94
10
1775
-
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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1 audio disc
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01:05:20
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75015">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75015</a>
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Title
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Paul Watrobski recital, April 27, 2014
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Held April 27, 2014.
Creator
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Watrtobski, Paul
Publisher
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Binghamton University Libraries
Date
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4/27/14
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In copyright
Type
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sound
-
https://omeka.binghamton.edu/omeka/files/original/adc4ca65fd3d8c5e4bc41043e7f1ba73.pdf
3792d1668f3758d62ee071b8b1509c62
PDF Text
Text
BINGHAMTON
U N I V E R S I T Y
S T A T E U N I V E R S I T Y O F N E W Y O R K
D
E
P
A
R
T
M
E
SENIOR RECIT AL:
KERIANNA KREBUSHEVSKI,
SOPRA NO
William James Lawson, piano
Saturday, Ap ril 26, 3014
8:00 p.m.
Casadesus Recital Hall
N
T
�© PROG RAM (93
Amiamo.
Sull’onda cheta e bruna
La Gondola
80 ABOUT THE PERFORMERS 03
Gaetano Donizetti
(17971848)
11.
Frauenliebe undleben, Op. 4 2 .
1. Seit ich ihn gesehen
2. Er, der Herrlichste von Allen
3. Ich kanu’s nicht fasseu, nicht glauben
4. Du Ring an meinem Finger
5. Helft mir, ihr Schwestern
6. Siisser Freund, du blickest mich verwundert an
7. An meiuem Herzen. an meiner Brust
8. Nun hast du mit den ersten Schmerz gethan
Robert Schumann
(1810–1856)
Le) INTE RMISSIO N 0 3
Randolph.
IIL
C’est I’extase.
.
Nuit d'étoiles
La mer est plus belle
Claude Debussy
(18621918)
IV.
Adieu, notre petite table.
Jules Massenet
from “Manon”
(1842191 2)
V.
Three Browning Songs. Op. 44
Ah Love. but a day!
1 send my heart up to thee!
The Year’s at the Spring
KE RIANNA KREBUSHEVSKI is a senior at Bingham ton
University pursuing a Bachelor of Music Degree in Voice under the
direction of Professor Mary Burgess, with additional study this year
with Maestro Scott Bergeson.
During her time here in
Binghamton, Kerianna has performed the role of the First Spirit
in TriCit ies Opera Company ’s production of Mozart’s Die
Zauberflote, and as Gretel in the school’s production of
Humperdinck’s Hansel and Gretel. A lso with T CO she has been in
the chorus for Puccini’s La Boheme, Verdi’s I l Trovatore, Mascagni’s
Cavalleria Rusticana, and Leoncavallo’s Pagliacci. She was most
recently in the chorus for Bizet’s Carmen. Kerianna spent a month
this last summer in Italy performing in Urbania, Piobbico, and
Fossombrone with Maestro Benton Hess’s “Si parla, si canta”
program. For the past two years, Kerianna has been a recipient of
the John M. and Marcella M. Keeler Scholarship in Music. Kerianna
is thrilled to announce that she will be pursuing a Master of Music
next year at San Francisco Conservatory in the studio of Jane
.Amy Beach
(18671944)
WILLIAM JAMES LAWSON is active as a church musician, voice
coach, and accompanist and frequently performs chamber music.
At Binghamton University he has taught music theory, lyric
diction, and phonetics. He was one of the first graduates of the
New York University Tisch School of the Arts Department of
Performance Studies, an innovative interdisciplinarv program in
dance, music, and theater. His extensive background in dance
history led him to employment at the New York City Ballet and
Dance Magazine as well as working as assistant to British dance
writer Richard Buckle. He is presently Organist and Director of
Music at the United Presbyterian Church of Binghamton, founder
and director of the Canterbury Choir. and rehearsal accompanist
for the Binghamton Downtown Singers, with whom he has
performed as harpsichordist and organist.
�80 TRANSLATIONS (98
2 . Er , d er H
enIi’rhste von Allen
He, the most splendid of all,
As gentle as he is kind!
With tender lips, bright eyes,
A clear mind and firm courage.
1.
Amiamo
(Let us Love)
Because our youth invites us to do so,
let us look for happiness.
A n i nstan t o f pleasu re passes
and d oes not ret u rn.
Life becomes solemn
if one does not gather its flowers.
Only love can adom life with fresh
roses.
The more beautiful you are
the more you owe vows and faith to
love.
There is no other suitable offering
to bring to love.
Let us love! Because the days are brief‘
A day without love is a day of sadness
A wasted day.
Sull’onda cheta e bruna
(Over the silent and dark water)
Over the silent and dark water,
before the moon may rise,
quickly. o goudolier,
please. embark on your path,
but be careful that your boat
caresses the sea gently.
Only Lenora, who sings anxiously all the
while,
May hear the beating heart
of her faithful lover in the rowing.
La Gondola
(The Gondola)
Like a bright and glorious star
in the lofty blue
He is in my Heaven
exalted and remote.
Climb into the quick llnle boat with
me,
lovely Cloris.
Come, let us seek the breezes’ comfort
from the heat of the day.
Come, already the shimmering waves
reflect the moonlight,
And just as the breezes kiss
the peaceful lagoon they will kiss you
Go, go on you r way,
.
also.
Don’t listen to my silent prayer
Offered only for your happines:
You, high star of splendor,
Can never know a lowly maid like me.
Step in, lovely Cloris,
And you will see me happy,
In sweet ecstasy;
Seated by you,
I will feast on love.
And let your white hand softly press on
my bosom
To feel the rapid beating of my heart.
Only the worthiest of all,
Could make your choice a happy one,
And I will honor her with a thousand
blessings.
Then I will rejoice and weep.
Blissful then I will be;
Even though my heart should break,
Break oli heart, what does it matter!
l l.
Frauenliebe undleben
(A Woman’s love and lm e)
1. Seit i ch ihn gesehen
Since I saw him,
1 believe myself to be blind.
Wherever I cast my gaze
I see only him.
As i f in waking dreams
His image floats before me
Rising from the deepest darkness
Becoming brighter and brighter.
Everything else is dark and colorless
around me.
For the games of my sisters
I no longer yearn.
i would rather weep.
silently in my little chamber.
Since I saw him,
I believe myself to be blind.
Just let me look upon your radiance ,
Only in humility let me look,
Full of both joy and misery!
He, the best of all, etc.
I
L
4. D u Ri
ng a n meinem Finger
You, ring on my finger,
my golden little ring.
1 press you devourly to my lips
and to my heart,
1 had dreamed of him,
the peaceful lovely dream of childhood,
I found myself alone, lost,
in the unending space of tears.
You, ring on my finger,
You first taught me this:
You opened my eyes to life’s unending
worth.
I want to serve him
To live for him, to belong completely to
him,
To give myself to him and find myself
transfigured
In his gaze.
5. Helft mir, i h r S chw estern
Help me, sisters,
Lovingly to adorn myself,
Help me, the lucky one, today!
Busily twine the wreath of myrtle about
my brow.
Whenever my beloved held me in his
arms,
My heart was full of joy.
He always looked with longing in his
heart
impatiently for today.
3 . I c h Irann '.r nicht fassen, nicht
glauben
I cannot believe it!
1 have been beguiled by a dream.
Have I really, from among so many,
been thus exalted and blessed?
Help me, sisters,
Help me banish my foolish anxiety
So that I ma) receive him.
The source of all my joy.
I t seems to me he said
“ I am yours forever.”
I t seems I must still be dreaming.
I t can surely never be so‘
When my beloved comes for me,
Will you, oh sun, shine upon me.’
Let me in devotion and humility
Bow to my lord.
Oh, let me die in this dream
cradled upon his breast.
Let me embrace a blessed death,
Strew him with flowers, dear sisters,
Bring him blossoming roses.
Whilst I bid you a sad farewell
As I leave you in my m
with tears of infinite joy.
�6. S is ser Freund, d u b
lickest mich
verwundert a n
Sweet friend, you look at me in wonder.
You cannot understand how I can weep.
But let the damp penrl’s rare adornment
Tremble with bright joy in my eyes!
How anxious is my heart, how full of
delight !
If only I could find the words to tell
you.
Come, hide your face upon my breast
Then I ran whisper in your ear all my
joy
Now you understand the tears [ weep.
Should you not see them, beloved
husband?
Stay near my heart and feel its hear
so I may hold you ever closer.
8. N u n h
as t d u m
ir d en ersten
Schmerz g ethan
Now for the first time you have given
me pain,
And it has struck deep.
You sleep. you cruel and merciless man,
the sleep of death.
Abandoned, 1 look around me~
The world is empty, empty.
I have loved and lived,
I live no more.
I withdraw into myself silently,
The veil falls.
There I hold you and my lost happiness,
You. my world!
1 .
C h t ['extase langoureuse
(It is the languorous ecstasy)
lt is the languorous ecstasy,
I t i s t h e l a t l m i ‘ i t ftt r l o v e ,
Here beside my bed there is room for
the cradle
Quietly sheltering my lovely dream.
When the morning comes, the dream
will awaken,
And your image will smile up at me!
7. A n m einem Herzen, an meiner
Bfllfif
At my heart, at my breast,
You my delight. you my happiness!
The joy is the love, the love is the joy,
I have said it and will not take it back.
I thought myself rapturous,
Bnt now I am happier than that.
Only she that suckles,
only she that loves the child
To whom she gives nourishment,
Only a mother alone knows
what it u to love and he happy.
Oh. how I pity the man,
who cannot feel a mother’s my”
Thou dear, dear angel,
You look at me and smile!
At my heart, at my breast.
Y o u m y d e l i z h l , y o u m y l l fi p p l l l f s > l
it is all the rustling of the wood,
in the embrace of breezes;
it is near the gray branches:
A chorus of tiny voices.
Oh, what a frail and i reth murmur!
I t babbles and whispers,
it resembles the soft noise
that waving grass exlmles
You might say it were. under the
bending stream,
the muffled mund oi rolling pebbles.
This soul, which laments
and tlns dormant moan,
It is ours, is it not?
Is it not mine, tell me. and you
whose humble anthem we breathe
on this mild evening, so very quietly?
Nuit d ’étoiles
(Night of stars)
Night of stars, beneath your veil,
beneath your breeze and your perfumes,
sorrowful lyre softly sighing,
I dream of a love long past.
Melancholy, so sadly tranquil,
fi lls my poor weary heart,
and I hear your dear soul
quivering in the dreary wood.
1 watch here at tlus your small fountain,
your blue eyes like the sky.
This rose. it is my dearest hope
and the fair stars are your eyts.
La M er est p it a b
elle
( The sea is more beautiful)
The sea is more beautiful than
cathedrals,
a faithful wet nurse,
soothing the rartle of death.
Th e sea ove r which p rays t he Vi rgin
Mary
it has all qualities, terrible and sweet
I hear it forgiving and growling its
anger.
Thi : immensity knows no resistance.
Oh! So patient even when malicious!
A friendly breeze haunts the wave,
And sings to us,
“You without hope, die without
suffering.”
And there, beneath the skies
Which smile upon it more sweetly,
lt loolu blue, pink. gray, and green...
Fewer than all,
Better than we!
IV.
Adieu, notre petite table
(Goodbye, our lil‘fle table)
Come on, it is necessary,
for his own sake!
My poor Chevalier!
Oh, yes, it is he that I love!
And yet, today I hesitate,
No! No! I am no longer worthy of him!
1 hear that voice which transports me
against my will:
“Manon, you will be queen, Queen by
your beauty!”
I am nothing bur weakness and fragility!
Ab! in spite of myself, I feel my tears
flowing
ln the face of those destroyed dreams!
Will the future have the charms
of those beautiful days already passed’
Goodbye, our little table
which brought us together so often!
Goodbye, our little table
so grand, however, for us!
One takes up, it’s unimaginable,
so small a space when sitting close
together!
Goodbye, our little table!
The same glass was ours,
each one of us, when we drank from it,
searched for the ps of the other.
Ah! Poor friend... how he levied me!
Goodbye... our little table.
�Binghamton University Music Department’s
Upcoming Events
« é é e fl s é o é b – fi é o n fi é n é ia n é é n fi é n é é o
Sunday, April 2 7 – University Chorus and Wind Symphony Concert:
An American Music Celebration 3:00 p.m. Osterhout Concert
Theater $10 general public; $7 faculty/staff/seniors; $5 for students
Sunday, April 2 7 Master’s Recital: Seonghyang Kim, piano 7:30 p.m.
Casadesus Recital Hall free
Tuesday, April 29 – Piano Ensemble Concert 8:00 p.m. Casadesus
Recital Hall free
Thursday, May 1 – MidDay Concert 1 :20 p.m. 'Casadesus Recital
Hall free
Thursday, May 1 GrammyAward Winning vocal guest artist
Jacqueline HornerKwiatek 8:00 p.m. – Casadesus Recital Hall $5
general public; free for students
Friday, May 2 – Flute Studio and Fl ute Chamber Concert 1 1:30 a.m.
Casadesus Recital Hall free
Friday, May 2 TriCities Opera presents Strauss’ Die Fledermaus
8:00 p.m. The Forum Theatre – call (607) 7720400 for tickets
Saturday, May 3 – University Symphony Orchestra: Symphonic
Smorgasbord 3:00 p.m. Osterhout Concert Theater $7 general
public; $ 5 faculry/sta ft/sen iors; free for students
Saturday, May 3 – Senior Recital: Xander Edwards, cello 8:00 p.m.
