Club  in their efforts to provide awards to deserving high school sen iors, there will be someone at the desk be fore and after our program to accept your d onations. Karen Fu, piano a – a t on e Q t p o e t – t e – n e ’ e – o – o ono t t t n t – o e o o o o onnng t a a �Bi nghamt on Un ivers ity Mus ic Departme  n t’s Com i ng Events fi b M M G Q M M Q D M ­ fi b Th ursday, April 2 ­  Mid­Day Con cert ­ 1 :20 p.m. – Casadesus Recita l Hall – free Th ursday. April 16 ­  Mid­Day Con cert ­ 1:20 p.m. ­  Fine Arts Building, Room 2 1 ­  free Th ursday. April 16 ­  Faculty Recital: Zachary Sweet, cello and Michael Sa lmirs, piano ­  7:30 p.m.  ­  Casadesus  Recital  Hall  ­  $7  general  public;  $5  faculty/staff/seniors/alumn i;  Free  for students Friday, April 17 ­  Joint Sophomore Recital: Skylar Buono, clarinet and Michelle Li, fl ute ­  5 p.m. ­  Casadesus Recital Hall ­ free  i Friday, April 17 – Tri­Cit ies Opera presents Gounod ’s Faust ­  8 p.m. – The  Forum Theater ­ c all (607) 7 72­0400 for tickets Saturday, Ap ril  17  ­  Joint  Recital: Sophomore Natasha Talukdar, piano and Senior Annie Tao, piano ­ 3 :00 p.m. ­  Casadesus Recital Hall ­  free Saturday, A pril 18 ­  Senior Recital: Christina Santa Maria, soprano – 7 :30 p.m. ­  Casadesus Recital Hall ­  free Sunday,  April 19 ­  Tri­Cities Opera presents Gounod’s Faust – 3 p.m. – The Forum Theater ­ c all (607) 7 7 2­0400 for tickets Sunday, April 19 ­  Guest Artist : Organist Craig Philips – 4 p.m. ­  United Presbyterian Church ­  $10 general public; $7 facu lty/staff/senio rs/alumni; $5 for students Tuesday,  April  2 1  –  St ring  Fever  (String  Classes a nd  Stud io String  Recital)  ­  7 :30  p.m.  – Casadesus Recital Hall ­  Free Th ursday, April  23  ­  Ha rpur Jazz  Ensemble Co ncert with saxophonist  Camille Th urman ­ 7:30 p.m. ­  Osterhout Co ncert Theater ­ $7 general  public; $5 fac ulty/staff/sen iors/alumni; free for students e w w w w b n fi w w w é n fi i w a a n é b E a — f I  E   For  tickets or to  be  added  to  our email list,  visit  anderson.binghamton.edu or  call (607)    777­ART’S,  For a complete list of our  concerts  call (607)  777­2592, visit music.binghamton.edu or become a fan on Faceboolt. I f  you were  inspired  by  this  performance,  consider suppo rting  the  Department  of Music with a  financial gift,  Your sup port  helps  to continue  the work of  students, faculty,  and  guest artists and  their  contributions  to  our community.  Please  make your donation payable to  the Binghamton University Music  Department, and  send your check to B U M   usic Department, P.O. Box 6000, Binghamton, N Y  1 3902. k o k � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:10:53 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74844">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74844</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Harmony Club fundraiser concert Celebrating Adolphe Sax Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Pezel, Rossini, Gershwin, Rachmaniof [Rachmaninof], Mendelssohn, Grofe, Vivaldi, Shostakovich, Berlioz, Strauss, Bernstein.  Works by  Held at 3:00 p.m., April 2, 2015, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Follett, Nicholas  Stoner, Danielle   Verhage, Stephanie Dunnigan, Julia VanDerAa, Benjamin Fisher, Crystal Mihalik, Darin Gross, Daniel Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Pezel, Johann, 1639-1694 Rossini, Gioachino, 1792-1868 Strauss, Richard, 1864-1949 Gershwin, George, 1898-1937 Rachmaninoff, Sergei, 1873-1943 Mendelssohn-Bartholdy, Felix   Grofe, Dukas Vivaldi, Antonio, 1678-1741 Shostakovich, Dmitriĭ Dmitrievich, 1906-1975 Berlioz, Prokofiev, Ravel Bernstein, Leonard, 1918-1990 Date A point or period of time associated with an event in the lifecycle of the resource 4/2/15 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/6fb11c4caf7dd2c9569fc44f3ce0eba5.pdf 12bcd3fc7925db31d1cc086131841f69 PDF Text Text BINGHAMTON U N I V E R S I T Y S T A T E   U N I V E R S I T Y   O F   NEW  Y O R K D E P A R W T M Ld E N C R A I G  P H I L L I P S ORGAN with Georgetta Maiolo, flute Uli Speth, violin Sunday, April 1 9. 2 0 1 5  4 pm. United Presbyterian Church 0 T �SCENES FROM A GALLE RY 8‘)  P ROG RA M «3 Fantltrc (2000)  Craig Phillips (b.  1 9 0 1 ) First Chakra Light Barbara W. Lines Prelude on Noulutrm ( 1 99 1 ) ‘7” 1 f ‘ \ \ x  Arclmng  ISniro( 1 0 1 1 ) Michael UJI~rtoI Raphael Uriel '  J 1,7 Sce nes fro m a t h l o n  ( 2 009) For flute, violin and (vr Aw ’nl ( t n   fo nal works of  art I  First  Chakra  Light I I .  Calculated Rnk Ev ll I   Never  Alone I \ '   Muse V.  . \ 1 4 \ ( 1 1 L ‘ I \ \ . I ( I u \ l 1 1 ( ] \ I . l ( I U I I lurk ildu x \'I  Iirmlan  I a Calculated Risk ‘ sculpture by Michael Westmoreland U )   I N T E R M I S S I O N  « 3 Choral  I I I  in A nnnar  César Franck ( 1822­1890) Prelude on Caithness (20 14)  Choral­Improvisation  sur le  “Victimae paschali”  (reconstructed Iw Maurice Duruflé) Craig Phillips Charles Tournemire ( 1870­1 939) �Never. Alone   Mathemat ic al  Equation fo r  Grac e Muse  Breaking Loose DIOnr‘lG Pnce  Deborah Houston  Jena Rowley Taylor Karen Wolfram 4 �ABOUT THE PE RFORME R S C R A I G  P H I L L I P S  (b. 1961 ) is a distinguished and popular American composer and organist.  His  choral  and  organ  music  is  heard  Sunday  by  Sunday  in  churches  and cathedrals across  the United  States, and many  of his  works have been performed  in concert  throughout North  America,  Europe  and  Asia.  He  was  named  the  American Guild of Organists Distinguished Composer for 20 1 2 –  the seventeenth recipient of this special  award.  Dr.  Phillips  joins  an  illustrious  list  that  include  past  honorees  Virgil Thomson, Ned Rorem, Daniel Pinkham, Stephen Paulus, David Hurd and others. Dr. Phillips was featured as soloist at the opening service o f  the 20 1 2 National Convention o f the  American  Guild  of  Organists  in  Nashville  with  the  premi¢re  of  a  newly commissioned  work, Three  Sketches  for  Organ,  and  in  his  works  for  organ,  brass  and percussion.  The  20 1 0  National  Convention  of  the  AGO  saw  the  premiere  of  his commissioned work Sojourn for organ and winds; and in 2002, Dr. Phillips was featured as soloist with the Philadelphia Orchestra in a performance of his Concertina  for organ and orchestra during the National Convention of the AGO in Philadelphia. He has also appeared  as  soloist  with  members  o f  the  Eastman  Philharmonia,  the  Oklahoma Symphony, the Los Angeles Mozart Orchestra, and Musica Angelica at the Corona del Mar Baroque Music Festival. Dr. Phillips has appeared as soloist at regional conventions of the AGO and at various venues across the United States. He has distinguished himself in  a  number  o f  competitions,  including  First  Prize  in  the  1 994  Clarence  Mader Competition for organ composition. H e  was a judge for the 2004 National Competition in Organ  improvisation at  the National  AGO  convention  in  Los Angeles,  the  2005 AGO/Holtcamp  Award  in  Organ  Composition,  and  the  2009  American  Guild  of Organists  Award  in Organ  Composition.  The music  of Craig  Phillips has  been  the subject  of  feature  articles  in  The  American  Organist (March  20 1 2),  the Los  Angeles Times (February 20 1 2) and The Diapason (June 2009). Dr. Phillips has received numerous commissions  from  such  organizations  as  The  American  Guild o f Otganists  (for  the National Conventions  in Washington, DC, 20 1 0, Nashville, 20 1 2, and  Seattle, 2000, and  for  regional  conventions  in Atlanta,  2007,  Lexington,  20 1 1 ,  Boston,  2009,  San Diego  and  Binghamton,  200 1 ),  The  Episcopal  Church  (for  the  2006  General Convention),  The  Association  of Anglican Musicians,  Stellar  Brass  (USAF  Academy Band), The Chamber Orchestra at St. Matthew ’s (Pacific Palisades. CA), CoroAllegro of Wilmington,  Delaware,  The  University  of  Iowa,  Syracuse  University,  University  of California at Riverside, Washington National Cathedral and many other churches and institutions.  His  secular  works  include  a Concerto  for  Harpsichord  und  Chamber Orchestra, Concerto for Bassoon and Strings, A Festival Song for chorus and orchestra, a song cycle for soprano and orchestra entitled Songs of the Unknown Region, Suite for Organ, Brass Quintet and Percussion, two Sonatas for organ, and a number of other chamber works. His works have received critical acclaim in journals such as Gramaphone, Clavier, The American Organist,  Cross  Accent, and The Journal of  the  Association of  Anglican Musicians, and  have been  broadcast  on  American  Public  Media’s Pipedreams. He  has  received  numerous ASCAP  awards,  and  a  Meet  the  Com poser  grant  for  a  work  premiered  at  the  Ojai Festival. His organ and choml and chamber works are published by several prestigious firms. A new recording, Fanfare: Christopher Wells plays the organ music o f Craig Phillips has just been released on the Pro Organo label.  A  2004Gothic Records release,A Festival Sung,  features  a sampling of Phillips’ choral and instnimental works performed by  All Saints’ Choir and Craig Phillips as organist. Other works have been recorded on the Arkay, JAV, Summit, and Pro Organo labels. Dr. Phillips holds the degrees Doctor of Musical Arts, Master iii­Music, and the Performers Certificate from the Eastman School of Music,  Rochester, New  York,  where he  studied  with  the  great  pedagogue  Russell Saunders, H is Bachelor o f Music Degree is from Oklahoma Baptist University, and his early  musical studies were  at the  Blair School o f Music  in Nashville.  Dr. Phillips has served s Director o f Music at All  Saints’ Church, Beverly H ills since 2009. H e  previously sened  for  20  years  as  the  churches’  Associate  Director  of Music  and  Composer–in­ Residence.  He  is  a member  of the  American Guild of Organists,  the  Association of Anglican Musicians, and  the American Society o f Composers, Authors and Publishers and serves on  the board o f  the Ann Stookey Fund for New Music  and the Clarence Mader Foundation. He resides in West Hollywood, Cali fornia. G E O R G E T T A  M A I O L O  is a member of the faculty of Binghamton University and Broome Community College, teaching flute and directing flute ensembles, From 1977  to 1996, she held the position of Assistant Professor of Flute at Ithaca College, lthaca, New York .  She also taught flute at Hartw ick College, Oneonta, New York and West Virginia University,  Morgantown,  West  Virginia.  Mrs.  Maiolo  is  a  graduate  o f   Duquesne University,  Pittsburgh,  Pennyslvania  and  attended  graduate  school  at  West  Virginia University, Morgantown, West Virginia.  She studied with Bernard Goldberg, principal flutist  of  the  Pittsburgh  Symphony, Marcell Moyse  at Marlboro School of Music  and Victor Saudek .  A fter 4 5 years as the Principal Flutist o f  the Binghamton Philharmonic Orchestra and Tri­Cities Opera Orchestra, Ms. Maiolo retired in 20 1 3. A  native  of  Germany,  U L I  S P E T H  completed  his  undergraduate  studies  at  the Mozarteum  in Salzburg/Austria, subsequently earned his Master o f Music degree from the Manncs College o f Music.  Ul i  is first violinist o f  the DillerQ uaile String Q uartet in residence  at  the  Diller­Q uaile  School o f  Music  in New  York .  This group has  played concerts throughout the  U.S., has commissioned and premiered new pieces  for  string quartet, and has  performed live on  Vermont  Public Radio and KMFA o f Texas.  As  a chamber musician, Mr.  Speth has also enjoyed the opportunity of performing alongside members of the Hagen, Pro Arte, Cavaliere, and Y ing quarters and Orpheus Orchestra. His  performances  have  earned  him  praise  by  the  critics  of  the  Austin  American Statesman,  Salzburger Nachrichten  and  Broome County Arts Mirror.  Uli has  played with New York  C i ty  Opera since  1 99 7  and serves as concertmaster o f the Binghamron Philharmonic Orchestra since 2005. �Binghamton University Music Department’s Coming Eve nts fl é é fi w fi w w w w w w b Tuesday, April 2 1 ­ String Fever ­  7 :30 p.m. ­ Casadesus Recital Hall ­ Free Th u rsday, April 2 3 ­ Ja zz Mid­Day Concert with saxophonist Camille Th urman (Mike Ca rbone) ­  1 :20 p.m. ­ Osterhout Concert Theater ­  free Thursday, April 23 ­  Harpur Jazz Ensemble Concert with saxophonist Camille Thurman ­ 7:30 p.m. ­ Osterhout Concert Theater ­ 57 general public ; 5 5  faculty /staff/seniors/alumni ; free for students F riday, April 24– Master’s Recital : Jake Stamatis, ba ritone ­  7 :30 p.m. ­ Casadesus Recital Hall ­ free Saturday, April 2 5 ­ Master ’s Recital: K evin Truax, tenor ­  3 p.m. ­ C sadesus Recital Hall ­  free Saturday, April 2 5 ­ Joint Recital: Rachel Young, soprano and Eleanor Krasner, violin ­  7:30 p.m. ­ Casadesus Recital Hall ­  free Sunday, April 26 – University Wind Symphony : Once Upon a Time ­  3 p.m. ­ Anderson Center Chamber Hall ­ $7 general public ; 5 5  faculty /staff/seniors/alumni ; free for students Tuesday. April 28 ­ Percussion Ensemble ­ 7:30 p.m. ­ Anderson Center Chamber Hall ­ $ 7 general public ; $5 faculty/ s tati/seniors/ alumni; free for students Thursday. April 30 ­ Mid­Day Concert ­  1 :20 p.m. ­ Casadesus Recital Hall ­  free  ­ Thursday, April 30 ­ Piano Ensemble ­  7 :30 p.m. ­ Casadesus Recital Hall ­  free Friday, May 1 ­ Flute Studio and Flute Chamber Concert ­  10:45 a.m. ­ Casadesus Recital Hall ­ free Friday. May 1 ­ Brass Recital ­  4 p.m. ­ Casadesus Recital Hall ­ free Saturday, May 2 ­ Senior Recital : Daniel M alinovsky, piano ­  1 2  noon ­ Casadesus Recital Hall — f ree Saturday, May 2 ­ Master ’s Recital : Jenny Gac, soprano ­  3 p.m. ­ Casadesus Recital Hall ­  free Sunday, May 3 ­ University Chorus and Symphony Orchestra: Mendelssohn’s “Lobgesang” ­  3 p.m. ­ Osterhout Concert Theater ­ $7 general public ; $5 faculty /staff/seniors/alumni ; free for students Sunday, May 3  ­ Joint Recital : Junior Max Rydqvist, baritone and Senior Rick y Nan, tenor ­ 7 :30 p.m. ­ Casatlesus Recital Hall ­  free Thursday, May 7 ­ Student Recognition Mid­Day Concert (James Burns/Timothy Perry) ­  1:20 p.m. ­  Casadesus Recital Hall ­  free M M é b M M 6 b 6 & 6 & 6 @ —  E  For  tickets or  to  be  added to  our emml list, visit anderson.binghamton.edu or call (607) 777­ [ s ]   ARTS. For a complete list of our concerts call (607) 777­2592, visit mime.hmghamtonedu or become  a fan on  Facebook.  If you were  inspired by  this  performance, consider supporting the Department  uj  Music  with  a  fnumcutl  gift.  Your  support  helps  to  continue  the  work  of students, faculty, and guest artists and their contributions  to  our community. Ple ase make your donation payable to  the  Binghamton  University Music Department, and  send  your  check  to BU Music Department, P.O. Box 6000. Bmghamton, NY 13902, � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 32:58 31:49 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74837">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74837</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Craig Phillips, recital, April 19, 2015 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Phillips, Franck, Tournemire. Held at 4:00 p.m., April 19, 2015, United Presbyterian Church. Creator An entity primarily responsible for making the resource Phillips, Craig Maiolo, Georgetta Speth, Uli. Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Phillips, Craig Franck, César, 1822-1890 Tournemire, Charles Date A point or period of time associated with an event in the lifecycle of the resource 4/19/15 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/4cf52b29a4fe57185fbe44e31389c82e.pdf e92fcb7fcd4b1af2f71a9d4b56e39a46 PDF Text Text BINGHAMTON U N I V E R S I T Y S T A T E   U N I V E R S I T Y   O F   N E W  Y O R K zed ec D  E  P  A  R  T  M  E  N  T SEN IOR HONOR S REC I T AL CHRISTINA S ANTA M ARIA , SOPRANO M I C HA E L  LEWIS, PIANo HANNAH WATROBSKI, VIOLA Sa turday, Apr i l 18, 2015 7:30 p.m. Casadesus Rec i tal Ha l l �iaoPROGRAMéo I. Amor dormiglione  Barbara Strozzi (1619­1677) Sposa son disprezzata from Bajazet............................Antonio Vivaldi (1678­1741) II. Liebeszauber..............................................................Clara Schumann (1819­1896) Warum sind den die Rosen so blaB  Die Liebende schreibt  Fanny Mendelssohn (1805­1847) .....Felix Mendelssohn (1809­1847) Widmung  Robert Schumann (1810­1856) wINTFRMISSIOMz III. A m  I in Your Light? From Doctor Atomic.......  