Casadesus Recital Hall free
For tickets or to be added to our email list, visit anderson.binghamton.edu or call
(607) 7 7 7ARTS. For a complete list of our concerts call (607) 7 7 72592, wisit
music. binghamton.edu or become a fan on Facebook.
If you were inspired by this performance, consider supporting the Department ofMusic
_
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 B inghamton
0 ]
University Music Department, and send your check to BU Music
E
Department, P.O. Box 6000. Binghamton, N Y 13902.
�
Dublin Core
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Coverage
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1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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1 audio disc
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48:42:00
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74955">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74955</a>
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Title
A name given to the resource
Kerianna Krebushevski, senior recital
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works by Donizetti, Schumann, Debussy, Massenet, Beach. Held at 8:00 p.m., April 26, 2014, Casadesus Recital Hall.
Creator
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Krebushevski, Kerianna
Lawson, William James
Publisher
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Binghamton University Libraries
Contributor
An entity responsible for making contributions to the resource
Donizetti, Gaetano, 1797-1848
Schumann, Robert, 1810-1856
Debussy, Claude, 1862-1918
Massenet, Jules, 1842-1912
Beach, Amy
Date
A point or period of time associated with an event in the lifecycle of the resource
4/26/14
Rights
Information about rights held in and over the resource
In copyright
Type
The nature or genre of the resource
sound
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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47:11:00
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74958">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74958</a>
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Title
A name given to the resource
Mid-day concert, Thursday, April 24, 2014
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works by Bach, Piazzolla, Debussy, Mayer, Schubert, Hundley, Faure, Brahms. Held at 1:20 p.m., April 24, 2014, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Vanderpoo, Joseph
Talukdar, Natasha
Tao, Annie
Krebushevski, Kerianna
Lawson, James, William
Perry, Timothy
Keyes, Elizabeth
Stalker, Stephen
Bernstein, Carol
Baker, Thom.
Publisher
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Binghamton University Libraries
Contributor
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Bach, Johann Sebastian, 1685-1750
Piazzolla, Astor
Debussy, Claude, 1862-1918
Mayer, John
Schubert, Franz, 1797-1828
Hundley, Richard
Faure, Gabriel, 1845-1924
Brahms, Johannes, 1833-1897
Date
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4/14/14
Rights
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In copyright
Type
The nature or genre of the resource
sound
-
https://omeka.binghamton.edu/omeka/files/original/e8bb4eead7e040af3946faaaf55a61bf.pdf
aa2b902e58af431cae7c012359672d74
PDF Text
Text
BINGHAMTON
U N I V E R S I T Y
S T A T E U N I V E R S I T Y O F N E W Y O R K
[4
(20 7224
D E P A R T M E N T
JAZZ M I D D A Y
CONC E R T
featuring :
Ma rko Mar cinko, d r u m set
also featuri ng
BillC
arter, piano
Mik e Carbone, saxophones
Ton y Mari no, bass
Th u rs d ay, A pr il 10, 20 14
1:20 p. m.
Oster hou t Conce r t Th ea t e r
�ib PROG RAM &»
& ABOUT THE PERFORMER «~&
Program selected from the following and
announced from the stage:
Marko Marcinko ca me onto the international music scene in 1994
while touring and recording with trumpet legend Maynard Ferguson.
Marko served as drummer and arranger for Ferguson and his Big Bop
Nouveau Band for three years. Marko appears on the Concord
Recording “One More Trip To Birdland”. Born in Archbald,
Pennsylvania, Marcinko studied technique with drumming master Joe
Morello and continued his training at the University of M iami where
he studied classical, jazz, brazilian and afrocuban styles under
professors Fred Wickstrom. Steve Bagby, Steve Rucker. Harry
Hawthorne and Ney Resaro. Over the years Marko has pla yed with jazz
greats Joe Henderson, Phil Woods, Clark Terry, Bob Dorough, Red
Rodney, Michael Brecker, Randy Brecker, M ulgrew Miller, Mike Stern,
Tierney Sutton, Terrell Stafford and Will Lee. Other notables
Marcinko has worked with include Jon Secada, Joan Rivers, Connie
Francis, Don Rickles, Melba Moore, J uan Gabriel, Clay Aiken, Jay
Dance 24 .
.Bill Carter
Mr. Syms..
. John Coltrane
Elegy .
It Might as Well be Spring‘
Brent’s Beadle .
Bill Carter
Rodgers and Hammerstein
Bill Carter
Leno. Bob Newhart and Nicol Williamson. During his years in the
music industry, Marcinko has worked as a freelance musician playing
drum set, percussion, piano/keyboards, bass guitar and trombone. He
has also served as a studio session player, arranger, musical director and
producer for numerous commercial jingles, indiefilms and off,
broadway / club and theater engage ments. Currently, Marcinko tours
and records with jazz saxophone icon and N EA jazz master Dave
Liebman. Discography includes: The Dave Liebman Group,
“Conversation” SunnySide Records, “Blues Always”, Omni Tone
Records, “Back On The Corner” Tone Center Records, “Beyond The
Line", Omni Tone Records. “TurnAround” the music of Omette
Coleman, Jazzwerkstart Records, “As Always” The DLBB Live, MAMA
Records. You can also hear Marcinko’s drumming and arranging on
“ Essentials” CD a retrospective of Maynard Ferguson. Marko more
recently has been touring and recording with The Organik Vibe Trio
Co~sponsored by the Binghamton University Music
Department and the Harpur Jazz Project
featuring multi Grammy award winning jazz great Dave Samuels. CD
titled “Moscow” The Organik Vibe Trio. Mr. Marcinko is also an
adjunct professor of jazz studies at Penn State University, State College,
PA. He also serves as the artistic director for the Scranton Jazz Festival,
The Pa Jazz Alliance and the Keystone College Jazz Institu te. For more
info on Marko Marcinko please visit www.markomarcinko.com. Marko
endorses Zildjian Cymbals, Yamaha Drums, Vic Firth Sticks and
Aquarian Drum Heads.
�Bingha mton U n iversity M usic
De part ment’s Com ing Eve n ts
M 6 $ ~ fi b 6 M M § fl fl é m ¢ b ¢ 6 M fi 6 fi fl
Thursday, April 1
0 H ar pur J a z z Ensemble Concert with guest artist
Marko Marcinko 8:00 p.m. Osterhout Concert Theater $7 general
public; $5 faculty/ s taff/ seniors; free for students
Thursday, Apri124, MidDay Con cer t 1:20 p.m. Casadesus Recital
Hall free
Saturday, April 2 6 – Senior Reci tal: Kerianna Krebushevski, soprano –
8:00 p.m. Casadesus Recital Hall free
Sunday, April 2 7 Senior Reci tal: P a ul Watrobski, cello 1:00 p.m.
Casadesus Recital Hall free
Sunday, April 2 7 – Univeristy Chorus and Wind Symphony Concert:
An American Music Celebration – 3 :00 p.m. Osterhout Concert
Theater $10 general public; $7 faculty/staff/seniors; $5 for students
Sunday, April 2 7, Master’s Reci tal: Seonghyang Kim, p
iano 7 :3 0 p. m.
Casadesus Recital Hall free
Tuesday, April 29 Piano Ensemble Concert 8:00 p.m. Casadesus
Recital Hall free
Thursda y, Ma y 1 – MidDa y Con cer t – 1 :2 0 p.m. – Casadesus Recital Hall
—
free
Friday, Alay 2– String Orchestra Concert – 4 :00 p.m. – Grand Corridor –
free
M
W
M
W
M
W
W
For tickets or to be added to our email list, visit anderson.binghamton.edu or call (607) 7 7 7
ARTS. For a complete list of our concerts call (607 ) 7772592, visit music.binghamton.edu or
become a fan on Facebook.
E
—
[ = ] g
‘
a
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. Bax 6000, Binghamton, N Y 13902.
�
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1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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Original Format
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1 audio disc
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
53m 12s
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75025">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75025</a>
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Title
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Jazz Mid-day concert featuring Marko Marcinko, April 20, 2014
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works by Carter, Coltrane, Rodgers, Hammerstein. Held at 1:20 p.m., April 20, 2014, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Harpur Jazz Project
Marcinko, Marko
Carter, Bill
Carbone, Mike
Marino, Tony
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Contributor
An entity responsible for making contributions to the resource
Carter, Bill
Coltrane, John
Rodgers, Richard, 1902-1979
Hammerstein, Oscar, II, 1895-1960
Date
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4/10/14
Rights
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In copyright
Type
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sound
-
https://omeka.binghamton.edu/omeka/files/original/d143138c052f70dd7d61382dea42766e.pdf
d0b73e820d40c0471377cebb9fcba663
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
NE W Y O R K
D
E
P
A
R
T
M
E
N
T
HARPUR JAZZ ENSEMBLE
DIRECTED BY MIKE CARBONE
FEA TU R ING
Marko Marci nko
Thursday, April 10, 2014
8:00 p.m.
Ostcrhout Concer t Theater
�ib ABOUT THE PERFORMER ass
NDHALFwi
‘ M k M r i n k
Program selected from the following:
Blue Daniel
Frank Rosolino
Arranged by Rob McConnell
The Chicken.
James Ellis
Arranged by Kris Berg
North Africa
Chick Corea
Arranged by Mike Tomato
Real Loud First Note Blues .
Spain
mer
Tom Kubis
Chick Corea
Arranged by Dave Wolpe
Stealnsville.
.Mark Taylor
Cosponsored lry the Binghamton University Music Department
and the Harpur Jazz Project
MARKO MARCINKO came onto the in ternational music scene in 1994
while touring and recording with trumpet legend Maynard Ferguson.
Marko served as drummer and arranger tor Ferguson and his Big Bop
Nouveau Band for three years. Marko ap pears on the Concord Recording
“One More Trip To Birdland", Born in Archbald, Pennsylvania,
Marcinko studied technique with drumming master Joe Morello and
continued his training at the University of Miami where he studied
classical, jazz, brazilian and at’rocuban styles under professors Fred
Wickstrom, Steve Bagby, Steve Rucker, Harry Hawthorne and Ney Resaro.
Over the years, Marko has played with jazz greats Joe Henderson, Phil
Woods. Clark Terry, Bob Dorough, Red Rodney, Michael Brecker, Randy
Brecker, Mulgrew Miller, Mike Stern. Tierney Sutton, Terrell Stafford and
W ill Lee. Other notables Marcinko has worked with include: Jon Secada.
Joan Rivers, Connie Francis, Don Rickles. Melba Moore, Juan Gabriel,
Clay Aiken, Jay Leno, Bob Newhart and Nicol Williamson. During his
years in the music industry, Marcinko has worked as a freelance musician
playing drum set, percussion, piano/keyboards, bass guitar and trombone.
He has also served as a studio session player, arranger, musical director
and producer for numerous commercial jingles, indiei’ilms and off
broadway / club and theater engagements. Currently, Marcinko tours and
records with jazz saxophone icon and NEA iazz master Dave Liebman.
Discography includes: The Dave Liehman Group, “Conversation”
SunnySide Records, “Blues Always”, Omni Tone Records, “Back On The
Corner” Tone Center Records, “Beyond The Line”, Omni Tone Records.
“TumAround” the music of Ornette Coleman, Jazzwerkstatt Records, “As
Always” The DLBB Live. MAMA Records. You can also hear Marcinko’s
drumming and arranging on “Essentials ” C D a retrospective of Maynard
Ferguson. Marko more recently has been touring and recording with The
Organik Vibe Trio featuring multi Grammyaward winning jazz great Dave
Samuels. CD titled “Moscow” The Organik Vibe Trio. Mr. Marcinko is
also an adjunct professor of iazz studies at Penn State University, State
College. PA. He also serves as the artistic director for the Scranton Jazz
Festival, The Pa Jazz Alliance and the Keystone College Jazz Institute. For
more into on Marko Marcinko please visit www.markomarcinko.com.
Marko endorses Zildjian Cymbals, Yamaha Drums, Vic Firth Sticks and
Aquarian Drum Heads.
�Binghamton University Music Department’s
Upcoming Events
o é é o – é é o o a i é n é ’s é n fi f a m é b n é ‘ s é n é é n é f a e
Thursday, April 24 MidDay Concert 1:20 p.m. Casadesus Recital Hall
free
Saturday, April 26 – Senior Recital: Kerianna Krebushevski, soprano 8:00
p.m. Casadesus Recital Hall free
Sunday, April 27 Senior Recital: Paul Watrobski, cello 1:00 p.m.
Casadesus Recital Hall free
Sunday, April 27 – University Chorus and Wind Symphony Concert: An
American Music Celebration 3:00 p.m. Osterhout Concert Theater $10
general public; $7 faculty/staff seniors; $5 for students
Sunday, April 27 Master’s Recital: Seonghyang Kim, piano 7:30 p.m.