Hannah Watrobski, viola Montparnasse  IV. Hyde Park  Hotel Les Chemins de l’amour ....John Adams (b.1947) Francis Poulenc (1899­1963) Cuatro Madrigales Amatorios.......................................Joaquin Rodrigo LCon qué la lavaré? Vos me matasteis [JDe donde venis, amore? De los alamos vengo, madre �TRANSLATIONS & PROGRAM NOTES 1 A m or dormlglione (Cupid the sleepyhead) Cupid, sleep no longer! Arise now, wake up, for wh ile you are asleep My pleasures sleep, too, and my troubles are awake! Don’t be a good­for­nothing, Cupid! Arrows, arrows, fire, fire! Arise, sleep no longer! Wake up now, Cupid, arise! Ah, you lazy creature, you slowpoke, You have no common sense. Stupid Cupid! Cowardly Cupid! Ah, while I remain filled with ardor, You sleep on, Cupid. That I really don’t need! Barbara  Strozzi  (1619­1677)  was  an  Italian  Baroque  singer  and composer. She studied with opera composer Francesco Cavalli and was an active performer of vocal and instrumental m usic. However, her talent in composition  was what distinguished he r as  “the most prolific composer~man or woman~of printed secular vocal music in Venice in the middle of the 1 7* century,” according to Beth Glixon. Amor dormiglione is a playful da capo aria that was originally composed for soprano and harpsichord or lute (in this performance transcribed for piano by Pietro Floridia). The singer’s impatience for Cupid to wake  up  is  realized  through  wonderful  word  painting  and  the repetitions of words such as “su” and  “svegliati”, which translate to “get up! awake now!”. Sposa son disprezzata (I a m wife and I a m scorned) from Bajazet I am wife and I am scorned, I am faithful and I’m outraged. Heavens, what have I done? And yet he is my heart. my husband, my love, my hope. �I love him, but he is unfaithful, I hope, but he is cruel, will he let me die? O God, valor is missing, valor and constancy. ,  Antonio Vivaldi (1678­1741) was an Italian Baroque composer and violinist.  He  is  known as one of the greatest and  most influential composers of the Baroque period and recognized for his instrumental concertos and many operas. S posa son disprezzata is from his operatic pasticcio,  Bajazet.  However,  the  music  for  this  aria  was  actually composed by another composer, Geminiano Giacomelli (1692­1740) and was originally called Sposa, non mi  conosci. Vivaldi changed the poetry to fit the character of Irene, a villain personality who has been betrayed by her betrothed. This da capo aria exhibits the complexity of love and the contradicting emotions that accompany the revelation of unfaithfulness. II. '  Liebeszauber (Love’s Magic) Now Love once like a nightingale in rosebush perched and sang; with sweetest wonder flew the sound along the woodland green. I  And as it rang, there rose a scent from ring of thousand buds, and all the treetops rustled soft, and softer blew the air; i  the brooklets’ silences, scarcely come by splashing from the heights, the fawns stood as if in dream and listened to the tone. And bright and ever brighter flowed the sunbeams down inside, �‘round blossoms, wood and gorge it gushed with golden red su nshine. I walked along that path tha t day and also heard that sound. Alas! What ever since I’ve su ng was just its echo faint. Warum sind denn die Rose n so blass (Why are the roses so pale) Why are the roses so pale? o speak, my love, why? Why in the green grass are the blue violets so silent? Why with such a lamenting voice does the lark sing in the sky? Why from the balsam weed does there rise the scent of wilting blossoms? Why does the sun shine down on the meadow, so coldly and morosely? Why is the earth so gray and desolate like a grave? 7 Why am I myself so ill and d ull.  My lovely darling speak, O speak, my heart’s most beloved love, why have you abandoned me? Die Liebende schreibt (The loving woman writes) One look from your eyes into mine, One kiss from your lips on my lips, Can one who has certain knowledge of these, as I, Take pleasure in anything else? �Far from you, separated from my loved ones, ' I let my thoughts roam constantly, And always they alight upon that one Single hour: and I begin to weep. Suddenly my tears are dried: He loves indeed, I reflect, here in this stillness, Oh, should you not reach out to me in the far distance? Hear these whispered words of love My sole happiness on earth is your goodwill to me; Give me a sign! Widmung You my soul, you my heart, you my bliss, o you my pain, you the world in which I live; you my heaven, in which I float, 0 you my grave, into which I eternally cast my grief. You are rest, you are peace, you are bestowed upon me from heaven. That you love me makes me worthy of you; your gaze transfigures me; you raise me lovingly above myself, my good spirit, my better selfl The four songs in this set are composed by four of the most influential musicians of German Romanticism: husband and wife, Robert and Clara Schumann and siblings, Felix and Fa nny Mendelssohn. I like to think of this set as a single narrative of a woman experiencing the different stages of love. The first two songs represent love found and love lost. Liebeszauber embodies the all­encompassing nature of love. In the song, the “tune” of  love  makes  everything  in  nature stop  and  pay attention  to  its sound. In  the following song, Wamm sind den die  Rosen so blafl, the lack of love has made nature sad and pale from abandonment. The �last two songs represent longing and celebration of love, respectively. In Die Liebende schreibt, a woman writes to her lover who is far away (whether this is far in location or emotionally is u nclear). She waits for the hour that he will return and gaze upon her lovingly. Robert Schumann composed Widmung as a wedding presen t to Clara. It is a celebration  of  their  love  and  recounts  all  the  things  that  Clara embodies to him (she is his “soul, heart, bliss and pa in”). It is a deeply emotional peace and one of Schumann’s most beloved songs in the repertoire. I L A m I I n  You r Light? from D oc tor A tom ic Am I in your light? No, go on reading (the hackneyed light of evening quarrelling with the bulbs; the book’s rent rectangle, solid on your knees) only my fingers in your ha ir, only my eyes splitting the skull to tickle your brain with love in a slow caress blurring the mind, kissing your mouth awake, op’ning the body’s mouth, stopping the words. This light is thick with birds, and evening warns us, Warns us beautif’lly of death. Slowly I bend over you, Slowly your breath runs r hythms through my blood As if I said I love you and you should raise your head, I love you. Listening, speaking into t he covert night: Did someone say somethi ng? Love, am I in your light? See how love alters the living face, Go spin the immortal coi n through time, Watch the thing flip through space, Tick tick, tick tick... �Doctor Atomic is a contemporary opera by John Adams (b. 1947) tha t premiered in 2005 at the San Francisco Opera. The opera focuses on the  lives  of the scientists  involved  in the Manhattan Project~the historical experimentation of the atomic bomb in  the early 1940’s lead  by  physicist  J.  Robert  Oppenheimer.  Am  I  In  Your  Light?  is Robert’s wife, Kitty Oppenheimer’s aria from Act I scene two. In this scene, Kitty is trying to distract Robert from reading in bed and to initiate romance. In the opera, Kitty represents love/peace and offers sanctuary from the evils of destruction and war that are overcoming Robert’s being. The poetry is  partially based on a Muriel Rukeyser poem  “Three Sides of a Coin” published  in 1935. The text seems more conversational than lyrical and, when superimposed above the suspended  quality  of  the  accompaniment,  can  feel  rhythmically uneasy. It seems as if Kitty is in a daydream, saying whatever comes to mind, in order to steal the attention of her husband. Iv. Montparnasse Oh hotel door, with your two green plants which will never bear any flowers, 7 Where am I planting myself? say: Where are my fruits’  Hotel door, an angel stands outside you handing out leaflets (virtue has never been so well defendedl). Give me in perpetuity a room at the weekly rate. Oh bearded angel, you are really a lyric poet from Germany who wants to get acquainted with Paris. You know that between its paving­stones there are lines which one must not step on. And you dream of spending Sunday at a mansion out of town. The weather is a bit oppressive and your hair is long; oh good little poet, you’re rather stupid and too blond. Your eyes look so much like those two big balloons floating off in the pure air wherever chance takes them... �Hyde Park The makers of religion preached in the fog The shadows we passed by Played blind man’s bluff At seventy years of age Fresh cheeks of little children Come, come Eleonor And what else do I know Watch the cyclops come The pipes flew away But fly away unrepentant gazes and Europe Europe Sacred gazes Enamoured hands And the lovers loved each other For as long as preachers preached. Hotel My room has the form of a cage. The sun reaches its arm in through the window. But I want to smoke and make shapes in the air, and so I light my cigarette on the sun’s fire. I don’t want to work, I wan t to smoke. Les Chemins de l’amour ( The path of love) The paths that go to the ocean protect our crossing, flowers losing their leaves and the echo under the trees, Our two bright laughs. Alas, from days of happiness radiant joys take flight, I journey without recovering your traces In my heart. �Paths of my love I try to find you always lost paths, you don’t exist anymore, And your echoes have been muffled. Paths of despair, Paths of memory, Paths of first love, Divine pathways of love. This I am duty­bound to forget one day the way that life obliterates all things. I want in my heart that a memory will rest More strongly than another love. The memory of paths Where trembling and completely passionate, a day l have felt above myself to burn and be consumed by your hands. Francis Poulenc (1899­1963) was a  French  composer  and  pianist known for his beautiful melodies, operas and solo  piano works. His compositions are in the neo­classical style, which stays in the sphere of diatonicism but also employs many of the newer d issonances of the 20™  century to create a lush and elegant tonal atmosphe re. Poulenc’s art songs are often thought to more appropriate for the music hall than the concert hall, but yet they remain in the recital repertory and are considered as some of the greatest treasures in French mélodie. Montparnasse  and  Hyde  Park  are  two  melodies  on  Guillaume Apollinaire poems that recall the poets’ first impressions of these two locations in Paris and London, respectively. It took Poulenc four years to complete Montparnasse (194 1­1945) and he regarded it as “probably one of [his] best songs”. The “bearded angel” represents a young and naive Apollinaire taking in the sights of Paris. This colorful, pensive piece  shows  Poulenc’s  lyricism  and  his  penchant  for  tasteful dissonances. Hyde Park is a quirky little piece that describes the crazy little things that Apollinaire saw while walking through Hyde Park in the early 2 0” century (i.e., the lit butts of cigarettes in  the fog that made people look like cyclops). The quick grace notes and staccato accompaniment add momentum and humor to the speech­like vocal melody. �Hotel d raws in the listener from the first chord. The lush chromatic harmonies create  a  lethargic  atmosphere,  lending  perfectly  to  the laments of the poet who just wants to be lazy and smoke her cigarettes instead of work. Les  C be m i ns  d e I ’amourwas composed for French nightclub singer, Yvonne  Printemps. The verses recall  memories of a  past love  in a nostalgic waltz. The chorus is also in the waltz rhythm, but it evokes a different mood. Instead of reminiscing on lost love, the chorus is about accepting the past and moving forward. V. Cuatro Madrigales Amatorios (Four Love Madrigals) ;Con qué la lavaré? (With What Shall I Wash?) With what shall I wash the skin of my face? With what shall I wash That I live badly punished? They wash the married women with water from lemons. I wash myself, anguished, with grief and sorrow. Vos me matasteis (You Killed Me) You killed me, girl with your hair, you have killed me. At the river’s edge, I saw a virgin, girl wi th the hair, you have killed me. zDe donde venis, amore? (From where do you come, love?) From where do you come, love? I know well from where. From where do you come, friend? Ah! I have been a witness. De los alamos vengo, madre (From the poplars I come, mother) From the poplars I come, mother, to see how they move in the air. From the poplars of Seville, to see my pretty girlfriend. �Joaquin Rodrigo (1902­1999) was a Spanish composer and virtuoso pianist, best known for his guitar concerto compositions. Rodrigo lost his sight at the age of three but was able to study music through his youth and wrote his compositions in Braille. His Cuatro Madrigales Amatorios was composed in 1947 and was based on chant melodies and  texts from Juan  Vasquez’s sixteenth  century  poetry collection titled Recopilacion de sonetos y sonetos y villancios a quarto y a cinco. The Baroque  influence  is  clear,  especially  in  the  first  three  songs,  as evident in the step­wise motion of the melodies, parallel fifth motion and  the kinds of cadences used. However, it is hard  to ignore the traditional  Spanish  flair,  especially  in  the  piano  accompaniment, which adds a unique flavor to the set. Each song represents different components of love: despair, lust, passion and delight. k h k k h k k k h h k h k h h k h k h k h k d d ix h k r h h h k h d h d d i i k ix x k x �ABOUT THE PE RFORME R S Soprano Christina Santa Maria is originally from Brooklyn, NY and will be receiving her Bachelors of Music in Voice Performance this upcoming May. While at Binghamton University she has performed as the soprano soloist in Mozart’s Coronation Mass (2012), in the roles of both Gretel (201 2) and Hansel  (2013) in  Humperdinck’s  Hansel and  Gretel, and  as  the soprano soloist in Bach’s Christimas Oratorio (201 3). As a part of the Binghamton Opera Scenes program she has sung the pa rtial roles of Rose in Lakme. Meg Page in Falstaff, Zerlina in Don Giovanni, and Susanna in Le Nozze di Figaro. She has performed with Tri­Cities Opera as a member of the opera chorus (2011­14) and as ‘Billie’ in  the one­act comic opera Speed  Dating Tonight (2015). She placed 3™  for Senior Women at the 2015 Eastern Conference of  NATS (National Association of Teachers of Singing) at  Westminster Choir  College  and  is  a  recipient  of  the  John  and  Marcella  Keeler Scholarship of the Arts, as well as the Harry and Betty Lincoln Scholarship for  Achievement  in  Music  History. She  is  a  student  of  Professor  Mary Burgess. Michael Lewis, Adjunct Lecturer at BU and Assistant Music Director at Tri­ Cities Opera, earned his undergraduate degree in Vocal Performance from Ithaca  College  in  May  2013.  He has  had  coaching experience with  the International Vocal Arts Institute, Mill City Summer Opera, CoOPE RAtive program  and  Ithaca  College  School  of  Music. While  at  Ithaca  College, Michael was involved with the  inaugural season of the  first student­run opera company at IC, Ithaca College Light Opera, in which he served as Assistant Music Director and Vocal Coach. He went on to lead the group in their second season as Music Director.  The opera company continues to perform one one­act opera each semester. As  a  vocalist,  he  has  performed  a  variety  of  roles  in  Ithaca  College’s mainstage productions. In  his final year at Ithaca, he had the opportunity to play the title role in Gianni Schicchi. This production was paired with Suor Angelica, for which  Michael  served  as  opera  chorus  master.  