Casadesus Recital Hall – free
Tuesday, April 29 Piano Ensemble Concert 8:00 p.m. Casadesus Recital
Hall free
Thursday, May 1 MidDay Concert 1:20 p.m. Casadesus Recital Hall
free
Thursday, May 1 GrammyAward Winning vocal guest artist Jacqueline
HomerKwiatek 8:00 p.m. Casadesus Recital Hall $5 general public; free
for students
Friday, May 2 – Flute Studio and Flute Chamber Concert 11:30 a.m.
Casadesus Recital Hall free
Friday, May 2 – TriCities Opera presents Strauss’ Die Fledermaus 8:00 p.m.
The Forum Theatre call (607) 7 7 2 0400 for tickets
Saturday, May 3 University Symphony Orchestra : Symphonic Smorgasbord
3:00 p.m. Osterliout Concert Theater $7 general public; $5
iacu lty/sta l l/se n iors; free for st udents
W
W
W
0
5
m
m
For tickets or to be added to our email list. visit anderson.binghamton.edu or call ( 6 0 7 ) 777ARTS. For
a complete list of our concerts call (607) 7772592, visit music.binghamton.edu or become a fan on
Facebook.
o
f
[ =
E
B
2
If you were inspired by this performance, consider supporting the Department of
M usic with a financial gi ft. Your su p 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 Music Department, P O . Box 6000. Binghamton, N Y 1 3902.
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
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2 audio disc
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
51m 39s
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75021">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75021</a>
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Title
A name given to the resource
Harpur Jazz Ensemble featuring Marko Marcinko, April 10, 2014
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works by Simon, Alston, Skeets, Sherwin, Maschwitz, Bliztein, Weill, Ellington, Mills, Davis, Coleman, Leigh, Lind, Willis, Hooper, Nestico, Rosolino, Ellis, Corea, Kubis, Taylor. Held at 8:00 p.m., April 10, 2014, Osterhout Concert Theater.
Creator
An entity primarily responsible for making the resource
Harpur Jazz Ensemble
Marcinko, Marko
Carbone, Michael
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Contributor
An entity responsible for making contributions to the resource
Simon, Paul
Alston, Jon
Skeets, Campbell
Sherwin, Manning
Maschwitz, Eric
Bliztein, Marc
Weill, Kurt
Ellington, Duke, 1899-1974
Mills, Irving
Davis, Miles
Coleman, Cy
Leigh, Carolyn
Lind, Jon
Willis, Allee
Hooper, Less
Nestico, Sammy
Rosolino, Frank
Ellis, James
Corea, Chick
Kubis, Tom
Taylor, Mark
Date
A point or period of time associated with an event in the lifecycle of the resource
4/10/14
Rights
Information about rights held in and over the resource
In copyright
Type
The nature or genre of the resource
sound
-
https://omeka.binghamton.edu/omeka/files/original/f4f245a718999486c20771e401c08472.pdf
e5e987fac7859013afdd4bc7cc33f11b
PDF Text
Text
BINGHAMTON
U N I V E R S l T Y
S TATE UN 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
STUDENT RECITAL
EMILY GELLER,
Mezzo SOPRANO
widv
Pg’fieétg; piano an d
harpsichord
and
Hakan TaygaHromek; cello
Saturday, Marci/1”, 2014
8 p .m
Casadesus H a l l
�GeolgeFrideric Handel
(16851759)
fromAIcina
Verdi prati
Sta nelrircana
II.
Zigeunerilieder, 0p.103.
1. He, Zigeuner, greife in die Satan ein
2. Hochgetfirrnte Rimatht
3.Wisst ihr, wann mein Kindchen
4. Lieber Gott, du weisst
5. Brauner Bursche fiihrt zum Tanze
Johannes Brahms
(18331897)
from Toic’ e st moi.
C‘est ga la vie, c’est ga I’amour
HalfMinute Songs.
1. Making the Best of It
2. First Ask Yourself
3. To Understand
4. Doan’ Yo’ Lis’n
5. How to Find Success
6. The Pleasure of Giving
7. Answer the First Rap
8. A Good Exercise
9. A Present from Yourself
10. Now and Then
11 When They Say the Unkind Things
12. Keep Awake
V.
from Kiss Me, Kate
So In Love
Thank You So Much Missus LowsboroughGoodby
from Nymph Errant
The Physician
from Panama Hattie
Make It Another Old Fashioned, Please
opportunities for elaborate staging and special eflects that were immensely popula
has not yet been transformed and is besottad with the sultry Alcina. Living in sin with her,
he has forgotten his betrothal to Bradamante, who has pursued him to the island disguised
®INTERMISSIONcs
Youkali (Tango Habanera).
supernatural elernens than his earlier operas. This type d mafical opera providesr with
them before she transforms them into boulders, trees, straarns, or wild animals. Her latest
captive Is the knight Ruggiero (originally a castrato role, today sung by mezzosoprano). He
7. Kommt dir manchmal in den Sinn
8. Rote Abendwolken ziehn
III.
constructed Covent Garden Theatre on A prils.1735.1 he anonymous libretto was based
on two cantos lrorn Italian poet Ludovico Ariosto’s Orlando Iurioso (1 516) about the
adventures of paladins In Charlemagne’s court. Alcina was so popular that there was a
revival of the work just a year after its premiere. At this point In his career. Handel had the
lreedorn to choose from a wider range of librettos; this explains why Alcina contains more
Handel’s audiences.
The opera focuses the sorceress Alcina. who lures brave men to her island, seducing
6. Rbslein dreie in der Reihe
from Chants populaires.
Chanson espagnole
andel composed works in almost every musical genre, 1mm
George Frlderlc H
orchestral b vocal pieces, chlnber music to oraorio. Alcina was presented at the newly
.
JosephMaurice Ravel
(18751937)
.Kurt Weill
(19001950)
. Moses Simons
(18891945)
. Carrie JacobsBond
(18891945)
. .Coie Porter
(18911964)
as a young man. Eventually Ruggiero succeeds in destroying Alcina’s magic powers. All
the enchanted heroes are restored to their human form and Ruggiero ls reunited with
Bradamante.
Both “Verdi prati” and “Sta neil rcana’ are sung by Ruggiero, but they could not be
larther apart in character; the first ls ethereal and introspective, the other bold and
aggressive. ‘Verdl prati is known one of Handel’s most beautiful arias, although
Carestini, the castrato who first sang Ruggiero, initially rejected it because of its simplicity.
From Act II it loreshadows Alcina’s coming defeat and eventual vengeance with the world.
As Ruggiero emerges from his entrapment, he comes to accept the island’s real, horrid
aspect and bids twewell to Alcina’s magic island.
Caught in an emotional tugofwar between Alcina and his abandoned fiancée
Bradamante, Ruggiero presents a largely passive figure until emerging In his rollicking final
Act III aria “Sta nell’lrcana.” This aria resumes his heroic stance just after he escapes
cina’s
Alcina’s spell, solidifying him as a heroic warrior. After breaking away from Al
enchantment, Ruggiero abandons her to return to his fiancée. Alcina pleads with Ruggiero
to come back, but he instead breaks the urn that contains her power. The energy and
excitement of “Sta nell’Ircana” is manifested in the fiery accom paniment, which when
performed with full orchestra, features horns and quick repeated notes In the strings.
I.
Verdi Pratt (Green Meadows)
Green meadows, charming woods, you will
lose your beauty.
Lovely flowers, flowing streams, your
charm, your beauty,
will soon be changed.
Sta ne Teena
(In her rocky Hyrcanlan lair)
In her rocky Hyrcanian lair.
lurks an angry tigress,
unsure whether to run
or await the hunter.
She wants to save herself from his arrow,
And as every lovely object changes,
everything within this place will return to the but that would mean leaving her young in
danger.
horror of its former appearance.
She shivers, torn between bloodlust and
maternal devotion,
the victor is love.
Johannes Brahms’s place as one of the great song composers of the nineteenth
century and one of the maior German song composers Is untispuled. His works are
chaaclarizad by both strictness and freedom in form, line, texture, and rhythm. Considering
himself a selftaught composer, he wrote approximately 380 songs for one, two, three and
tour voices, including nearly 100 arrangements of lolk songs and children’s songs.
Brahms‘s lundamental interest in folk music permeated his musical aesthetic. His great
respect and admiration for classical forms manifested itself in musical symmetry, which is
always found in his songs. This, coupled with his strong lyric gift, gives his Lieder a high
degree of emotional intensity and expressive impact.
�Throughout his tile. Brahms was fascinated with the music of the Hungarian Gypsies.
These songs are rearrangements from the eleven vocal quartets composed In 1887 as
Zigeuneriieder for four voices. In the solo version, published in 1889, there we eight songs
encompassing an array of emotions from exuberant joy to melancholy. Dance rhythms are
found in the piano and also in the rhythms of the vocal lines of some of the songs. Brahms
begins and ends this set with strongly accented. broadlined songs. The Indigenous quality
of Hungarian vocal music lacks upbeats. Although all eight songs are in simple dupie
meter, variety is created by use of syncopations, triplets, and dotted patterns.
attributed to Carol Kimball
II.
1.He, Zlgeuner, greife In die Salton
Hey, Gypsy, play your violin!
Play the song of the unfaithful gri!
Let the strings weep, lament. sadly and
anxiously, until hot tears moisten my cheek!
2. Hochgetirnm Rimaflut
River Rima with your towering banks,
how troubled you are;
by its edge I loudly moan for you. my love!
Waves dash by, waves rush along and
rumble up to the riverbank where i stand;
by the banks of the Rima let me weep
eternally for her!
3. Wlsst Ihr, warm meln K indchen
Do you know when my darling is most
beautiful?
When her sweet little mouth iokes and
laughs and kisses.
Dear little girl, you are mine. I kiss you
fervently; loving heaven created you for me
alone!
Do you know when I like my sweetheart
best?
When he holds me close in his arms.
Dear lover, you are mine, I kiss you
fervently; loving heaven created you for me
alone!
4. Lieber Gott, du welsst
Dear God, you know often I have regretted
the kiss I once gave my sweetheart.
My heart commanded me to kiss him;
I will think about that first kiss as long as I
live.
Dear God, you know how often in the
silence of the night
I have thought about my loved one in
pleasure and pain.
Love is sweet. even if r epentance is bitter,
atr rtwill remain eternally,
my poor he
eternally true to him.
5. Brauner Bursche fiihrt tum Tanze
A suntanned lad leads his beautiful blue
eyed sweemeart to the dance;
he boldly strikes his spurs together;
a czardas melody begins;
he kisses and caresses his sweet loved
one; turns her around. leads her, rejoices
and leaps: he throws three bright silver
coins onto the cimbalom to make It twang.
6. Roslein dreie In der Raine
Threelitflerosesina row blossom so red;
there‘s no law against a young man’s
visiting a young girl!
Dear God, if that were forbidden, the
beautiful, wide world would have been gone
long ago: to remain unmarried Is a sin!
The prettiest little town In Alféld Is
Kecskemét; there, there are really a lot of
goodlooking and nice girls!
Friends, find yourselves a bride there, ask
for her hand and establish your household;
drain the cup of joy!
7. Kommt dlr manchmal In den Slnn
Do you sometimes recall to mind. my
darling, what you once promised me with
sacred oath?
Don’t deceive me, don’t abandon me;
you don’t know how much I love you;
love meas much as I love you,
and then God’s g’ace will pour down on
you!
8. Rote Abendwolken xlehn
Red evening clouds pass by in the
firmament;
my heart burns longingly for you, my
darling.
The sky beams in glowing splendor,
and I dream, by day and night, only of my
sweet lover.
All three of these French songs have a “Spanish flair” through dance rhythms. French
composer Maurice Ravel once commented that he did not want his music to be
interpreted, but performed. The Chants populaires Is one of four prizewinning folk song
amrangements designed to promotethe awareness and performance of international folk
song. A relentless militant rhythm (similar to Bolero) underlies a bitter comment in the text
pon a man’s soul.
about the hardening effect d w a u
Kun Weil ’s persistent experimentation with hybrid toms of musical theater produced
some of the most stimulating, expressive. and enduring works for musical theater in the last
century. Germanborn, Weill wrote ‘Youkdi:Tango Habanera‘ while in Paris. The French
text was later added by Roger Fernay. “Youkali” is languid and nostalgic, written in strophic
form. It contains Weill’s trademark of majorminor alternation. Its narrative stanzas are set
In a tango rhythm but the habanera is heard in the refrain. Weil’s majorminor ventilation is
used ironically here; the final phrase migrates to the major key as hope for finding the
dream of Youkali s crushed
Moisés Simons was a leading Cuban composer, pianist. and conductor. After having
built his career in Cuba, he composed one of the most lamous pieces of Cuban music. “El
Manisero (The Peanut Vendor).” Its success led to a “rumba craze” In the US and Europe
which lasted until the 1940s. In Paris, he wrote the operetta Toi, c’est Moiwith popular
French novelist, Henri Duvernois. It consists of a series of extremely varied numbers
punctuated by humorous comedy scenes. The CubaHaern musicologist Alejo Carpentier
praised Simons’ excellent musical and technical accomplishment saying that Toi C’esl Moi
Simons’ creative career. “C’est la vie” is an arresting take on the
was b l e the peak of
Carmen story in which Carmen kills a cheating Escamillo.
III.
Chanson espagnole (Spanish Song)
F zeweil. go, my husband, farewell;
Since they have taken you for the war
There is no longer on earth
Alas! for me, neither laughter. nor fun!