In  the  past decade, Michael has been actively developing his style as a composer. His current works which focus on the voice a nd  piano have been performed throughout the United States and Australia. �Hannah  Watrobski  is  a sophomore  at  Binghamton  University  double majoring  in  Human  Development  and  music.  She  has  been  a  part  of Binghamton’s music department for two years studying viola with Professor Roberta Crawford with whom she studied in  high school for two years in Ithaca,  NY.  Hannah  is  originally  from  Penfield, NY where she started playing violin at the age of three with the addition of viola in third grade. She also sings and composes music.  Hannah has had the opportunity to travel  to  various  countries  to  attend  music camps and  perform  benefit concerts for their communities.  She has been a member in both MCSMA and  NYSSMA Area­ All State orchestras elementary school through high school.  Hannah was also selected to attend Conference All­State both her junior and senior years of high school.  Outside of school and music she enjoys reading, cooking, photography, working with animals, and  hiking. She hopes to one day be a practicing nurse or work in social service and find a way to incorporate her love of music. Dedica tion: I would like to thank my family and friends for supporting me and attending my recital, whether it meant traveling 5 hours or 5 minutes. Thank you to all the professors who have helped me on this journey and inspired a love of learning. Thank you, Richard Hugunine, for arranging the viola part for the Adams aria. Thank you to all the coaches (Maestro Willie Waters, Diane Richardson, William  Lawson)  that  have worked  to  help  me  perfect  my diction and style over these last four years. Thank you to my pianist, Michael Lewis, for your beautiful playing. I hope we can collaborate again  in  the future.  Most  importantly,  I would  like  to thank my  voice  teacher  Mary Burgess for believing in  me and teaching me  how to sing freely and  in a healthy fashion. I am excited to start the next stage of my life and no matter where I am, I know that music will keep be grounded. �B i n ghamton Univers i ty M usic Depar tment’s Com i ng  E vents 6 M 6 M M M M M M ¢ V Sunday,  A pril 19 – Tri­C ities Opera presents Gounod’s Faust – 3 p.m. – The Forum Theater ­  call (607) 772­0400 for tickets Sunday, April 19 ­  Guest Artist: Organist Craig Philips ­  4 p.m. ­  United  Presbyterian Church – $10 general public; 57 faculty/staff/seniors/alumni; $5 for students Tuesday, April 21 ­  String Fever (String Classes and Studio String Recital) ­  7:30 p.m. ­ Casadesus Recital Hall ­  Free Thursday, April 23 ­  Jazz Mid­Day Concert with saxophonist Camille Th urma n ­  1:20 p.m. ­  Osterhout Concert Theater ­  free Thursday, April 23 ­  Harpur Jazz Ensemble Concert with saxophonist Camille Thurman ­  7 :30  p.m.  –  Osterhout  Concert  Theater  ­  $7  general  public;  $5 Faculty/staff/scniors/alumni; Free for students Friday, April 24 – Master’s Recital: J ake Stamatis, baritone ­  7:30 p.m. ­ Casadesus Recital Hall ­  free Saturday, April 2 5 – Master’s Recital : Kevi n T ra ux, tenor ­  3 p.m. – Casadesus Recital Hall ­  free Saturday, April 25 – J unior Recital : Rachel You ng – 7 :30 p.m. ­  Casadesus Recital Hall – free Sunday, April 26 ­ University Wind Symphony: Once Upon a Time ­  3 p.m. ­ Anderson Center Chamber Hall ­ $7 general public; 5 5  faculty/staff/seniors/alumni; Free for students Tuesday, A pril 28 ­ Percussion Ensemble ­  7 :30 p.m. ­  Anderson Center Chamber Hall ­ 57 general public; $5 faculty/staff/seniors/alumni; Free for students M M M M M G fi M M M é ­ é w w é fl For tickets or to be added to our email list, visit andersonbingluimtonfdu or call (607) 7 7 7 ­ARTS. For a complete list of our concerts call (607 ) 7 7 7­2 59 2, visit musicbingftamtonedu or become a fan on Facebook. lfyou were inspired by  this performance, consider supporting the Department ofMusic with a financial gift. Your support helps to M  — [ = ]   continue the work of students, faculty, and guest artists and their [ = ]   contributions to our community. Please make your donation payable to the  Binghamton University Music Department, and send your check to B U  Music Department, P.O. B ox 6000sss, Binghamton, NY 13902*** � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 45m 18s Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74991">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74991</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Christina Santa Maria, senior honors recital, April 18, 2015 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Strozzi, Vivaldi, Schumann, Mendelssohen, Mendelssohn-Bartholdy, Schumann, Adams, Poulenc, Rodrigo. Held at 7:30 p.m., April 18, 2015, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Santa Maria, Christina Lewis, Micahel Watrobski, Hannah  Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Strozzi, Barbara, 1619-1677 Vivaldi, Antonio, 1678-1741 Schumann, Clara, 1819-1896 Mendelssohn, Fanny, 1805-1847 Mendelssohn-Bartholdy, Felix Schumann, Robert, 1810-1856 Adams, John Poulenc, Francis, 1899-1963 Rodrigo, Joaquín Date A point or period of time associated with an event in the lifecycle of the resource 4/18/15 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/0cf1b93ff3b8b8db1b78fb2956ca1e15.pdf 5c815bc1b07bb65373e1b20fe0d7783a PDF Text Text BINGHAMTON U N I V E R S I T Y S T A T E   U N I V E R S I T Y   O F   NEW  Y O R K D E P A R d e c T M E N T J OINT P I A N O  R ECITAL ANNIE TAO NATASHA TALUKDAR Saturday, A pr i l 18, 2015 3:00 p.m. Casadesus Rec ital H a ll �ABOUT THE PERFORMERS PROGRAM&– Libertango for Two Pianos Annie Tao, Natasha Talukdar Astor Piazzolla (1921­1992) . Ludwig van Beethoven Sonata No. 5 in C minor, Op.10, No.1 .  '  (1770­1827) 1. Allegro molto e con brio  2. Adagio molto 3. Finale: Pres tissimo Natasha Talukdar Frédéric Chopin (181 0–1849) Ballade No. 3 in A­flat major, Op. 47 Annie Tao wINTFRMISSIOMx .Sergei Rachmaninoff Prelude in C sharp minor.  Natasha Talukdar Prelude in C major, Op. 1 2 , No. 7 .   Natasha Talukdar (1873­1943) Sergei Prokofiev (1891­1953) Franz Liszt Etude No. 3 , Un sospiro  Annie Tao Le Grand Tango for Two Pianos  Annie Tao, Natasha Talukdar (1811­1886) Astor Piazzolla (1921­1992) Annie Tao is a graduating senior at Binghamton University. She  is a psychology major and a music minor. She began her training with Ms. Gao Fei in her local town, where she received two golden ribbon awards  for outstanding  performance  in  piano  by  the  Rockland  County  Teacher’s Guild. She completed the NYSSMA piano auditions through level 6 with a perfect score.  She was selected to perform in the piano showcase at  the Rochester winter conference in 2010. She also completed the associated board of the Royal School ofMusic with distinction and participated in the “high score” recital. In 2010, she entered Manhattan School of Music precollege division, where she studied with Ms. Elena Belli. She also participated in the NYYS Chamber music program. She played in a piano trio and was selected to perform  in  Symphony  Space.  