Vouknli (Tango Habanera)
It was almost to the end of the world
That my wandering boat
Straying at the will of the waves
Led me one day
The Isle is very small
But the kind fairy that lives there
Invites us to take a look around.
Youkali is the land of our desires
Youkali is happiness, pleasure
Youkali Is the land where we forget all our
worries
It Is in our night, like a bright rift the star we
follow, it is Youkail
Youkali Is the respect of all vows
emhanged
Youkali is the land of love returned
II is the hope that Is in every human heart
The deliverance we await for tomorrow
Youkali Is the land of our desires
Youkali is happiness, pleasure
Bu t i t isa tt dream, a folly
There is no Youkali.
Castille takes our boys
To make her cause triumphant,
They go off as soft as rose petals,
They return hard as thistles.
And life carries us along
Tediously, day by day
But the poor human soul
Seeking forgetfulness everywhere
Has, in order to escape the world
Managed to find the mystery
In which our dreams burrow themselves
In some Youkali.
Youkali is the land of our desires
Youkeli is happiness, pleasure
Youkdi is the land where we forget all our
worries
It is in our night, like a bright rift the star we
follow, it is Youkali
Youkali is the respect of all vows
emhanged
Youkali is the land of love returned
It “s the hope that is in every human heart
The deliverance we await lor tomorrow
Youkali is the land of our desires
Youkali is happiness, pleasure
But it is a dream, a folly
There is no Youkali.
�C’sst ca la vie (That’s Life)
Carmen the gypsy loved the handsome
Escamillo;
She swore to love the Toreador forever.
But all men are the same,
He tired of her kisses. He deceived her,
she reproached him. He left her!
That’s Me. that’s love!
Here a little embarrassment one gets into,
One falls in love one night, the next day it’
goodbye.
That’s life. that’s love.
Carmen the gypsy returned to the Toreador;
She forgave him, wanting him to adore her
again,
But all men are the same,
Escamillo deceived her again.
The gypsy seized his dagger,
And killed him!
That’s life. that’s love!
Here a little embarrassment one gets Into.
We love one night, one day we kill.
That’s life, that’s love.
Carrie JacobsBond was a piano prodigy, but did not pursue music professionally
until after the death of her second husband. Having lost nearly everything, she fought
poverty for years and provided for herself and her son by writing, selling. and performing
songs ‘unpretentious as a wild rose.” She suffered stage fright and was criticized for being
“plain and angular.” As an untrained singer. she courageously performed her songs on her
own due to financial trouble. Ultimately she became quite successful, allowing for her music
to have professional performances. Upon hearing her most famous song, ”At the End of a
Perfect Day” in concert. a Viennese composer visiting the United States stood up, thinking
it was the national anthem.
It is easy to imagine JacobsBond delivering the pearls of wisdom in “The HalfMinute
Songs.” They are infused with her quirkiness and forthrightness. “I wonder what the world
would be like if there were nobody to do the simple things!” Bond wrote. “I wonder how
folks would get along without snappers, and hooks and eyes, and pins. Nothing could be
much commoner than they are, but they fill a very muchneeded place. You see, lots of
folks can get along without a point lace collar, but I should hate to see folks try to get along
without the other commodities I’ve spoken of. And sometimes songs (simple songs) like
pins keep folks together.”
Adapted from Briana Sekamcto
N.
1. M aking the Bes t o f It.
What you can’t help,
What you can’t help.
What you can’t help.
Forget!
2. First Ask Yourself.
Before you have said It about them,
Ask yourself if you’d like them to know you
said it.
3. To Understand.
To understand a sorrow,
You must have one all your own.
Cole Porter is a world famous composer and lyricist, who had such an individuality of
style that a genre known “the Cole Porter song” emerged. The hallmarks of a typical
Porter song are suave and witty lyrics and melodies with a sinuous, brooding quality.
Richard Rodgers said, “Few people realize how architecturally excellent his music is.
There’s a foundation, a structure and an embellishment. Then you add the emotion he’s put
in and the result is Cole Porter.“ In 1937, Porter was thrown from a horse, breaking both his
legs and danaging his nervous system. For the rest of his life, Porter in constant pain and
became a virtual recluse.
Kiss Me, Kate is one of Cote Porter’s most loved musicals. It opens with the cast of a
musical version of William Shakespeare’s The Taming afthe Shrew rehearsing for opening
night. Egotistical Fred Graham is the director/producer/starring as Petruchio, while his
moviestar exwife, Lilli Vanessi, ls playing Katherine. Although they seem to be constantly
arguing, Lilli receives a flower arrangement, identical to her wedding bouquet, with a card
from Fred. She sings, “So In Love", remembering why she fell in love with him to begin with.
Her rekindling love for Fred dies when she finds out the flowers were not intended for her.
just delivered to the wrong dressing room.
Some of Porter’s most unique and hilarious songs come from musicals rarely done
today. Nymph Emant, once considered controversial, tells the story of a young English lady.
Evangeline, intent on losing her virginity, Evangeline is sold and married into a harem, but
she complains to the harem keeper about the lack of intimacy with her new husband, who
she has yet to meet. He asks if she has ever been in love. and she tells him of a crush she
once had in, “The Physician.” Porter considered this score his best because of its
worldliness and sexual sophistication. The World War II musical, Panama Hattie tells the
story of Hattie Maloney, a gaudy, goodhearted nightclub singer who tends to love above
her station. In “Make It Another Old F ashioned, Please” Hattie tries to swear off liquor with
little success. The Broadway premiere starred Ethel Merman as Hattie. One of Porter’s rare
independent songs, “Thank you So Much Missus Lowsborough Goodby” was inspired by
an invitation to a country house. A typescript of the lyric was found among the unused lyrics
of ‘Anything Goes’, indicating that Porter might have contemplated using it in that show.
Am’buted to The Associated Press, New York Times
V.
6. The Pleasure of G iving
I’d rather say “You’re welcome” once, then
“Thank you” a thousand times.
7. Answer the First Rap.
Opportunity may knock often, but it’s better
to answer the first rap!
8. A Good Exercise.
With evil things you’ll always find
It’s best to be deaf. dumb and blind.
9. A Present from Y ourself.
A friend is a present you give yourself
4.Doan’ Yo’ Lls‘n.
No mattah w’at dey said.
Keep awalkin’ straight ahaid,
W’y dey’ll praise yo’ when yo’ daid,
But doan’ yo’ lis’n.
10. Now and Then.
The “lucky” fellow gets up at five (AM.),
And gen’rally works till ten (P.M.);
But the other fellow not quite so ”lucky.”
Works hardjust now and then!
5. How to F ind Success.
The man who finds success looks
sometimes when he‘s tired,
When he’s tired. when he’s tired.
Looks sometimes when he’s tired.
11. When They Say the Unklnd Things.
Ain’t it gay that what “they say”
Can’t hurt you unless it’s true?
12. Keep Awake.
Success never comes to the sleeping.
So In L ove
Strange dear, but true dear,
When I’m close to you, dear,
The stars fill the sky,
So in love with you am I.
Even without you,
My arms told about you,
You know darling why,
So In love with you am I.
In love with the nightmysterious.
The night when you first were there,
In love with myjoy delirious,
When I knew that you could care.
So taunt me, and hurt me,
Deceive me, desert me,
I’m yours, till I die
So In love, So in love,
So In love with you. my love, am I
�Thank You So Much Missus
LowsboroughGoodby
Mlssus LowsboroughGoodby gives
weekends.
and her weekends are not a success,
but she asks you so often you finally soften
and end by answering “Yes.”
When I left Missus LowsboroughGoodby’s
The letter I wrote was polite
But ltwould have been bliss
Had I dared write her this,
The letter I wanted to write:
Thank you so much Missus Lowsborough
Goodby,
Thank you so much.
Thank you so much for that infinite weekend
with you.
Thank you a lot. Mlssus Lowsborough
Goodby.
Thank you a lot.
And don’t be surprised if you suddenly
should be quietly shot.
For the clinging perfume
And that damp little room,
For those cocktails so hot
And the bath that was not,
For those guests so amusing and mentally
bracing
Who talked about racing and racing and
racing.
For the ptomaine I got from your famous tin
salmon,
For the fortune I lost when you taught me
backgammon.
For those momings I spent with your dear
but deal mother.
For those evenings I passed with that
bounder, your brother,
And for making me swear to myself there
and then
Never to go for a weekend again.
Thank you so much. Missus Lowsborough
Goodby,
Thank you. thank you so much.
The Physician
Once I loved such a shattering physician,
Quite the bestlooking doctor In the state.
He looked alter my physical condition,
And his bedside manner was great.
When I’d gaze up and see him there above
me,
Looking less like a doctor than a Turk,
I w tempted to whisper, “Do you love me.
Or do you merely love your work?”
He said my bronchial tubes were
entrancing,
My epiglottis filled him with glee,
He simply loved my larynx
And went wild about my pharynx,
But he never said he loved me.
He said my epidermis was darling,
And found my blood as blue as could be,
He went through wild ecstatics,
When l showed him my lymphatics,
But he never said he loved me.
And though. no doubt,
It was not very smart of me,
I kept on awracking my soul
To figure out
Why he loved ev’ry part of me,
And yet not me as a whole.
With my esophagus he was ravished.
Enthusiastic to a degree,
He said “twas iust enormous,
My appendix vermiformis,
But he never said he loved me.
He said my vertebrae were “sehr schone,”
And cdled my coccyx “plus oue gentil,”
He murmured “molto bells.”
When I sat on his patella,
But he never said he loved me.
He took a fleeting look at my thorax,
And started singing slightly off key,
He did a double hurdle when I shook my
pelvic girdle,
But he never said he loved me.
As it was dark,
I suggested we walk about
Before he returned to his post.
Once in the park. I induced him to talk about
The thing I wanted the most.
He lingered on with me until morning,
Yet when I tried to pay him his fee,
He said. “Why, don’t be funny, It is I who
owe you money,”
But he never said he loved me.”
Make It Another Old F ashioned, Please
Make it another oldfashioned, please.
Make it another. double, oldfashioned,
please.
Make it let one who’s due tojdn the
disillusion crew
Make it for one of love’s new refugees.
Once high in my castle, I reigned
supreme,
and oh what a castle, built on a heavenly
dream.
Then quick as a lightning flash, that castle
began to crash
So, make it another oldfashioned, please
Leave out the cherry,
Leave out the orange,
Leave out the bitters
Just make it straight rye.
ABOUT THE PERFORMERS
Hailing from Long Island, Mezzosoprano Emily G eller is urrrently a Resident Artist with
TriCities Opera. Most recently she performed Mercedes in Carmen, Lola in Cavelleria
rusllcene and Ines In Il trovatore. Before TCO, she was a Tyler Young Artist with Opera on
the James where she covered Giannetta In Lelisir d’emore and performed The Wife In The
Music Shop. She has been noted as “outstanding”, “delightfully over the top,” and “most
enjoyable to watch and listen to.”
Ms. Geller has performed lead roles with numerous regional companies, Including CR
Productions at Cohoes Music Hall, One World Symphony, Amore Opera. Regina Opera.
NY Lyric Opera Theater. Staten Island Philharmonic. Village Light Opera Group and The
HarvardRadcliffe Gilbert and Sullivan Players. During the summer, she has performed with
such festivals as Music Theater Bavaria, Intermezzo Opera Theater. Rising Star Opera
Theater. College Light Opera Company and Boston University Tanglewood Institute.
Favorite roles performed include Third Lady in Die Zauberfiéute, La Voix in Les contes
dHoffmann, Mrs. Anderson In A Little Night Music, Mere Marie in Dialogues des
Carmelites, Miss Todd in The Old Maid and the Thief, La maestra delle novizie in Sour
Angelica and Mrs. Herring in Albert Herring. Having an affinity for Gilbert and Sullivan
operettas, Ms. Geller has extensively performed Katisha in The Mikado throughout the
Northeast. Other G&S roles include Pittising in The Mikado, Cousin Hebe in HMS
Hrrafore. Kate In Pirates dPenzrrnce. Duchess of Plazatorn in The Gondoliers and
lolanthe and Queen of the F airies In lolanthe.
Outside of opera, Ms. Geller’s solo experience include Mendelssohn’s Elijah. Vivaldi’s
Gloria, Dumfle’s Requiem, Debussy’s Trois Chansons, Britten’s Rejoice in the Lamb,
Bach’s Christmas Oratorio and Handel’s Messiah.
Ms. Geller is currently a Master of Music student in Opera at Binghamlon University with a
full assistantship under the tutelage of Prof. Mary Burgess. She received her Bachelors of
Music in Vocal Performance from New England Conservatory earning the Ruth S. Morse
Scholarship, the NYSTEA Award of Excellence for Exceptional Work in Theater and the
Emmett Quinton Scholarship for Theater. While at Binghanton University, she performed
Hansel in Hansel and Gretel in The Anderson Center Chamber Hall. Upcoming
performances include “Country Nights to New York Lights“ a concert of American Opera
and Musical Theater with Opera North in Wilder, VT March 8 ” and 9th. With TriCities
Opera. she will be performing in a brand new production of Die Fledermaus as Prince
Orlofsky, May 2™ and 4 “ a t The Forum Theater. This summer. Ms. Geller will return to
Opera North as a Young Artist. performing Mrs. Emma Jones in Weill’s Street Scene and
covering F lora Bervoix in Verdi’s La Traviata.
�Pej Rcitz. pianist, is a native of the Binghamton Area. She received her Bachelor
and Master of Music degrees in piano perlormance with accompanying emphasis.
She attended Boston University, New England Conservatory and Binghamlori
University She has studied piano with Jean Casadesus, Victor Rosenbaurn.
Seymour Fink and Walter Ponce and accompanying with Allen Rogers She has
accompanied throughout the United States, in England, South America. Spain and
at the American Institute of Musical Studies in Graz. Austria. She was a winner of
the Artistic Ambassadors Program by the United S tates Information Agency in
partnership with the John F . K ennedy Center for the performing arts.
She was an official accom panist for the MTNA Sta te and Eastern Division
Competition held at Ithaca College. She has been a guest chamber music artist in
Morges, Simtzerland. She also was selected to attend the Accompanying
Workshop for Singers and Pianists held at Northwestern University with Chicago
Lyric Opera F aculty and Coaches. She was invited to the International Clarinet
Conference to play a recital in Tokyo, Japan. She was an official pianist at the
International Double Reed Competition and Convention in at Ithaca College and
was invited to play at the Convention in Birmingham. England with the Glickman
Ensemble She recorded several CD’s with the Glickman Ensemble in
Englewood, NJ. She will perform with the Glickman Ensemble on the Cornell
Summer Series in July. She was selected to accompanying at the Interpretation of
Spanish Music in conjunction with University of Madrid in Grenada, Spain
coached by Teresa Berganza and at Mannes School of Music . She was a Guest
Artist playing two concerts in Granada, Spain and accompanied the Barcelona
Song F estival . She soloed with the Catskill Symphony at the Otesaga in
Cooperstown, NY under the direction of Charles Schneider. She has
accompanied at The International Spanish Music F estival in Madrid, Spain. She is
the pianist for Theater Street Productions and will perform on the Newport Music
F estival and International G & S F estival in England this summer
i
She is currently on the faculty at Binghamton University since 1991 and Ithaca
College School of Music since 1999. She is the treasurer of the local District VII
Music Teachers Associa tion and is an active adjudicator for the National Piano
Guild Organization.
Hakan TaygaHromek, cellist. trained in Music Performance at Ithaca College, SUNY
Purchase and Binghamton University An active orchestral cellis t, Hakan currently serves
as Principal Cellist of the Binghamton Philharmonic and the TriCities Opera Orchestra.
Other orchestral and chamber experience has included Kenai Peninsula Music F estival in
Alaska. S yracuse S ymphony (S ymphoria), Northern Tier S ymphony An avid chamber
musician collaborations have included working with BU F aculty. artists in the Central NY
Region. novodtet. DeVere Quartet. and Convivium Plano Trio. Of special interest, the
Novodtet has recorded W illiam H. Wegel Dance Suite (String Quartet #2) in2012.
Teachers and Artists that have had great influence have included Peter Wiley. Daniel
Phillips, Manon Feldman, Stephen Stalker, Einar Jeff Holm, and Fritz Wallenoerg
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herdevatedparents, fr1endsandfamilyfrom/aruway, suppomvecolleogues
andprofessars andloving boyfriend, Travis, for agreeing to be part of this
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�Bingbam ton University Music Department’s
Coming Events
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Thursday, March 6—Ml’aLDay Concert (Peny)—I:20 p.m.—Casadesus Recital
Hall—free
Saturday. March 8Harpur Chorale and Women '.r Chorus—3:00 p.m.—
Andewrson Center Chamber Hall–$7 general public; $5 faculty/staft/seniors; free
for students
Saturday. March 8—TdClrle’ Opera preremr “Singing with the Stars” fundraiser–
8:00 p.m.—Opera Center, 315 Clinton Sn—ca/I (607) 7720400 for ticket;
Sunday, March Sit–Muster? Recital: Thom Baker, tenor (tentaflve)—3:00 p.m.—
Casadesus Recital Hall—flee
Thrusday, March I3–MJ‘dDay Concert (Goodheart)–1:20 p.m.—Ander_ron
Center Chamber Hall–free
Saturday. March 15Master’s Recital: Michael Celentano. baritone (tentative)—
3:00 p. m . —Ca:ade.rur Recital Hall—flee
Saturday. March I5—Mnd Symphony Concert: Music by Numbers—8:00 p.m.—
Anderson Center Chamber Hall$ 7 general public; $5 faculty/rtafflreniom free
for students
Wednesday, March 19Opera Scenes–8:00 p.m.—Anderron Center Chamber
Hal « 5 IO general public: $7 faculty/staff/seniors; $5 for n‘udentr
Thursday, March 20—MldDay Concert (Schlewe)—l:20 p. m. —Caraderu.r Recital
Hallfree
Thursday, March 20 – Harpur Chorale and Women s’ Chorus 8:00 p. m. –
Anderson Center Chamber Hall – $6 general public; $3 faculty/staff/seniors; free
for students
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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. visit mu:ic.binghamton.edu or
become a fan on Faaebook.
If you were inspired by this performance, consider supporting the
Department of Music with a financial gift. Your rapport help: 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 rend your check to
3902.
BU Muric Department. P.O. Box 6000, Binghamton, N Y 1
�
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
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Concerts ; Instrumental music ; Live sound recordings
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Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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1 audio disc
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50m 37s
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Title
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Student recital, Emily Geller, March 1, 2014
Subject
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Concerts
Instrumental music
Live sound recordings
Description
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Works by Handel, Brahms, Ravel, Weill, Simons. Porter. Held at 3:00 p.m., March 1, 2014, Casadesus Recital Hall.
Creator
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Geller, Emily
Publisher
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Binghamton University Libraries In copyright Binghamton University
Contributor
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Handel, George Frideric, 1685-1759
Brahms, Johannes, 1833-1897
Ravel, Maurice
Weill, Kurt, 1900-1950
Simons, Moisés
Date
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3/1/14
Type
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sound
-
https://omeka.binghamton.edu/omeka/files/original/2c78834137ed6575df3790b520019fbf.pdf
f2612d96efefc47d770cf716902a693c
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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 V O R
D E P A R T M E N T
U NIVERSITY SYMPHONY ORCHESTR A
Timothy Perry, music director and conductor
WITH
WINNERS OF THE 2013 – 2014
u s o Concerto AND ARIA COMPETITION
Annie Tao, piano
Caitlin Gotimer, soprano
Emily Sui, violin
Jake Stamatis, bass baritone
Saturday, March 1, 2014
3:00 p.m.
Osterhout Concert Theater
�PROGRAM
Concerto for Piano and Orchestra. . . .
. Edvard Grieg
in A minor, Op. 16
(18431907)
I. Allegro molto moderato – Animato – Piu lento
Annie Tao, piano
Rondo di Fiordiligi: “Per pieta, ben mio". .
from Casi fan Tutte
.
.. W.A. Mozart
(17561791)
.
Samuel Barber
Caitlin Gotimer, soprano
Concerto for Violin and Orchestra, Op.14
Ii Allegro
(19101981)
Emily Sui, violin
Arias di Figaro, from Le Nozze di Figaro
Aria: “Non piu andrai, farfallone amoroso”
. W.A. Mozart
(17561791)
Recitative and Aria: “Tutto e disposto – Aprite un po’ quegl’occhi”
Jake Stamatis, bassbaritone
Ma Vlast: No. 2 – The Moldau (Vlatava)...
Bedrich Smetana
The Twin Sources of the Moldau – Forest Hunt
(18241884)
Peasant Wedding – Nymphs’ Moonlight Dance –
St. John’s Rapids The Moldau at its Full Breadth
The University Symphony Orchestra ’s fi nal concert for
2013 – 2014 will be a “Symphonic Smorgasboard” on Saturday, May 3 at3pm in
Osterhout Concert Theater. The program will include four symphonic movements
from twentiethcentury masterworks by Sibelius, Vaughan William, Ives and
Shostakovich, with commentary by Timothy Perry.
�PROGRAM NOTES
I. Edvard Grieg was only twentyfive in 1868 when he completed his only
Piano Concerto, which was to remain the only work he completed in a
standard largeform during almost forty years of composition. After leaving
the Leipzig conservatory, where his training had been heavily influenced by
modeling Schumann and Mendelssohn, Grieg underwent his creative epiphany
between 1865 and 1867, when his discovery of Norwegian folkmusic and
dances led to his first great success, the 1867 Lyric Pieces, Op. 12 for piano solo.
Encouraged by the success of his Violin Sonata in F, Grieg traveled to Rome
where he brought the draft of the Concerto for Piano to present to the grand
eminence, Franz Liszt. Liszt was impressed, making only a few (somewhat
bizarre) suggestions for orchestration changes, and encouraged the young
Norwegian to continue his writing “without fear”. The Concerto was premiered
in 1869 in Copenhagen, where its success was immediate with both critics and
the public. it remained among the most performed of all piano concertos for
nearly a hundred years thereafter.
Grieg is at his best as a miniaturist, and his concerto has long been criticized as
more of a pastiche of pretty melodies than a work whose materials are
thoroughly developed and interconnected in the Germanic manner. No
matter, Grieg’s gift for songform has carried the day. The piano dominates
the concerto, development is minimal, but the orchestra contributes some
moving and occasionally original flashes of color to the enterprise. The fanfare
which opens the first movement, shocking in its day (although Grieg had
Beethoven‘s Emperor concerto as a model) was copied by dozens of other
composers, and the first movement cadenza is among the best of the
nineteenth century. His deft command of harmonic dissonance leaves just
enough acerbic Scandinavian ‘bite’ in his music to counterbalance what
Debussy called a sonority “like that of a rosecolored sweet coated in snow.”
II. W.A. Mozart
Fiordiligi’s Aria : Per pieta, ben mio, from Cosifan tutte
In a cafe, Don Alfonso lays a wager with Ferrando and Guglielmo (two officers)
on whether their fiancées (Dorabella and Fiordiligi, respectively) will be
eternally faithful. Don Alfonso claims he can prove in a day’s time that those
two, like all women, are fickle. After all: Cosi fan tutte — “All women are like
that.” The two officers pretend to have been called off to war, then return in
disguise and each attempts to seduce the other’s lover. In Act Il, Guglielmo has
managed to woo Dorabella, who gives him a medallion. Ferrando is less
successful with Fiordiligi, who sings ‘Per pieta, ben mio, perdona’ ("please, my
beloved, forgive").
Aria
In the name of pity, my beloved, pardon the error ofa loving soul;
Among these shadows and these groves, oh God, it will always be hidden!
My courage and my constancy will destroy this wicked desire,
and will erase the memory that makes me feel shame and horror.
To whom did this vain, ungrateful heart fail in loyalty?
You were owed a better recompense, my dearest, for your purity.
Translation by Rebecca Burstein
lll. Samuel Barber stands with Aaron Copland at the pinnacle of twentieth
century American composers. David Ewen‘s summation is: “Of Barber’s many
admirable qualities – his fine sense of musical design; the economy of his
means; the inexorable logic of his thinking the most significant perhaps is his
highly developed lyricism.” Showing remarkable gifts from an early age,
Barber was in one of the earliest classes educated at Philadelphia’s Curtis
Institute. He won a Pulitzer Fellowship and the coveted Prix de Rome by age
twentyseven, and by 1940, when the Violin Concerto was composed, he had
already completed several orchestral masterworks including the Overture to
the School for Scandal, the Symphony No. 1, the Adagio for Strings, and the First
Essay/or Orchestra. Completed in the summer of 191.0 while at Pocono Lake
Preserve, the Violin Concerto is replete with the compositional virtues
mentioned above. The first movement combines elements of both sonata and
free rhapsody forms without descending into a muddle, suffused with a rich
palette of harmonies organized around the solo line. The second subject,
introduced by the clarinet, has been characterized as ‘jazzy’ although it is at
least as ‘Celtic’ with its prominent Scotch snap rhythms. The solo part, while
challenging, is warmly gracious and never virtuosic for its own sake at least
not until the brilliant perpetuum mobile of the third movement. There are a few
moments of real tension, but these are quickly resolved back into a
comfortable level of consonance by turns soothing and insouciant. Even the
cadenza is replaced by a short recitative, maintaining a relative modesty that is
winning in its simplicity and honest sentiment.
IV. W .A. Mozart: Two Figaro Arias
Act I finale: #9 Aria; Non piu andrai
At the end of the first act, Count Almaviva finds the adolescent (and
oversexed) page Cherubino hiding in Susanna’s quarters. The Count was
already suspicious that Cherubino had designs on his wife, Countess Rosina,
and overall disapproves of the boy’s unbridled promiscuity. However, the
Count cannot punish Cherubino, as he himself was only just in Susanna’s
quarters to proposition her. Instead, the Count sends Cherubino away to serve
in his regiment in Seville. In this aria, Figaro, not displeased with the
development, teases Cherubino about a Spartan military future in stark
contrast with the carefree and flirtatious life he has enjoyed in the Count’s
palace.
�FIGARO (to Cherubino)
No more you‘ll wander, my amorous little butterfly, flitting about by day
and night
Disturbing the rest of all those pretty women, little Narcissus, young
Adonis of Love.