She  participated  annually  in  the  Music Marathon for the United Hospice of Rockland County. a fundraising event for their music therapy program. Music has always been a huge part of her li fe. As the winner of the concerto competition last year at Binghamton University, she performed the first movement of Grieg’s Piano Concerto in A minor, Op. 1 6 with the BU  Symphony Orchestra. She currently studies with Professor Michael Salmirs at Binghamton University, and hopes  to eventually teach piano students. Natasha T alukdar is a sophomore at Binghamton University pursuing degrees in both Piano Performance and in English literature. Natasha has been playing piano  for fifteen years, having previously studied with Dr. Simon Li, and is currently studying with Michael Salmirs as a Bachelor of Music student. She completed the six levels of NYSSMA piano auditions with perfect scores and completed all eight levels of the Associated Board of the Royal School of Music. Before coming to Binghamton, Natasha made her solo debut at Carnegie Hall as a winner of the American Asian Fine Arts Young Artists Competition. She was also named a winner of the World Journal Young Musicians Competition,  and  a finalist of the New York lnternational Music Competition. In  high school, Natasha was a founding member of Piano for Patients, a student organization that went to nursing homes all over Long Island and played classical music for senior citizens. She is also part of the Chamber Music program at Binghamton, the accompanist for Harpur Chorale, and teaches beginner piano to younger children. Natasha is currently a member of Mu Phi Epsilon, Binghamton’s co­ed music fraternity, and enjoys using music as a way to give back to the community. �B i nghamton Un iversity M usic Department ’s Co m i ng  Even ts fl a b fi é b n fi w w w w w w b Saturday,  April  18  ­  Senior  Recital: Ch ristina  Santa  Maria, soprano  ­  7:30  p.m.  ­ Casadesus Recital Hall ­  free Sunday,  April  19 ­  Tri­Cities Opera  presents Gounod’s Faust  ­  3 p.m. ­  The  Forum Theater ­  call (607) 7 72­0400 for tickets Sunday, April 19 ­  G uest Artist : Organist Craig Ph il ips ­  4 p.m. –  United  Presbyterian Church ­  $1 0 general public; $7 thculty/staft/seniors/nlumni; $5 for students Tuesday, April 21 ­ St ring Fever (String Classes and Studio String Recital) ­  7:30 p.m. ­ Casadesus Recital Hall ­  Free Thu rsday. April 23 ­  Jazz Mid­Day Concert with saxophonist Camille Th u rma n ­  1:20 p.m. ­ Osterhout Concert Theater ­  free Thursday, A pril 23 ­  Harpur Jazz Ensemble Concert with saxophonist Camille Thurman ­  7:30  p.m.  ­  Osterhout  Concert  Theater  ­  faculty/staff/seniors/alumni; Free for students $7  general  public;  $5 Friday, April 24 – Master’s Reci tal : J ake Sta ma tis. bari tone – 7:30 p.m. – Casndesus Recital Hall ­  free Saturday. April 25 ­  Master’s Recital: Kevin Traux. tenor ­  3 p.m. ­  Casadesus Recital Hall ­  free Saturday, April 25 ­ Junior Recital: Rachel Young ­  7:30 p.m. ­  Casadesus Recital Hall ­ free Sunday, April 26 ­  University Wind Sy mphony: Once U pon a Time – 3 p.m. – Anderson Center Chamber Hall ­ $7 general public; $5 faculty/staff/seniors/alumni; Free for students M M M M M é M M M M M b ­ fi é fl For tickets or to be added to our email list, visit andsrsonbinghamtonedu or call (607) 777­ARTS. For a complete list of our concerts call (607) 777­2592, visit music.binghamton.edu or become a fan on Facebook. —  [ = ]   If you were inspired by  this performance, consider supporting the »  Department of Music with a financ ial gift. Your support helps to — [ = ]   continue the work of students, faculty, and guest artists and their contributions to our community. Please make your donation payable to the Binghamton University Music Department, and send your check to BU  Music Department, P.O. Box 6000sss. Binghamton, NY 13902*** � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 51m 34s Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74994">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74994</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joint piano recital with Annie Tao and Natasha Talukdar, April 18, 2015 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Piazzolla, Beethoven, Chopin, Rachmaninoff, Prokofiev, Liszt. Held at 3:00 p.m., April 18, 2015, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Tao, Annie Talukdar, Natasha Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Piazzolla, Astor Beethoven, Ludwig van, 1770-1827 Chopin, Frédéric, 1810-1849 Rachmaninoff, Sergei, 1873-1943 Prokofiev, Sergey, 1891-1953 Liszt, Franz, 1811-1866 Date A point or period of time associated with an event in the lifecycle of the resource 4/18/15 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/f206a18337925e8f5cf6a782a1fa0187.pdf fccfa5cd121d3156e70593d9b6632649 PDF Text Text BINGHAMTON U N I V E R S I T Y S T A T E  U N I V E R S I T Y   O F   N E W   Y O R K Ld w d e c D E P A R T M E N T F A C U L T Y  R E C I T A L Zachary Sweet, cello Michael Salmirs, piano Thursday, April 16, 2015 7:30 p.m. Casadesus Recital Hall �About the Performers so  PROGRAM  (as “Pohadka” (1685) .  I.  Con Moto  II.  Con Moto Ill.  Allegro “Arietta”...  Leos janaéek (1854­1928) . Daniel Godfrey (1868­1939) Sonata for Cello and Piano  I.  Lento­allegro moderato  II.  Allegro scherzando III.  Andante IV.  Allegro Mosso .Sergei Rachmaninoff (1873­1943) Pianist MICHAEL SALMIR S is well known as a recitalist and chamber musician. As  a  founding  member  and  artistic  director  of  the  Finger  Lakes  Chamber Ensemble, he maintains a full season of chamber concerts and lecture recitals and recently presented a series on the last three piano sonatas of Beethoven. He has appeared  as  soloist  with  the  Coming  Philharmonic,  Binghamton  University Orchestra, Cayuga Chamber Orchestra, and was  frequently a featured pianist on their  Sunday  Chamber Series. In  addition to  perfonning most of the standard ch. mber music repertoire for strings and piano, he has premiered numerous solo and chamber works. and has given the world premieres of Piano Quintets by David Liptak and Marek  Harris, as  well as Diego  Vegas Piano Quartet with the Finger Lakes  Chamber  Ensemble  and  Piano  Quartet  by  Wendy  Wan­ki  Lee with  the Binghamton University  resident  piano  quartet, Mobius Ensemble.  He has  also participated in such contemporary music series as Binghamton Universitys Musica Nova, Cornell University’s Ensemble X, Chiron. and has toured and recorded for the  Syracuse  Society  for  New  Music.  Mr. Salmirs  studied  at  the New England Conservatory and Eastman School of Music; his teachers include pianists Leonard Shure and Rebecca Penneys and composer Karel Husa. Salmirs has taught at the Syracuse University School of Music and Hobart and William Smith Colleges. He is currently a faculty member at Binghamton University where he is Coordinator of Piano Studies. As a composer, his Silenced Voice, for Soprano, Baritone, Clarinet, and Piano Quartet, was premiered in 20 1 0 at Binghamton University. He is presently composing a vocal chamber work on  texts by  Stephen Levine as  well as  a Piano Quintet.  This season  features  performances of the complete  works  for cello and piano by Beethoven with cellist. Stefan Reuss and a piano recital at  Binghamton University in April. Zachary  Sweet  is  currently  instructor  of  cello  at  Binghamton,  Mansfield  and Colgate Universities, on the faculty at Ithaca Talent Education and Music Together of  Ithaca,  and  artistic  director  of  Ithaca  Free  Concerts  in  Ithaca,  NY. As  a performer and clinician, Zachary has performed and gi n master classes extensively throughout the Tri­State area.  Currently, Zachary is principal of Colgate University Orchestra and plays regularly with the Orchestra o f the Southern Finger Lakes and Tri­Cities Opera. From 200 1 ­2003, Zachary held the Talented Students in the A rts Initiative Fellowship at the Aspen Music Festival, where he acted as mentor to the Concert and Symphonic orchestras while playing with the Festival Orchestra under the batons o f David Zinman and James Conlon.  Zachary completed his Master’s in Performance and Literature at the Eastman School of Music in 2006 and studied chamber  music  with  the  Ying  Quartet,  Elinore  Freer,  Dr.  Jean  Barr,  Richard Kilmer, and  Dr. Kenneth Grant; his principal instructors  there  were been Alan Harris and Kathy Kemp.  Zachary plays the 2001  “Willow Cello” by Jim McKean and  a  1999  Bow  by  Ron  Forrester.  Photo  courtesy  o f  Glen  Sanders  © m l  1, www.gmsanders.net. �B i n ba 1S  m ton Universi W M us ic De Partmen tfs Com i n g Even t s fiwfiééflfléwéfl­fibfifiwwb Friday, April 17 ­  Joint Sophomore Recital: Skylar Buono, clarinet and Michelle Li, flute ­  5 p.m. – Casadesus Recital Hall – free Friday, April 17 ­  Composition Master Class with Guest Organist Craig Phillips ­  11:00 a.m. ­ 1 :00 p.m. ~ Fine Arts 2 1 »free Friday, April 1 7 ­  Tri­Cities Opera presents Gounod’s Faust – 8 p.m. ­  The Forum Theater ­ call (607) 772­0400 for tickets Saturday, April  1 7 ­  Joint  Recital: Sophomore Natasha  Talukdar,  piano  and Senior Annie Tao, piano ­ 3:00 p.m. ­  Casadesus Recital Hall ­  free Saturday, April 18 ­  Master Class with Guest Organist Craig Pillips ­  10 a.m. ­  12 noon ­  Fine Arts 2 1 ­ free Saturday, April 18 ­  Senior Recital: Ch ristina Santa Maria, soprano ­  7:30 p.m. ­  Casadesus Recital Hall ­  free Sunday,  April 19 ­  Tri­Cities Opera presents Gounod’s Faust ­  3 p.m. – The Forum  Theater ­ call (607) 772­0400 for tickets Sunday, April 19 – Guest Artist: Organist Craig Philips ­  4 p.m. ­  United Presbyterian Church ­  $1 0 general public ; $7 faculty/staff/seniors/alumni ; $5 for students Tuesday,  April  21  ­  String  Fever  (String  Classes  and  Studio String  Recital)  –  7:30  p.m.  ­ Casadesus Recital Hall ­  Free Thursday,  April  23  ­  Jazz  Mid­Day  Concert  with  saxophonist  Camille  Thurman  (Mike Carbone) ­  1:20 p.m. ­  Osterhout Concert Theater ­  free Thursday, April  23 ­  Harpur Jazz  Ensemble Concert with saxophonist Camille  Thurman  ­ 7 :30 p.m. –  Osterhout Concert Theater  –  $7 general  public ; $5  faculty/staff/seniors/alumni ; Free for students tfifbflfléfbflfiébfisfieéwéwéibéc§nfié~6énéé~ For tickets or to be added to our email list, visit andersonbingham tonedu or call (607) 7 7 7 ­ A R T S .  For a complete  list  of  our  concerts  call  (60 7)  777­2592,  visit  music.binghamton.edu  or  become  a  fan  on Facebook. —  [ m ]   .  =  [ = ] If you were inspired by this performance, consider supporting the Department of Music with a financial gift. Your support helps to continue the work of   students, faculty, and guest artists and their contributions to our community. Please make your donation  payable to the Binghamton University Music Department, and send your check to B U  M usic Department, P.O. Box 6000sss, Binghamton, NY 13902*** � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 46:11:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74841">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74841</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zachary Sweet and Michael Salmirs, faculty recital Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Janáček, Godfrey, Godfrey, Rachmaninoff. Held at 7:30 p.m., April 16, 2015, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Sweet, Zachary Salmirs, Michael Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Janáček, Leoš, 1854-1928 Godfrey, Arietta Godfrey, Daniel Rachmaninoff, Sergei , 1873-1943 Date A point or period of time associated with an event in the lifecycle of the resource 4/16/15 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/a25571b00c0f2d947d912a355d9ea26a.pdf cc8174347c130aa8a0026fb62503f108 PDF Text Text BINGHAMTON U N I V E R  S L E Y STATE  U N I V E R S I T Y  O F   N E W   Y O R K D E P A R T M E N T CHORAL  TREASURES OF THE BRITISH ISLES THE WOMEN’S CHORUS Bruce Borton, conductor Assisted by William J. Lawson, piano and organ THE  HARPUR CHORALE Peter Browne, conductor Assisted by Natasha Talukdar, piano Saturday, March 7, 2015 7:30 p.m. Anderson Center Chamber Hall �PROG RAM On the  Morrow . Yorkshire Folk Song Arranged by Samuel Gaines I .  T H E  WOMEN’S Cnonus Sound the Trumpet.  (1869­1945) Henry Purcell [1659­1695] Three Elizabethan Madrigals Tan Ta Ra Ran Tan Tant Ballad of Green Broome, op.4 7, No.5  Thomas Weelk es 1 Go Before my Darling . Thomas Morley (1553­1603) Missa Brevis  Kyrie  Benjamin Britten (1913­1976) Gloria Blow the Wind Southerly.  Traditional English Arr. John Clements Sigh No More Ladies  Ralph Vaughan Williams (From S ir John  in  Love)  (1872­1958) (1913­1976) WOME N’S C h o r us (1575­1623) john Dowland (1557­1603) Flow Not so Fast Ye Fountains.. Benjamin Britten [from Five Flower  Songs)   Bruce Barton, conductor Willia m ]. Lawson, accom pan i st Soprano l  Caroline Brickley  Kailyn Giaccone  Alto Tamar Ashdot Lauren Bass Rachel Zielinsk i  Erica Levy Kimberly Torres Julie G regg  Kalie Fioranza Soprano IT Abby Arnold Kaitlin Biagion i Courtney Densmore Jamila Gordon Shaniee Hodge Georgia  Kasow l l .  T HE HA RPUR CHO RALE Fire, Fire! My Heart.  Ave Verum Corpus William Byrd (1543­1623) Praise Ye the Lord  lohn Rutter Alex Castonguay, baritone (b.194 5) Set Me as a Seal Upon thine Heart. William Walton (1902­1983) Colin Roth, ten or and Carina Kahane, soprano Just as the Tide was Turning . HARPUR CHORALE Peter Browne, conductor Natasha Talukdar, accompanist Thomas Morley (1557­1603) .Ralph Vaughan Williams (1872­1958) Sopranos  Janine Alto  Deanna Feuerbach  Rachel Graham  Carina Kahane  Audrey  Russo  Christina Santa Maria Altos  Alexa D icken  Inez Nelson  Kate Sherwood  Joanna Wallace  Tenors Dallas Marsh Tho m “  Parker Matthew Pedersen Colin Roth Jonah Steue Basses Alex Castonguay E van Flury Ten­Young Guh Jibron Harris John Rosser �M Bing hamton U niversity  Depa rtme nt of Music Com ing Events M M M M fi M M M M M fi M S u n ¢ 1 w March  8  ­  Universi ty  Wind  Symphony: Just  Like a Concert  in  the  Park  ­  3 p.m.  ­ Osterhout Concer t  Theater ­  $7  general public; $5  faculty/staff/seniors/alumn i; Free for students Sunday,  March 8 ­  Sophomore Recital: Han nah Watrobski, viola ­  5 p.m. ­  Casadesus Recital H all ­  free Thursday. March  12  ­  Opera Scenes Mid­Day Concert ­  1:20 p.m . – Anderson Center Chamber Hall ­  free Thursday. March 12 ­  Opera Scenes ­  7:30 p.m. ­  Anderson Center Chamber Hall ­  $10 general public; $7  faculty/s talf/seniors/alumn  $5 for students Satu rday.  March  14  ­  Master’s  Recital:  Meroé  Khalia  Adeeb,  soprano  –  4  p.m.  – ( l sadesus R   ecital Hall ­  free Saturday,  March  14  ­  Universi ty Symphony Orchestra: Dark Passions  ­  7:30 p.m.  ­ Ostcrliout Concer t Theater ­  $7  general public; $5  faculty/staff/seniors/alumn i; Free  for students Sunday,  March  15  ­  Opera Scenes an d Arias  ­  3 p.m.  ­  Phelps Mansion.  191  Court Street. Binghamton – $10 general public; B U  students (tee with I D  – For reservations call the Phelps Mansion at (607) 722­48 73.  This concert  is co—sponsored by the Binghamton Universi ty Music Department and Phelps Mansion Museum. Thursday, March 19 – Mid­Day Concert– 1:  20 p.m. ­ ( '  sadesus Recital Ha ll ­  free Thursday , March  19  ­  Lontano  Ensemle : Music Now! ­  7:30 p.m . ­  Casadesus Recital Hall ­ $7 general public; $5 faculty/ staff/sen iors/alumni; Free for students Th u rsday, March  19­ Mast er Class  BU Al u m n us Lee M usike r. piano  ­  6 ­  7:30  p.m.  ­ Fine Arts 24 ­  free M M M M M ­ fi w w w é fl é w w b For tickets or  to be added to our email list, visit anderson.bingha mton.edu or call ( 60 7 ) 7 7 7­AR TS. For a complete list of our conc erts  call ( 60 7 ) 7 7 7 ­ 2 5 9 2 ,  visit  music.binghamton.ed u  or  become a fan on Facebook. —  [ = ]   M  — E If  you  were  inspired  by  this  performance,  consider  supporting  the Department  of Music  with a  financial  gift.  Your  support  helps  to continue    the  work  of  students,  faculty, and  guest  artists  and  their contributions to our  community. Please  make your donation payable to  the  Binghamton  University  Music  Department,  and  send  your check  to  BU Music  Department.  P.O. Box  6000sss.  Bltlgllllmwtl, NY 13902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 42:06:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74856">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74856</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Choral Treasures of the British Isles, March 7, 2015 Subject The topic of the resource Concerts Instrumental music Live sound recordings   Description An account of the resource Works by Purcell, Weelkes, Dowland, Morley, Britten, William, Byrd, Rutter, Walton Held at 7:30 p.m., March 7, 2015, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Women's Chorus Harpur Chorale Castonguay, Alex Colin Roth Carina Kahane Lawson, William J. Browne, Peter Talukdar, Natasha Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Purcell, Henry, 1659-1695 Weelkes, Thomas, approximately 1575-1623 Dowland, John, 1563?