No more you’ll have these pretty little feathers, this smart and jaunty cap,
Those curls, that lively air, those rosy, girlish cheeks.
You‘ll be among soldiers, by Bacchus!
Great moustaches, a heavy wellprovisioned knapsack
A gun at your shoulder, a sabre at your side, head held high, bold of face
A great helmet, or a big turban; plenty of honor, (but not much money),
And instead of dancing the fandango, a forced march through the swamp!
Over mountains, through the valleys, in the snow and burning sun
To the music of trumpets, Of shells and cannonballs whistling past,
Making your ear sing!
Cherubino, to victory and military glory!
(They exit, marching the horrified Cherubino out in military style.)
Act IV : Recitative and Aria Tutto é disposto Aprite un po’ quegli occhi
Thinking that Susanna is meeting the Count behind his back, (a trap laid by the
Countess and Susanna to catch the philandering royal) Figaro complains to his
mother, and swears to be avenged on the Count, Susanna, and all unfaithful
wives.
FIGARO
Recitative:
Everything‘s ready: the hour must be near;
I hear someone! It’s her! ...no, it’s no one.
The night is dark...and now l begin to ply the wretched trade of a husband.
Ungrateful woman! in the middle of my ceremonies
He read it with pleasure, and seeing it, i laughed at myself, without
knowing it.
Oh Susanna, SusannaI What pains you cost me, with that ingenuous face
...with those innocent eyes...who’d have believed it?
Ah, Ah, to trust in a woman is always folly!
Aria:
Open your eyes a little, you incautious and stupid men,
look at these women, look at what they are!
These, whom you name goddesses, deceived in your senses,
to whom you burn incense, feeble in your wits:
They‘re witches who enchant us, to cause us pain,
Sirens that sing to us, to land us on the rocks,
Owls who allure us, to pluck out our feathers,
Comets that shine on u s, t o burn out our eyes;
They’re thorny roses, they’re charming vixens,
They’re smiling bears, cruel doves, masters of intrigue,
Friends of trouble, who feign, lie,
They feel no love, they feel no pity, no, no, no, no!
I I won’t say the rest, everyone knows it alread
y!
V. Bedrich Smetana is immortalized as ‘the Father of Czech music’ although
he is more correctly the Father of Bohemian classical music, since the
formation of a Czech nation was in his day still a halfcentury in the future.
Smetana returned to Prague from Sweden after Bohemia’s Austrian overlords
granted the region political autonomy in 186o. By 1862, Prague had a National
Theater, and the next year Smetana composed hisfirst opera (in Bohemian) on
a theme of Bohemian rebellion against Teutonic invasions. That early score
foreshadowed a combination of German Romanticism with native Bohemian
folk music, history, and legend that soon became the core of the indigenous
musical culture. By 1866, Smetana had finished his operatic masterpiece The
Bartered Bride and had begun composing symphonic poems on
Bohemian/Czech themes that culminated in Ma Viast (My Fatherland). These
six compositions, written between 1871. and 1879 (even as Smetana suffered
through increasing and eventually total deafness), drew on Bohemian history,
legend, and geography to celebrate the native culture. By far the most popular
of the set is the second, Vlatava, ironically better known through its German
title, The Moldau. The poem charts the progress of Bohemia’s principal river
from a source in tiny twin forest springs (portrayed by a duo offlutes) through
its growth in size, power and majesty – a standin for the nation itself. Along
the way the river passes scenes of Bohemian life – a forest hunt (dominated by
horn calls); a peasant wedding (with clarinets leading the dancemusic); a
magical moonlit night where waternymphs (strings) hold court in shimmering
waves as the ghosts of famous warriors (brass) parade past; through the
tempestuous St. John‘s rapids; and eventually passing through Prague itself
under the shadow of the castle of Vysehrad, whose theme, recapitulated here
in grand style, dominates the first tone poem of the cycle. Once past its
climactic appearance in the capital, the river makes its way towards the sea, its
sounds fading away as it flows out of sight.
T. Perry, February 2011,
�‘THE PERFORMERS
CAITLIN GOTIMER, soprano, is currently a junior at Binghamton University
pursuing a Bachelor of Music in Vocal Performance. She has performed several
times in the TriCities Opera Chorus and sang the role of the Second Spirit in
their 2012 production of The Magic Flute. She sang the role of the Mother in
Binghamton University’s production of Hansel and Gretel for two consecutive
years. Caitlin won first place in her division of the 2013 NATS Eastern Regional
Conference and recently was the National Anthem soloist when President
Obama came to Binghamton for his College Affordability Tour. She is a
student of ProfessorThomas Goodheart.
Acclaimed as a “budding professional” the young operatic bass, JAKE
STAMATIS, is on the cusp of an exciting and fruitful career! Hailing from
scenic Tunkhannock, Pennsylvania, Stamatis showed great talent and
expressive ability at an early age. He went on to hone his skills at Susquehanna
University where he earned a Bachelor in Music degree in Vocal Performance.
While there, Stamatis studied privately with Professor Jeffrey Fahnestock. His
first year, he was cast as Death in Viktor Ullman’s The Emperor of Atlantis, his
first exposure to opera. Stamatis went on to perform as the Vicar in Britten ’s
Albert Herring, Bartolo in Rossini‘s The Barber of Seville, and Frank in Strauss’
Die Fledermaus. Now pursuing an MM in Opera degree at Binghamton
University in conjunction with TriCities Opera Company‘s (TCO’s) Resident
Artist Training Program, he continues his vocal studies under Professor
Thomas Goodheart. Stamatis made his TCO debut this fall as Zuniga in Bizet’s
Carmen under the baton of Maestro Scott Bergeson. Most recently he played
Leporello in TCO’s production of Don Giovanni. The Broome County Arts
Council reviewed the performance saying, “The performance, by Jake
Stamatis, was one ofthe highlights of the evening...”
EMILY SUI is a native of Rochester, New York, where she began receiving
violin lessons at the age of four. During her high school years, she was a
member of the Rochester Philharmonic Youth Orchestra and also the NY
Conference AllState Orchestra. She is currently a sophomore at Binghamton
University as a Graphic Design major and pursuing a minor in Korean Studies.
Emily has been a member of the Binghamton University Symphony Orchestra
since her freshman year. She has also since been a student in the violin studio
of Dr. Janey Choi. Emily would like to thank the Binghamton Music
Department for this opportunity, her past and present violin teachers for their
guidance, and her family and friends for their overwhelming support.
ANNIE TAO is a junior at Binghamton University. She is a psychology major
and a music performance 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 of Music
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 life. She currently studies with
Michael Salmirs at Binghamton University, and hopes to eventually teach
piano students.
�singin
V122 s t a r s !
U N IV E R S I T Y S Y M P H O N Y ORCHES TR A
Timothy Perry, conductor
Flute
Jessica Biagiotti
Kohar Bedonian
Michelle Li
Christina Dinella
Piccolo
Christina Dinella
Oboe
Rebecca Marwin
Taylor Morgen
Clarinet
George Deutsch
Justin K im
Mary Mc Gahay
Skylar O. Buono
Trombone
Christopher Beard
Jacob Strohrn
Joshua Yamuder
Tuba
Carter McGriff
Timpani/ Percussion
Benjamin Rothschild
Steve Olson
K ey board
Dan Malinovsky
French Horn
Abbie McMahon
Matt McAuliffe
Daniel Muller
David Luther
V iolinl
Kieran Murphy
Joseph Vanderpool
Cameron D ’Auria
Jody Bach
Rebecca Sgroi
Anna Li
Nate Christman
Emma Lecarie
Yuansi Du
Paul McHugh
Alan Thi
Brian Phung
Karen Fu
Trumpet
Anne Taylor
Violin I I
Eleanor Krasner
Bassoon
Bailey Thomas
John Voigt
Natalie Spitzer
Junbo Yan
Thomas Parker
Ife Samms
Gabrielle Maire
Natalie Bock
V iolin II izanrmuedi
Ben Posthill
Abirarne Gunuparan
Simon Benarie
Sara Kohtz
Maya Orlofsky
Viola
Hannah Watrobski
Max Stein
Jillian Chen
Justin Lafond
Harrison Dulin
Lindsay Covington
Daniel Rodabaugh
Sharon Graziano
Alex Szigethy
Mimi Nam
Jaya Rao
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Contrabass
Ro bert Durante
Nicholas Hoyos
The University Symphony Orchestra employs rotating seating,
Woodwmds, Brass, and Percussion rotate by composition and are listed alphabetically.
Strings rotate by concert and are listed by searing
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Think “Dancing with the Stars” on steroids!
TriCities Opera Stars will be paired with local Celebrities
in duets from Opera. Broadway and Musical Theater!
»* 8 : 0 0 p m
S a t u r d a y , M a r c h 8
Tri C ities O p era C e nt e r
3 15 C linton Street » Bing hamton, N Y
Violoncello
Mary Spencer
Deborah Mariottini
Emily Mockler
Xander Edwards
Alan Wang
Kelly Mercer
Ryan Hogan
Charlie Miller
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For details a bo ut V I P t ic k e t ing op tions,
whic h include a cock tail hour be fore t he show,
reserved seating and special onstage seating,
call 607 77 2 0400 or visit us online at tricitiesopera.com
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�Binghamton Uni versity Music Department’s
Coming Events
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Saturday, March 1—Master‘s Recital: Emily Geller, mezzosoprano–8:0 0
p.m.—Casadesus Recital Hall—free
Thursday, March 6—MidDay Concert — 1 :20 p.m.—Casadesus Recital Hall—
free
Saturday, March 8—Harpur Chorale and Women ’s Chorus —3:00 p.m.—
Andewrson C enter Chamber Hall – $7 general public; $5 faculty/staff/seniors ;
free for students
Saturday, March 8—Tri Cities Opera pres ents “Singing with the St ars ”
fundraiser—8:00 p.m.—Opera Center, 315 Clinton St.—call (607) 7720400 for
tickets
Sunday, March g—Master’s Recital: Thom Baker, tenor —3:oo p.m.—
Casadesus R ecital Hall—free
Thrusday, March 13—MidDay Concert—1:20 p.m.—Anderson Center
Chamber Hall—free
Saturday, March 15—Ma ster’s Recita l : Michael Ce lentano, baritone —3:oo
p.m.—Casadesus Recital Hall—free
Saturday, March 15—W ind Symphony Concert: Music by Numbers—8:00
p.m.—Anderson Center Chamber Halls7 general public; $5
faculty/staff/ seniors; free for students
Wednesday, March 19—Opera Scenes–8 :00 p.m.—Anderson Center
Chamber Halls10 general public; $7 faculty/staff/ seniors; $5 for students
Thursday, March zo—MidDay Concert —1:20 p.m.—Casadesus Recital Hall—
free
Thursday, March 20 – Harpur Chorale and Women ’s Chorus – 8:00 p.m.
Anderson Center Chamber Hall – $6 general public; $3 faculty/staff/seniors;
free for students
M
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For tickets or to be added to our email list, visit anderson.bing hamton.edu
or call (607) 777 ARTS. For a complete list of our concerts call (607) 7772592,
v isit music.binghamton.edu or become a fan on Facebook.
If you were inspired by this performance, consider supporting the
Department of Music with a financial gift. Your support helps to continue the
work of students, faculty, and guest artists a nd their contributions to our
community. Please make your donation payable to the Binghamton
University Music Department, and send your check to BU Music
Department, P.O. Box 6000, Binghamton, NY 13902.
�
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Coverage
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1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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Original Format
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1 audio disc
Duration
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54m 1s
Streaming Audio
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75058">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75058</a>
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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University String Orchestra, March 1, 2014
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Publisher
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Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
3/1/14
Rights
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In copyright
Type
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sound
-
https://omeka.binghamton.edu/omeka/files/original/c052243191ddd628c461602620dc0b37.pdf
b63b8456fe1f13a4e2996f4fd17360c6
PDF Text
Text
BINGH AM TON
U N I V E R S I T Y
S T A ’ E U N W E R ’ S I N OF N t v . Y O R K
d
ze dec
D E P A R T M E N T
MASTER’S RECITAL
Thom Baker, tenor
Margaret Reitz, piano
Sunday, March 9, 20 14
3:00 p.m.
Casadesus Recital H all
�& PROGRAM «5
ib ABOU T THE PERFORMER « 6
L’honesta negli’ amori: Gia 11 sole dal Gange .
.Alessandro Scatlatti
( 1 6601 725)
Caro mio ben.
.Tonunzuo Giordani
(C.1730–1806)
Paride ed Elena: O del mio dolce ardor .
. Christoph Willibald Gluck
An die ferne Geliebte, Op. 98
1. Auf dem Hiigel sitz’ ich
2. Wo die Berge so blau
3. Leichte Segler in den Hohen
4. Diese Wolken in den Hohen
5. Es keh ret der Maien
6. Nimm sie hin, denn
. Ludwig van Beethoven
(177018 27)
(17141787)
io INTE RMISSI ON «&
Trois chansons de troubadours, Op. 152b.
I. Rassa, ma dame
II. Belle dame de mon émoi
IIL. Je suis tombé
.Darius Milhaud
(18821974)
Three Poems of Paul Goodman.
g
1. For Susan
2. Clouds
3. What Sparks and Wiry Cries
,
Do Not Sing, My Beauty, Op 4 no. 4 .
They Replied, Op 2 1 no. 4
Spring Torrents, Op 14 no. 1 1
. Sergei Rachmaninoff
(18731943)
Ned Roreni
(b.l923)
“Bpecially pleasing,” were die fitkt words used by The New York Times to describe the singing of
tenor Thom Baker. Considered by some as an expert in choral arts and period performance
practice, the lion’s share of Baker’s career has been performing and recording as soloist and choral
artist with earlymusic ensembles including Musica Sacra, New York’s Ensemble (or Early Music,
Voices of Ascension, the G regg Smith Singers and AmorArtis, to mention a few. The tenor ’s first
longtime musical guide was the late tenor Charles Btessler, an original member of Noah
Greenberg’s New York Pro Musica, a grandparent of period performance practice in the United
States. Mr. Baker continues his seventeenyear relationship with the Grammynominated vocal
ensemble Pomerium, with which he has traveled E urope and the Far East and recorded (as late as
February 20 14) several programs of virtuoso Renaissance polyphony, the enseinble’s specialty. He
has also recorded Stravinsky with the composer’s arrienuenris. Robert Craft, and appears on
Bobby McFerrin’s VOCAbuLAn‘eS, also Grammynominated. In 2010, Mr. Baker began to
perform on the other side of the pod ium as a choral conductor. In that year, he assem bled and
prepared a choir for performances of Monteverdi and Carissimi with NYS Baroque. Darid
Alminu, the Syracusebased music cr itic, wrote that Vocannir , Baker’s choir, “...delivered...alertly
and with great enthusiasm, achieving a good blend of vocal timbre and delivering their words
with mpetb diction,” singing the final movement of Carissimi‘s Historia de Jepthe, “with great
poigimiq a nd minim o i ecprressiun.” bcl rogv . c a f e m o n u i s The 1Hi8eA Gay Men’s Chorus
hired Mr. Baker as Music Director in that year and he immediately diversified the group’s
repertoire and expanded public appearances from two annual concerts to over twenty events per
year. in February of 2011, Baker became the Choir Director and Music Coordinator for the First
Unitarian Society of Ithaca. In August of 2013, SU NY Broonie Community College engaged
Thom Baker as Director of Choral Activities. As such, he conducted the SU NY Broome College
Chair’s Masterworks Concert in November, performing Vivaldi’s Gloria and Handel’s Ode on St.
Cecilia ’s Day. Thom Baker is pursuing a Master’s of Music at Binghaniton University,
anticipating his degree in May of 201 4. Under the tutelage of Professors Mary Burgess and Bruce
Borton, he pursues a degree in two specialties, Vocal Performance and Choral Conducting
MARGARET (Pei! REITZ, pianist, is a native of the Binghamton Area. She received her
Bachelor and Master of Music degrees in piano performance with accompanying emphasis. She
attended Boston University, New England Conservatory a nd Binghamton University. She has
studied piano with Jean Casadesus, Victor Rosenbaunr. Seymour Fink and Walter Ponce and
accompanying with Allen Rogers. She has accompanied throughout the United States, in
England, South America, Spain and at the American Institute of Musical Studies in Graz,
Austria. She was a winner of the Artistic Ambassadors Program by the United States infomianon
Agency in partnership with the John F. Kennedy Center for the performing arts. She was an
official accompanist for the MTNA State and Eastern Division Competition held at Ithaca
College She has been a guest chamber music artist in Morges, Switzerland. She also was selected
to attend the Accompanying Workshop for Singers and Pianists held at Northwestern University
with Chicago Lyric Opera Faculty a nd Coaches. She was united to the International Clarinet
Conference to play a recital in Tokyo, Ja pan She was a guest artist on the Cornell Summer
Series. She was an official pianist at the Internationa l Double Reed Competition and
Convention at Ithaca College and was irm’red to play the Convention in Birmingham, England
with the Glickman Ense mble. She was selected tn accompanying at the Interpretation of Spanish
Music in conjunction with Universi ty of Madrid in Grenada, Spain coached by Teresa Berganza
and at Mannes School of Music. She will he a guest a rtist perform ing at The Breakers on the
Newport Music Festival J uly 2014. She is curren tly on the fa culty at Binghamton University since
1991 and Ithaca College School of M usic since 1999. She is treasurer of the local District VII
Music Teachers Association and is an active adjudicator for the National Piano Guild
Organization.
�@
&
TRANSLATIONS «5
Gia il sole dal Gange
Already the sun over the Ganges
shines more brightly,
and dries every teardrop
from the weeping dawn.
With golden rays
it bejewels every stem.
and draws on the meadow
the stars in heaven.
Caro mio ben
My dear darling,
believe at last
that without you
my heart languishes.
Your faithful one
continually sighs.
End, cruel one,
such stubbornness.
O del mio dolce a rdor
O, my sweet passion’s
coveted theme.
the air which your breathe
I finally take in.
Anywhere I turn my glance,
your elusive likeness is outlined.
my thoughts so dissemble
the most blissful hopes;
and within the craving
that fills my heart,
I search and call, hope and stgh.
An die ferne Geliebte
To the Distant Beloved
(Original German text by
Alois Isidor Jeitteles)
l . I sit on the hill peering out
into the blue mistladen land,
searching for the faroff meadows
where I found you, beloved.
I am widely separated from you;
mountains and valleys lie as a barrier
between us and our peace.
out happiness and our sorrow.
Alas, you cannot see my glances
hastening to you so ardently,
and my sighs die away
in the space that separates us.
Will nothing more, then, reach you.’
W ill nothing he love’s messenger!
I w ill sing, sing songs
that will complain to you of my grief!
Before the music of song
all space and all time flee
and a loving heart attains
3. You, that sail easily in the heights
above, and you small, narrow brook,
i f you can catch sight of my darling,
greet her a thousand times from me.
If you clouds then see her walking,
lost in thought, in the quiet valley,
let me image arise before her
in the airy hall of the skies.
where the clouds cover the sky –
that is where I would like to be!
There in the calm valley,
Now the wedded ones live together
faithfully; those that winter separated.
me, complain to her, birds, of my
sorrow!
it knows how to join those who love.
Soft west winds, in your blowing
May is returning, the meadow
deliver to my heart’s choice my sighs,
which perish like the last ray of sun.
V’hisper my supplicarion of love to
her, small and narrow brook.
let her see faithfully reflected in your
When the spring joins all who love,
only for our love does no spring
appear, and tears are all that is attains.
waters my tears without number.
4. These clouds in the heights above,
the merry pageant of songbirds
w ill see you, graceful one,
Take me along in your easy flight!
These west winds w ill play and sport
around your cheeks and breast,
w ill ruffle your silken tresses,
Could I but share this with all ofyou!
quietly meditates among the rocks,
where the wind blows so softly
that where I would lilte to be!
This little brook busily hastens
I am urged by love, by inner grief.
Ah, I could not be drawn away,
beloved, if I could be with you forever,
the spring has now united;
blossoms,
The breezes are blowing so gentle and
warm; only I cannot leave this place.
pains and sorrow are silent.
There where the primrose
O ff t o the contemplative forest
The swallow retums to the hospitable
roof, it builds its bridal chamber so
diligently; love will dwell therein.
lt busily brings from here and there
many a soft bit for the nuptial bed,
many a warm morsel for the little ones.
I f she then stands by the bushes.
now discolored and bare.
complain to her of what has become of
what a loving heart has consecrated!
2. Where the mountains so blue
peer out from the misty gray.
where the sun ceases glowing,
The breezes ate blowing so gentle and
warm; the brooks now mu. chattering.
toward her from those hills.
If her image is reflected in there.
then flow back without delay!
5. May is returning, the meadow
blossoms.
6. Ta ke them then, these songs,
beloved, which I have sung to you;
then sing them again the evening
to the sweet sound of the lure!
When the red of sunset then moves
toward the quiet blue lake
and its last ray goes out
behind that mountain peak,
and you sing what I sang,
what rang out from the fullness of my
heart
without ostentation of art,
with consciousness only of longing:
Then, in the face of these songs.
all that has separated us so widely will
yield. and a loving heart will attain
what a loving heart has consecrated!
�Trois Chansons de Troubadour
(Original poems by J ean ValmyBaisse)
IL Rassa, my lady is unsullied and
refined, And young and charming and
affectionate.
She is blonde and of high mien
And her skin, refined by her race.
Has obscured with white ermine
The pallor of the hawthorn flower.
For her refined and unspotted color,
For her celebrity and her honor.
These qualities, prized most by
connoisseurs.
These range among the finest.
You see where I have put my heart.
H . Lovely lady of my craving,
Who can listen to your voice
Or see your eyes wrthout being
7
Crazy in love of your whole being.
Alas, your heart is so cold.
It gives to no man its feeling.
But I will sustain my own malady
Until each man whom you love
Will suffer as do L
No lady should have my heart
So fragile in its vigor.
I see her joyful and flirtatious,
Availing herself to all tributes
Instead of guarding her favors
For the sole ma n that she has named
Within her heart.
I will love better the un ruly savoir
I I I. Ihaye fallen into a grievous
sickness by following my heart which
leads me and never will unravel the
snares of the net where my lady
took me the this time and chained me.
She pleases with these spearlike
glances shot in bias, this lively and
charming Helen.
I ended my confinement
and made Lana my only queen.
Nothing in her beauty deceives,
no subtlety touches her jor.
Her young body, so graceful.
inspiring love and blossoming
youthscented and breaking
misfortune.
Cheerful is the man to whom
it is unveiled at the hour
when the day dies in his in his abode,
because his eyes w ill see a better li fe.
Th ree Poems of Pau l Goodman
1 . For Susan
How like a wildflower untended
among garden flower. no fairer are
Susan and these kempt children
beauties all!
Surely a wild strain of blood and wit,
as well as we know, is in her :
fitful, fearful, willful, gay. and tearful
All these: yet persevering like the corn
flower, the daisy, and never w ill agree
to take a fatal loss.
Praise God. somehow in our disastrous
homes the sun and rain and fresh
winds blow. and these nourish our
darling.
2. Clouds
So effortlessly we are not given
to move on earth as these in heaven
clouds, nor without desire
to tend whither the airs conspire.
The clouds exaggerate and pile
into heights of mile on mile.
In the breathing o’ the universe
they drift asunder and disperse.
3 . Wha t Sparks and Wi ry Cries
What sparks and wiry cries shall I
7
strike first upon the iron strings’
for I have got a pick of flint
and I have learnt a skirl of glee,
I’ll say the love I had a little
and the longing like a block of ice,
for never never never again
shall we two meet. My blood stood
still,
my sparkling hair rose up in fright
as wide between us grew the space now
fixed. Oh! brilliant more than fire is
the song of the heart undivided by
hope or fear: the string that sounds
again is tangled with a furious joy.
So, next rhis drizzling war I ’ll keen,
that no one wills and all desire.
Do not sing, mv benutv
(Original Russian text by
Alexander Sergeyn’ich Pushkin)
Don
ot sing, m y beauty.
to me your sad songs of Georgia;
they remind me of that other li fe and
distant shore.
Alas, they remind me.
your cruel melodies. of the steppe, the
night and moonlit features of a poor,
distant maiden!
Thar sweer and fateful apparition
I forger when you appear;
but you sing, and before me
1 picture that image anew.
Do not sing, my beauty, to me
your sad songs of Georgia;
they remind me
of that other life and distant shore.
They Replied
(Original French text by
Victor Hugo
Translated into Russian by
Lev Alexandrovich Mey)
“How,” asked the men,
“can we flee the Spanish police
in our small boats.”
“Row,” replied the women.
“How,” asked the men,
“can we forget strife,
misery and da nger”
“Sleep,” replied the women.
“How,” asked the men,
“can we enchant beautiful women
without love potions.”
“Love,” replied the women.
Spring Torrents
(Original Russian text by
Fyodor Ivanovich Tyutchev)
The fields are still covered with white
snow.
But the streams are already rising in a
spring mood,
Running and awakening the sleepy
shore,
Running and sparkling and exclaiming
loudly.
They are announcing loudly to every
corner:
“Spring is coming, Spring is coming!
We are the messengers of young
Spring.
She has sent us forth,
Spring is coming, Spring is comingl
And the quiet, warm May days
Follow, squeezed happily
Into the rosy, bright dancing crowd.”
�Binghamton University Department of Music
Coming Events
W
W
W
Thursday, March 13 MidDay Con cert 1:30 p.m. Casadesus Recital Hall
free
Saturday, March 1 5 – Master’s Reci tal: Michael Celentano, baritone 3:00
p.m. – Casadesus Recital Hall – free
Saturday, Alarcb 15 Wind Swnpony Concert: Music by Nu mbers 8:00
p.m. – Anderson Center Chamber Hall $ 7 general public; $ 5 faculty/sta /seniors; free
for students
Wednesday, March 1 9 Opera Scenes 8:00 p.m. Anderson Center Chamber
Hall $ 1 0 general public, $ 7 faculty/sta /seniors; $ 5 for students
Thursday, March 20 – AlidDa Con cert 1:20 p.m. – Casadesus Recital Hall –
free
Thursday, March 2 7 – MidDay Concert 1:20 p.m. Casadesus Recital Hall –
free
Friday, March 28 – H ar pur P o m / j a z z – 8 :00 p.m. – Casadesus Recital Hall – free
Saturday, March 29 Ju nior Reci tal: Caitlin Go t imer, soprano with Jake
Starnatis, bass baritone – 3 :00 p.m. ~ Art Museum – free
Saturday, March 29 – Mas ter’s Reci tal: Ata tdew Samluk, bari tone – 8:00 p.m.
Casadesus Recital Hall free
Thursday, Apri l 3 M d D ay Con c er t 1:20 p.m. Fine Arts Room 21 free
a l;
w
e
m
m
w
m
w
w
e
b
For tickets or to be added to our email list, visit andersonbmghamtonedu or call
(607) 7 7 7ARTS. For a complete list of our concerts call (607) 7772592. visit
musi c. binghamton.edu or become a fan on Facebook.
If you were inspired by this performance, consider supporting the Department of
Music with a financial gift. Your support hel ps 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 L ' Music Department, P. O . Box 0000. Binghamton. N Y 1 3902.
�
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Coverage
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1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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1 audio disc
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47:23:00
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Title
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Master's recital with Thom Baker, March 9, 2014
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works by Scarlatti, Giordani, Gluck, Beethoven, Milhaud, Rorem, Rachmaninoff. Held at 3:00 p.m., March 9, 2014, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Baker, Thom
Reitz, Margaret
Publisher
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Binghamton University Libraries
Contributor
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Scarlatti, Alessandro, 1660-1725
Giordani, Tommaso, 1733-1806
Gluck, Christoph Willibald
Beethoven, Ludwig van, 1770-1827
Milhaud, Darius, 1892-1974
Rorem, Ned, 1923-
Rachmaninoff, Sergei , 1873-1943
Date
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3/9/14
Rights
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In copyright
Type
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sound
-
https://omeka.binghamton.edu/omeka/files/original/f58f83b9dff38c3d6541f4a6e200377f.pdf
e09db26e5c0a0f7fee053eef2c9511c2
PDF Text
Text
BINGHAMTON
U N I V E R S I T Y
S ’ A I E 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
RICHES FROM THE EAST
Choral M usic of Asia a n d t h e
Sou th Pacific
T HE WOMEN’S CHORUS
Bruce Borton, conductor
Assisted by
W illiam Lawson, piano
THE HARPUR CHORALE
Peter Browne, conductor
Assisted by
Michelle Li,flute
Saturday, March 8, 201 4
3:00 p.m.
Anderson Center Chamber Hall
�I I . T H E H ARPUR C HORALE
PROGRAM
I. T HE WOMEN’S CHORUS
odi 011i
. Tamil Song
Arr. Stephen Hatfield
The Tamil people are widespread throughout southern Asia and their
language is one of fourteen official languages of India. The chantlike
melody is sung above a three tone drone typical of this music. The text:
“Untold millions o f p eople run and run, constantly seeking, grow desperate
and die looking for the light that is within them.”
Kashiri.
. Tae Kyun Ham
(btl936)
Tae Kyun Ham is Professor of Music at Kunsan National University, Korea.
Kashiri was commissioned for the 16!” Seoul Music Festival in 1984. The
text is a traditional Korean lyric poem: ”Are you going away, indeed? Are
you going away leaving me behind? Without caring whether i can live on,
are you going away? Though i wish to hold you here, I fear you will leave
never to return. Now I let you go, though griefstricken; Come back to me
as quickly as you are leaving.”
Kaming Mag ma mani (Selling Peanuts)
peanuts, poor and wretched with nothing to boast about. We have only
fragrant, ripe peanuts, and peanuts strung together to make necklaces,
rings and earrings.”
Traditional Chinese
grea t sea, i still wa nt to fly to your place.”
.Victor Paranjoti
(India)
This wordless piece embodies traces of ragas from the Carnatic music of
South India, but also bears a resemblance to Hindustani classical music
which uses Persian and Arabic phonemes as nonsense syllables.
“Dravidian” refers to the languages o f South India while “Dithyramb” is a
Greek term for a wild, passionate hymn.
[anger
Traditional Balinese Folksong
Arr. Budi Susanto Yohanes
Janger is traditionally sung while dancing. often to the accompaniment of
instruments from the gamelan. In this arrangement, the voices sometimes
imitate the sounds ofthe instruments.
Chinese Folksong
Arr. Philip Lawson
Mo Li Hua
Mo Li Hua (Jasmine Flower) is a traditional song about the fragrance and
beauty of the iasmine flower. The arrangement i s by Philip Lawson of The
King’s Singers.
Arirang.
Korean Folksong
Arr. Sonia Poorman and Jonathan W. Lim
Michelle Li, flute
Arirang is a widely known Korean folksong telling the story of a love
doomed to a tragic end.
. Inner Mongolian Folksong
Arr. Yongrub
Dorven Dalai.
Dorven Dalai is a joyful song which urges everyone to rejoice and sing “Let‘s
raise our wine cups, rejoice and sing, and enjoy this happy moment together.”
Japanese Folksongs
Arr. Misuzu McManus
Itsukino Komoriuta.
“There is a distant, distant place. A small stream hahhles and the wind ripples;
A kite with a broken string soars freely; It gently flies into the distance, A
tropical place. Even after passing over high mountains, Even after crossing the
Dravidian Dithyramb.
Patang Padi is an arrangement of an old Malay folksong about the rice
ha rvest, a time for singing and dancing.
Traditional Philippines
in this traditional song, the plight of the poor farmer is accompanied by
voices mitating instruments : “We are a group o f farmers who grow
Yo gay au yuen (A Tropical Place)
Felicia Wang, soloist
Malay Folksong
Arr. Juliette Lai
Potong Padi .
Takeda no Komoriuta
Michelle Li, flute
ltsukino Komoriuta and Takeda no Komoriuta are lapanese lullabies, the
second o f which is sung by a babysitter anxious to finish with her duties
and return home,
Siksik Si Batu Manikkam.
Tapanuli Traditional Song (Sumatra)
Arr. Pontas Purba
Rachel Young, Daniela Rivera, Matthew Pedersen, solo trio
Siksik Si Baru Mamkkam is a setting o fa pantun, a traditional Malay poetic
form often used in courting songs sung by groups of young men searching
for lovers or e ven wives.
�WOMEN’S CHORUS
Bruce Barton, conductor
Sop ra no 1
Stacey Davis
Alexandra Leslie
Nicole Meeker
lillian Robertson
Calli Seigart
Brianna VanOsdol
Felicia Wang
Jamila Gordon
Karima Jibril
Kate Sherwood
Altos
Alexa Bruck
Linda Melissa Cruz
Kaitlyn Kang
Laura Keim
Soprano ll
Kaitlin Biagiotti
Rachel Blaifeder
lzabelle Lawston
Urenna Nwogwugwu
Laura Sonnenberg
Kimberly Torres
Alida Cooke
Alexa Dicken
H ARPUR C HORALE
Peter Browne, conductor
Sop ra nos
Carrie Buck
Deanna Feuerbach
Michelle Goldrich
Kerianna Krebushevski
Lauren Silberstein
Rachel Young
Tenors
TenYoung Guh
Feng Nan
Matthew Pedersen
lay Rosser
Joshua Rovou
JinKi Seong
Altos
Rachel Graham
Shoshana May
lnez Nelson
Daniela Rivera
Basses
Thom Furey
Jibron Harris
Joseph Keller
Thomas Sinclair Kerr
Max Rydqvist
S P E C I A L T H A N K S
To ChaiKyou Mallinson for help with Korean pronunciation.
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF
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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.)
42:40:00
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74973">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74973</a>
Accessibility
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Single
Dublin Core
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
The Women's Chorus presents Riches from the East: Choral music of Asia and the South Pacific
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works by Ham, Paranjoti. Held at 3:00 p.m., March 8, 2014, Anderson Center Chamber Hall.
Creator
An entity primarily responsible for making the resource
Women's Chorus
Borton, Bruce
Lawson, William
The Harpur Chorale
Browne, Peter
Li, Michelle
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Contributor
An entity responsible for making contributions to the resource
Ham, Tae Kyun, (b. 1936)
Paranjoti, Victor
Date
A point or period of time associated with an event in the lifecycle of the resource
3/8/14
Rights
Information about rights held in and over the resource
In copyright
Type
The nature or genre of the resource
sound
-
https://omeka.binghamton.edu/omeka/files/original/d0a23a904b1236309ad3db236cfb097f.pdf
239660c4dffc18ccad1476a9cee70929
PDF Text
Text
BINGHAMTON
U N I V E R S I T Y
STATE U N I V ER S I T Y OF N E W Y O R K
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Thursday, March 6, 201 4
1:20 p.m.
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Johannes Brahms
Rhapsody in G minor, Op. 79, No. 2...
Benjamin Calhoun, piano
Sing not, bea utiful maiden, Op. 4, No. 4 .
They Answered, Op. 21, No. 4
Spring Tor rents, Op, 1 4, No. 1 1
(18331897)
.. Sergei Rachma ninoff
(18731943)
Canzonctta.
(18631937)
Ma ry McGahay, clarinet
Margaret Reitz, piano
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. Gabriel Pierné
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in duets from Opera, Broadway anthibie eI Theater!
S a t u r d a y, M a r c h 8 * 8 : 0 0 p m
.F.A. Guilmanr
(1837191 1)
Morceau Symp ho nique .
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Thom Baker, tenor
Ma rga ret Reitz, pia no
Christopher Beard, trombone
Ma rga ret Reitz, pia no
. Dmitri Shostakovich
Sonata in d minor, Op. 40
(19061975)
Largo
Stephen Stalker, cello
TriCities Opera Center
3 1 5 Cl int on Stre et » B inghamt on, NY
For details about VIP ticketing options,
which include a cocktail hour before the show,
reserved seating and special onstage seating,
call 60 77 720400 or visit us online at tricitiesopera.com.
Ma rga ret Reitz, pia no
.Darius Milhaud
(18921974)
Duo Concerta nte .
Skylar Buono, clarinet
Ma rga ret Reitz, pia no
Ernest Chausson
Chansons dc Shakespeare .
Chanson dc clown
Chanson d’amour
Cha nson d ‘op hélie
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John Isenberg, piano
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�Bingha mto n U nive rsi ty Depa rtme nt of Music
Coming Events
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Saturday, March 8 Harpur Chorale and Women’s Chorus – 3 :00 p.m.
– Anderson Center Chamber Hall – free
Sunda y, March 8 TriCi ties Opera presen ts “Singing wth the Stars ”
fundra iser– 8:00 p.m. – Opera Center, 3 1 5 Clinton Street – call (607)772
0400 for tickets
Sunday, March 9 – Master ’s Recital: Thom Baker, tenor– 3 :00 p.m. –
Casadesus Recital Hall – free
Th ursday, March 1 3 – MidDa y C o ncer t – 1:30 p.m. – Casadesus Recital
Hall – free
Saturday, March 15 – Master ’s Recital: Michael Celentano, baritone –
3 :00 p.m. – Casadesus Recital Hall – free
Saturday, March 15 – Wind Sympony Concert: Music by Numbers –
8:00 p.m. – Anderson Center Chamber Hall $7 general public; $5
faculty/staff/ seniors; free for students
Wednesday, March 19 Opera Scenes – 8:00 p.m. – Anderson Center
Chamber Hall $ 1 0 general public; $ 7 faculty/staff/ seniors; $5 for students
Thursday, March 20 – MidDay Concer t– 1:20 p.m. – Casadesus Recital
Hall – free
Th ursday, March 27 – MidDay C o ncer t – 1:20 p.m. – Casadesus Recital
Hall – free
Friday, March 2 8 – Harpur Vocallazz – 8:00 p.m. – Casadesus Recital
Hall – free
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For tickets or to be added to our email list, visit anderson.binghamton.edu or call (607) 777
ete list of our concern ml! (60 7 ) 7 7 72592, visit music.binghamton.edu or
ARTS. Fora compl
become a fan on Faceboolc
i f you were inspired by this performa nce, 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
usic Department, P.O. Box 6000,
University Music Department, and send your check to B U M
Binghamton, NY 13902.
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF / Rosetta
PDF with Rosetta audio/video link
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
1 audio disc
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
49:48:00
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE69125">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE69125</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>.
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'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.
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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
Mid-day concert, Thursday, March 6, 2014
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works by Brahms, Rachmaninoff, Pierné, Guilmant, Shostakovich, Milhaud, Chausson. Held at 1:20 p.m., March 6, 2014, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Calhoun, Benjamin
Baker, Thom
Reitz, Margaret
McGahay, Mary
Beard, Christopher
Stalker, Stephen
Buono, Skylar
Celentano, Michael
Isenberg, John
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Contributor
An entity responsible for making contributions to the resource
Brahms, Johannes, 1833-1897
Rachmaninoff, Sergei, 1873-1943
Pierné, Gabriel, 1863-1937
Guilmant, Alexandre, 1837-1911
Shostakovich, Dmitriĭ Dmitrievich, 1906-1975
Milhaud, Darius, 1892-1974
Chausson, Ernest, 1855-1899
Date
A point or period of time associated with an event in the lifecycle of the resource
3/6/14
Rights
Information about rights held in and over the resource
In copyright
Type
The nature or genre of the resource
sound