-1626 Morley, Thomas, 1557-1603 Britten, Benjamin, 1913-1976 Vaughan Williams, Ralph, 1872-1958 Byrd, William, 1539 or 1540-1623 Rutter, John, 1945- Walton, William, 1902-1983 Date A point or period of time associated with an event in the lifecycle of the resource 3/7/15 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/8fb30cd40a75dae7600ca94725dd978c.pdf fe28e74c82311bec7d665814e59f4607 PDF Text Text BINGHAMTON U N I V E R S I T Y STATE  U N I V E R S I T Y  OF  NEW  Y O R K [4 w dee D E P A R T M E N T MASTERS RECITAL Nicholas Follett, alto saxop hone and Alexand ria Hanessian, clarinet Margaret Reitz, piano Frida y, March 6, 2015 7:30 p . m. Casadesus Rec i tal H a l l �8:3  PROG RAM  08 k )  ABOUT THE PE RFORMERS ( z io of NICHOLAS FOLLETT is  a gradua te saxophone perfo rmance major from the stud April Lucas.  He holds a Bachelor of Music Education from Mansfield University in ff Pennsylvania.  He is currently a member of the Norwich High School Field Band sta everal s   acher in stitute te As a sub s.  where he is the instructor of music for winds and bras area school districts, Nick  enjoys working with children of all ages and hopes to have a le and career as a music educator.  As a member of the Mansfield University Jazz Ensemb k, and New Yor sylvania,  ed Penn  has tour mble, he ind Ense the Mansfield University W  is also London  where he  performed at  the  2012  World  Olympic  Games.  Nicholas Y. N ,  Norwich  is from  Nicholas literacy.     degree in s master’ nd  working on a seco of conce rt ALEXANDRIA HAN’ESSIAN is currently in her  ninth year as the director  Lakes  Finger  soud’tem l in the  e Schoo and jazz bands at Spencer  ­  Van Etten Middl ys and chool pla middle s l  ed severa lso direct she has a region of Spencer, NY. In  addition,  musicals and is Musical Director for high school productions (including Crazy  for You, hool and Beauty and the Beast, The  Music Man, and Seussiazl). As an active leader in her sc  music r county nt of he s Preside  tenure a  finished  recently community, Ms. Hanessian ege at aca Coll from Ith teachers  udent  junior st ted   has hos tion and educators associa , ducation Spencer ­ Van Etten. She is a member of the National Association for Music E Music School  State  New  York  State  Band  Directors  Association,  and  New  York  icts, she Association (NYSSMA). Passionate about building success in  small school distr ls” all Schoo en in Sm gs Happ “Big Thin and her colleagues presented a workshop entitled   at nference AiME Co legiate N t the col at the NY SSMA Conference in  2010, and again a tra d Orches Band an Midwest  the  ented at   she pres Nazareth College  in 2012. In 2013 istrict. a rural d ng in  in teachi resented  lenges p rent chal the diffe Clinic in Chicago on  hirty­ Since beginning at Spencer ­  Van Etten, the instrumen tal progra m has grown by t ol level. ddle scho five percent and there are now active drama and jazz programs at the mi Music Ms. Hanessian holds a BM in  Clarinet Performance and Education and an MM in  in cher  rivate tea r and a p Education from I thaca College and is a sought­after  performe the Ithaca/Binghamton area. MARG ARE T REI TZ, pianist, is a n ative of the Binghamton area. She receive d her bachelor  and  master  of  music degrees  in  piano  performa nce with  accompanying emphasis.  She  attended  Boston  University,  New  England  Conservatory  and us,  Victor Bingham ton  U niversity.  She  has  studied  piano  wi th  Jean  Casades Rosenbaum, Seymour Fink and Walter Ponce and accompanying with Allen Rogers. She has  accompanied throughout the United States, in England, South America, s a Spain and at  the American Institute of Musical Studies in Graz, Austria. She wa tion Informa States  United  the   by  winner  of  the Artistic  Ambassadors  Program Agency  in  partners hip with the John  F. Kennedy Cen ter for  the  Performing Arts. She  has  been  on  the  faculty a t  Bingham ton  U niversity  since  1991,  College School of Music since 1999. and  Ithaca jules Massenet Meditation from Thais transcribed by Nicholas Follett (1842­1912) Nicholas Follett, alto saxophone Margaret Reilz, piano Concerto , Op. 109 . Allegro modera to ­ Andante ­ Allegro Alexander Glazounov (1865­1936) Nicholas Follett, alto saxophone Margaret Reitz, piano &  INTE RMISS ION c s .Claude Debussy    18) (1862» 19 Nicholas Follett, alto saxophone Selections from Eight Pieces . for Clarinet, Viola and Piano, Op. 83, No. 6 Edited for Alto Saxophone by  Harry R. Gee V1.  Andante con moto II.  Allegro con moto V114  Allegro vivace, ma non troppo Alexand ria Hanessian, clarinet Nicholas Follett, alto saxophone Margaret Reitz, piano .Max Bruch (1838­1920) �Bingha mton U niversity  Depart ment of Music Coming Events e w w w w w w w w w m o ­ Saturday, March 7  ­  Harpur Chorale  and Women’s Chorus ­  7:30  p.m. ­  Anderson  Center Chamber Hall ­ $7 general public; $5 faculty/staff/seniors/ alumni; Free for students Sunday, March 8 ­  University Wind Symphony: Just Like a Concert in the Park ­  3  p.m. ­ Osterhout Concert Theater ­ $7 general public; $5 faculty/staff/seniors/alumni; Free for students Sunday, March 8 ­  Sophomore Recital: Hannah Watrobski, viola ­  5 p.m. – Casadesus Recital Hall ­ free Thursday, March  12  ­  Opera Scenes  Mid­Day  Concert  (Thomas Goodheart)  ­  1:20  p.m.  ­ Anderson Center Chamber Hall ­ free Thursday, March 12 ­  Opera Scenes ­  7:30 p.m. ­ Anderson Center Chamber Hall ­ $10 general public; $ 7 faculty/staff/seniors/alumni; $5 for students Saturday, March 14 – Master’s Recital: Meroé Khalia Adeeb, soprano  – 4  p.m. ­  Casadesus Recital Hall ­ free Sa turday, March 1 4 – U niversity Symphony Orchestra: Dark Passions – 7 :30 p.m. – Osterhout Concert Theater ­ $7 general public; $5 faculty/staff/seniors/alumni; Free for students Sunday, March 15  ­  Opera Scenes and  Arias ­  3  p.m.  ­  Phelps Mansion,  191  Court Street, Binghamton  – $10 general  public;  BU students free with ID ­  For reservations call the  Phelps Mansion at (607) 7224873.  This concert is cosponsored by  the  Binghamton University Music Department and Phelps Mansion Museum. Thursday, March 19 ­  Mid­Day Concert ­  l : 20 p.m. ­  Casadesus Recital Hall ­  free Thursday. March 19 ­  Lontano Ensemle: Music Now! ­  7:30 p.m. ­ Casadesus Recital Hall ­ $7 general public; $5 faculty/staff/ seniors/ alumni; Free for students Thursday, March 19 ­  Master Class BU Alumnus Lee Musiker, piano ­ 6 ­  7:30 p.m. ­  Fine Arts 24 ­ free a fi w w b é M M M M M Q ­ é m é ­ For tickets or to  be  added  to our email list, vmt anderson.binghamton.edu or call (607) 777­ARTS. For a complete list ofour concerts call (607) 777­2592, visit music.binghamton.edu or become a fan on Facebook. —  i a ]   é  — E if you were inspired by this performance, consider supporting the  Department of Music    with  a  financial  gift.  Your  support  helps  to  continue  the  work  of students, faculty, and  guest artists and their contributions  to our community. Please  make  your  donation  payable  to  the  Binghamton  University  Music Department,  and  send  your  check  to  BU  Music  Department,  P.O.  Box 6000sss, Binghamton, NY 13902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 23:59 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74859">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74859</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 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Creator An entity primarily responsible for making the resource Follett, Nicholas Hanessian, Alexandria Reitz, Margaret. Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Massenet, Jules, 1842-1912 Glazounov, Alexander Debussy, Claude, 1862-1918 Bruch, Max, 1838-1920 Date A point or period of time associated with an event in the lifecycle of the resource 3/6/15 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound