95 10 1775 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. 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. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 40:50:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74964">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74964</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Harpur Vocal jazz concert Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Held at 7:00 p.m., March 28, 2014, Casadesus Recital Hall. Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 3/28/14 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/ddd2c82db25873c00d3934452740fdea.pdf a490fab33d16ed20f5673fca9a32caab PDF Text Text BINGHAMTON U N I V E R S I T Y S T A T E UNIVERSITY O F N E W Y O R K [4 vodeo D E P A R T M E N T E p e s fea t» I I.” § o l r o u p { I ; D 2 ) o h " ? I , . 0 ' ,‘, ' i . _ , ' t d E x i . q : . A g ” n 2 ) 2 5 = v ] , Q 8 ! MIDDAY CONCERT Thursday, March 27, 201 4 1 :20 p.m. Casadesus Recital Hall �ea PROGRAM ass Passacaglia on an Old English Tune Justin Lafond, viola Margaret Reitz, piano Suite No. 2 in D minor, B WV 1008. Prelude Gigue J. S. Bach (16851750) Sonata for Cello and Piano, Op. 40.. Allegro Dmitri Shostakovich (1906–1975) Hannah Watrobski, viola .. Be’la Bartok (18811945) Romanian F olk Dances. Jocul cu bata Braul Pe loc Buciumeana Poarga Romaneasca Maruntel Rebecca Clarke (18861979) Paul Watrobski, cello Margaret Reitz, piano Quintet in E ﬂat Major, Op. 44 . Allegro Brilliante Sara Kohtz, violin Margaret Reitz, piano Suite populaire espagnole .. El paﬁo moruno Nana Cancion J ota Xander Edwards, cello Margaret Reitz, piano Kol Nidrei. Eleanor Krasner, violin Margaret Reitz, piano Manuel de Falla (18761946) . Max Bruch (18381920) .Robert Schumann (18101856) Alexio Chang and Kieran Murphy, violin Justin Lafond, viola Xander Edwards, cello Natasha Talukdar, piano �Binghamton University Music Dep artment Coming Events V O W W M W e b Friday, March 28 – Har pur Vocal Jazz – 7:00 p.m. ~ Casadesus Recital Hall – free Saturday, March 29 – Junior Recital : Caitlin Gotimer, soprano with Jake Stamatis, bass baritone– 3:00 p.m. – Art Museum – free Saturday, March 29 – Master’s Recital : Matthew Samluk, baritone – 8:00 p.m. – Casadesus Recital Hall – free Thursday, April 3 – MidDay Concert – 1:20 p.m. – Fine Arts Room 21 – free Friday, April 4 – Opera Scenes – 8 p.m. – Art Museum – $10 general public; $7 faculty/staﬀlseniors ; $5 for students Saturday, April 5 – Flute Tr io Recital – 3:00 p.m. – Casadesus Recital Hall free — Saturday, April 5 – Junior Recital : Christina Santa Maria, so prano and Cole Tornberg, tenor – 8 :00 p.m. – Casadesus Recital Hall – free Sunday, April 6 Faculty Recital : Michael Salmirs, piano – 3 :00 p.m. – Anderson Center Chamber Hall – $10 general public; $7 faculty/staﬀ/seniors; $5 students Tuesday, April 8 – String Fever (String Classes and Studio String Recital) – 8:00 p.m. – Casadesus Recital Hall – free Thursday, April 1 0 – Jazz MidDay Concert with guest artist – 1 :20 p.m. – Osterhout Concert Theater – free Thursday, April 10 – Harpur Jazz Ensemble Concert wit h guest artist – 8:00 p.m. – Osterhout Concert Theater – $7 general public; $ 5 faculty/staﬀ/seniors; free for students ﬁ w w m m m w w w 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 (60 7) 7 7725 92, visit music.binghamton.edu or become a fan on Facebook. – [ = ] a f . If you were inspired by this performance, consider supporting the = [ m ] Department of Music with a ﬁnancial gift. Your support helps to continue the work of students, facu lty, and guest artists and their contributions to our community. Please make your donation payable to the Binghamton University Music Department, and send your check to BU Music Department, P.O. Box 6000, Binghamton, NY 13902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&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. 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. 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 Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 47:48:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE69128">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE69128</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mid-day concert, Thursday, March 27, 2014 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works by Bartók, Falla, Bruch, Bach, Shostakovich, Schumann. Held at 1:20 p.m., March 27, 2014, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Lafond, Justin Reitz, Margaret Kohtz, Sara Edwards, Xander Krasner, Eleanor Watrobski, Hannah Watrobski, Paul Chang, Alexio Murphy, Kieran Talukdar, Natasha Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Bartók, Béla, 1881-1945 Falla, Manuel de, 1876-1946 Bruch, Max, 1838-1920 Bach, Johann Sebastian, 1685-1750 Shostakovich, Dmitri Schumann, Robert, 1810-1856 Date A point or period of time associated with an event in the lifecycle of the resource 3/27/14 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/0b1e5f2ec66904608b829018173da6de.pdf 7b889c784e90d2dac4a7c1b8d739f70e PDF Text Text BINGHAMTON N I ER ITY STATE UNIVERSITY OF NEW YORK D E P A R T M E N T Binghamton University Wind Symphony presents Musicby Daniel Fabricius, conductor Saturday, M arch 15, 2014 8:00 p.m . Anderson Center Chamber Hall �PROGRAM UNIVERSITY WIND SYMPHONY Daniel Fabricius, Conductor SEVENS (2004) ... .. .. ..... ... .... ....... ............. ......... ........ .... ... .... ... ... .Samuel R. Hazo (b. 1966) FOUR SCOTTISH DANCES (1978) .................... ....... .... .......... .. Malcolm Arnold (1921-2006) Arranged by John P. Paynter PICCOLO BASS CLARINET TROMBONE Cara Natale Jamison Wezelis FLUTE BASSOON Daniel Romberger Alejandro Espinosa Patrick Jones Eleni Flo rakis Shelby Smith Devin Kasinki Brandy Greene Bailey Thomas EUPHONIUM ALTO SAXOPHONE Adam Sauer Chris Murdock QUINTOLOGY, The Science of Five (2010) ..................... .... ......... Gary D. Ziek (b. 1960) TRITTICO (1963) .... ............ ........................................... .... .... .Vaclave Nelhybel (1919-1996) FIRST SUITE IN E-FLAT (1909) .......... ..... ..... ... .. ... ...... .......... .... . Gustav Holst (1874-1934) TUBA Matthew Vegiard OBOE Allie Moskowitz Joe Kim Michael Sugarman TENOR SAXOPHONE Ju lia Dunnigan ENGLISH HORN BARITONE SAXOPHONE Jenna Graff Daniel Gross CLARINET TRUMPET Allison Battaglia Hector Mendez Sophia Schneiderman Stephanie Sheintul Diana Schwartz Jessica Siegal Brittany Sheridan Steven O'Connor Jason Boniello Brandon Young Brandon Ashley Jared Biunno Joshua Golub Bai Xue FRENCH HORN Abbey McMahon Christopher Patrizio Jeff Barker PERCUSSION Daniel Fabricius Joseph Glowienka Robert Hopkins Daniel Kim Alex Rava Char les A. Schmitz Ill Alex Valera KEYBOARD Benjamin Ca lhoun Dan iel Rosenau �PROGRAM NOTES CONDUCTOR Daniel Fabricius has been a member of the music faculty since 1992, serving as percussion instructor for twenty years before his appointment last year as conductor of the Binghamton University Wind Symphony . He holds degrees from Mansfield University and Ithaca College and has studied conducting with Donald Stanley (Mansfield University), Rodney Winther (Ithaca College), Stephen Peterson (Ithaca College), Col. Arnald Gabriel (US Air Force), and Mallory Thompson (Northwestern University) . In addition to his duties at BU, he also serves as Director of Bands at Owego Free Academy where he has developed an outstanding instrumental music program . The bands at OFA have received plenty of praises. The OFA Jazz Band was recently honored to present a concert performance at the 2013 NYSSMA Winter Conference. He is highly regarded in the region as a conductor, as a percussion performer, and as a music educator. He has been a member of the Binghamton Philharmonic percussion section since 1982 but is also comfortable performing in popular, rock, jazz, and other styles. He has played as a free -lance percussionist, accompanying national touring artists such as Michael W. Smith, Tommy Tune, Jerry Vail, Lorrie Morgan, Ringling Brothers Circus, the Smothers Brothers, and Ella Fitzgerald. Professor Fabricius has served the New York State School Music Association as an All-State Percussion adjudicator for many years. He also serves NYSSMA as the Instrumental Jazz Reviews editor of The School Music News and is the Jazz Editor for the NYSSMA Manual. In addition to his collegiate work at BU, he has also served Ithaca College as a consultant, as a member of the Summer Session faculty, and as a cooperating teacher for over 35 student teachers. He also serves the Summer Music Academy at Ithaca College as a percussion instructor and jazz ensemble conductor. He has presented many clinics at music conventions and conferences and often serves as a guest conductor for honor band festivals . SEVENS - was commiss ioned on behalf of South Caroli na's CBDNA members who contribute to the state' s Collegiate Honor Band . The world premiere was conducted by Colonel Lowell E. Graham, 0.M .A. (U.S. Air Force, Ret.). One moment in musical history, that I feel had a critical impact on modern ensemble music, was George Gershwin' s incorporation of jazz elements into the repertoire of orchestral music. Purists were appalled while listeners couldn't help but smile at these new sounds coming from a symphony orchestra . Gershwin' s j azz inspired orchestral compos ition Rhapsody in Blue was actual ly the brain chi ld of Band leader Paul Whiteman, who broached the idea to Gershwin in 1922 ( ... Figures it would be a band guy !). Whiteman wanted nothing more than to shake up the " highbrow" element that surrounded symphonic concert halls of that era. Rhapsody in Blue was written and performed in 1923. Its impact has proven to be timeless. Fast forward 81 years to 2004, the year of composition for "SEVENS" . Musical circles have grown to the point where the overlapping of musica l genres are, at the very least, acceptable and, more accurately, encouraged. When I got the ca ll from Les Hicken to write this piece, he mentioned to me that he would love it if the piece cou ld be a " barnburner." I hadn't written a piece that could be classified as a "barnburner" since I wrote a composition titled Ride. However, they are so much fun to do (even though they take forever to score), that I was happy to oblige . Shortly after Les called me, I was listening to one of my favorite musical groups, Gordon Goodwin' s Big Phat Band . I thought to myself that, at present, there' s no composit ion that I know of, that is just a straight ahead, in-your-face, Big Phat Band style composition for W ind Symphony; in other words, a true " barnburner." Perhaps a composition in that style would be j ust the right fit for this commiss ion . On ly one obstacle ... I have never written a jazz compos ition in my life. In an effort to write a modern day barnburner, as well as a tribute of appreciation to George Gershwin and Gordon Goodwin, I picked the concept that the " seventh" was the musical interval that Rhapsody in Blue kept so prominent. So, I based the entire compos it ion in sevens. Every part of this piece has a connection to the number seven. That connection could be the number of notes in the phrase, the time signature, the seventh-step chord that a phrase is based upon, etc ... Strangely enough, after I finished the entire compos ition, I discovered that my tribute to George Gershwin and Gordon Goodwin, titled Sevens, had one more symbolic turn. Both composers share the same initia ls: G.G.; coincidentally the seventh letter of the alphabet. (Notes from Samuel Hazo - www.SamuelRHazo.com) FOUR SCOTTISH DANCES - These dances were composed early in 1957 and were dedicated to the BBC Light Music Festival. They are all based on origina l melod ies, w ith the exception of one composed by Robert Burns. The first dance is in the style of a slow strathspey - a Scottish dance resembl ing, but slower than, the ree l. The dance is in 4/4 meter with many dotted notes, frequent ly in the inverted design of the "Scotch snap." The name was derived from the Strath Valley of the Spey River. The second, a lively ree l, begins in the key of E-flat and rises a semitone each time until performed by the bassoon in the key of G. The fina l statement of the dance is at the original tempo in the home key of E-flat. The third dance, in the style of a Hebridean Song, gives an impression of the sea and mounta in scenery on a ca lm summer day in the Hebrides. The last dance is a lively fling, which makes frequent use of the opening string pitches of the violin (performed by the saxophones in the band edition ). �Born in Northampton (UK) in 1921, Malcolm Arnold is one of the tower ing figures of the 20th century, with a remarkable catalogue of major concert works to his cred it, including nine symphonies, seven ba llets, two operas, one musical, over twenty concertos, two string quartets, and music for brass-band and wind-band. He also wrote one hundred thirty-two film scores . (Notes from Malcolm Arnold- www.MalcolmArnold.co.uk) QUINTOLOGY, The Science of Five - is a short concert piece for w inds and percussion . This piece explores the many possibilities of 5/4 t ime . The form of the piece is introduction, A, B, A. The A sections are built around the subdivisions of 3+3+2+2 . The B section utilizes mu ltip le layers of fives , superimposing ten quarter notes over five ha lf notes over twenty eighth notes. The piece drives to a conclusion, wh ich includes a short allusion to one of the great odd meter jazz composers, Don Ellis. Dr. Gary D. Ziek has served as Director of Bands and Professor of Trumpet at Emporia State University since 1995. He is the recipient of the Roe R. Cross Distinguished Professor Award for 2008-09. Dr. Ziek served from1982 to 1985 in the US Army and was a member of the Continental Army Band at Fort Monroe, Virginia. He taught in the Greater Latrobe School District in Pennsylvania from 1987 to 1992, and was the Associate Director of the Indiana University of Pennsylvan ia Marching Band in 1994. Dr. Ziek enjoys performing and conducting a wide variety of mus ic, from classical to jazz. He has performed and conducted in twenty states, as well as France, Germany, Switzerland, Italy, Austria and Canada . His compos itions and arrangements have been played throughout the United States, Belgium, The Netherlands, (Notes from conductor score) Japan, Singapore and Taiwan . TRITTICO - was composed in 1963 for Dr. Wi lliam D. Reve lli, who gave the first performance of the work in the Spring of 1964, in Ann Arbor, w ith the Symphonic Band of the University of Michigan . The fi rst and th ird movements are, in severa l ways, re lated to one another: the ir ma in character is brilliantly forward-moving and energetic; the main theme of the first movement reappears in the culm ination point of the third movement; and the instrumentation of the movements is identical (standard), with the individual instruments being used quite similarly. The second movement is a strongly contrast ing dramatic scene with turbulent recitatives and expressive woodwind solos, punctuated by low brass and percussion . The emphasis is on the woodwinds and the low brass; cornets and trumpets enter only at the very end w ith an extreme ly intense phrase to conclude the movement. The dramatic character is underlined by the strong use of percussion wh ich is extended by a second t impani player, piano, and ce lesta . (Notes from conductor score) Internationa lly renowned composer Vaclav Nelhybel was born on September 24, 1919, in Polanka, Czechoslovakia . He studied compos ition and conducting at the Conservatory of Music in Prague (1938-42) and musicology at Prague University and the University of Fribourg, Switzerland . After World War II , he was affiliated as composer and conductor with Swiss National Rad io and became lecturer at the University of Fribourg. In 1950, he became the first musical director of Radio Free Europe in Mun ich, Germany, a post he he ld until he imm igrated to the United States in 1957. Thereafter, he made his home in America , becoming an American citizen in 1962. After having lived for many years in New York City, he moved to Ridgefie ld and Newtown, Connecticut, and then, in 1994, to the Scranton area in Pennsylvania. During his long career in the United States, he worked as composer, conductor, teacher, and lecturer throughout the wor ld. At the t ime of his death on March 22, 1996, he was composer in residence at the University of Scranton. A prolific composer, Nelhybel left a rich body of works, among t hem concertos, operas, chamber music, and numerous compositions for symphony orchestra, symphonic band , chorus, and smaller ensembles. Over 400 of his works were published during his lifetime, and many of his over 200 unpublished compos itions are in the process of being published . (Nelhybel's passion for compos ing was all encompassing and left him little t ime for "marketing" his works; for th is reason, many of his compos it ions, though comm issioned and performed, rema ined unpublished .) Although Ne lhybel wrote the majority of his works for professional performers, he relished composing original, challenging pieces for student musicians and de lighted in ma king music with young players. Nelhybel was a synthesist and a superb craftsman who amalgamated the musical impulses of his t ime in his own expression, choos ing discri m inately from among existing systems and integrating them into his own concepts and methods. The most striking general characteristic of his music is its li near-modal orientation . His concern w ith the autonomy of melodic li ne leads to the second, and equally important characteristic, that of movement and pulsation, or rhythm and meter. The interplay between these dual aspects of motion and time, and the ir coordinated organization, resu lts in the vigorous drive so typica l of Nelhybel 's music. These elements are comp lemented in many of his works by the tension generated by accumulations of dissonance, the increasing of textura l densities, exploding dynam ics, and the massing of multi-hued sonic colors. Though frequently dissonant in texture, Nelhybel's music always gravitates toward tona l centers, which makes it so appeal ing to performers and listeners alike. (Notes from Vaclav Nelhybel Biography - www.scronton.edu ) FIRST SUITE IN E-FLAT - 2009 marked the 100th ann iversary of the First Suite in £-fla t by Gust av Hol st , now considered one of t he masterworks and cornerstones of the band literature. Although comp leted in 1909, t he su ite didn't rece ive its officia l premiere until 11 years later on June 23rd, 1920, by an ensemble of 165 musicians at the Royal M il itary School of Music at Kne ller Ha ll. However, the work w as originally conceived to be performed by ensembles significantly sma ller than the one at Kneller Hall. During th is ti me period, there was no standard ized instrumentation among the hundreds of British mil itary bands of the day, and as a result no sign ificant literature had been previously written for the band medium; most British bands up to then performed arrangements of popular orchestral pieces. In order to ensure the su ite would be accessible to as many bands as possible, Holst ingeniously scored the work so that it cou ld be played by a min imum of 19 musicians, w ith 16 add it iona l parts that cou ld be added or removed without comprom ising the integrity of the work. There are three movements in the su ite : Chaconne, Intermezzo, and March. Holst writes, "As each movement is founded on the same phrase, it is requested that the su ite be played right through w ithout a brea k." Indeed, the fi rst three notes of the Chaconne are Eb, F and C, and the fi rst three notes of t he melody when it fi rst appea rs in the Intermezzo are Eb, F, and C. In the th ird movement, March, Holst inverts the motive : The fi rst note heard in the brilliant open ing bras s med ley is an Eb, but instead of rising, it descends to a D, and then a G; the exact opposite of the fi rst t wo movements . The Chaconne begins w ith a ground bass rem iniscent of those w ritten by Henry Purcell or William Byrd . It is performed by tuba, euphonium and string bass and is repeated throughout th e ensemble sixteen fu ll t imes as vary ing inst rumenta l textures and variations of the theme are laye red w ith in it . Following a delicate ly scored chamber sett ing of the theme, the music steadi ly bu ilds to a brilliant Eb Major chord that concludes the movement. �The Intermezzo is light and brisk and features soloistic passages for the cornet, oboe and clarinet. Holst prominently displays the agility and sensitivity of the wind band through transparent textures and passages where the melody and accompaniment are woven into a variety of instrumental settings. The March begins suddenly. It consists of two themes, the first of which, performed by brass choir and percussion, is a march light in character. The second theme is dominated by the woodwinds and is composed of a long, lyrical line remin iscent of the original Chaconne melody. The movement concludes with both themes intertwining as the band crescendos to a climax. Gustav Holst, of Scandinavian ancestry on his father's side, was born in the English spa town of Cheltenham in 1874 and studied music at the Roya l College in London. A formidable trombonist, he spent time performing with the Scottish Symphony and various seaside bands. He later became director of music at St. Pau l's Girls' School, retaining this connection until the end of his life. Holst wrote a number of works for the theater, their subjects reflecting his varied interests, from Hindu mythology to Shakespeare and the medieval world of the Wandering Scholar. He also composed a considerable amount of choral music, accompanied and unaccompanied, including arrangements of folk songs, and a smaller number of solo songs. His most famous instrumental work is The Planets, but he is also fond ly remembered for his St. Paul's Suite for string orchestra, the two suites for military band, and Hammersmith, based on the district of London bearing the works name. (Notes from Esmail Kha lili - www.windrep.org). Binghamton University Department of Music Coming Events Wednesdav, March 19 pera cen s p.m. - Anderson gen ral public; 7 fac ulty/staff/seniors; $5 5 fo r students Thursday, M arch 20 - Mid-Day 10 n ere - I: 20 p. m. - Cas s adesus Re ital Hall - fr Thursday, March 27 - Mid-Day Concert - 1:20p.m. Friday, March 28 - Harpur nter Chamber Hall - VocalJazz - :00 p.m. - rurdav, March 29 - Junior Recital: baritone- 3:00 p.m. - Art Museum - free . sade sus Re ital Hall - free . sade sus R citalHall - free aitlin G rimer, oprano with Jake aturday, March 29 - Master's Recital: Matthew Recital Hall - free tamatis, bass amluk, baritone- 8:00 p.m. - Casadesus Thursday, April 3 - Mid-Day once rt - I :20 p.m. - Fine Arts Room 21 - free Friday, April 4 - pera n s - p.m. - Art Museum - 10 ge neral public; 7 fac ulty/staff/seniors; 5 fo r students For tickets or ro be a ded to our email list, visitanderson.binghamton.edu or call (607) 777-ARTS. For a complete list of our concerts call (607) 777-2592, visit music.binghamton. edu or become a fan on Fa ebook. If you were inspired by this performance,, consider supporting the Department of Music with a financial gift. Yoursupport helps to continue the work of students, faculty, and guest artists and their contributions to our community. Please make your donanon payable to the Binghamton UniversityMusic Department, and send your check to BL' Music Department, P.O. Box 6 0 , 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. 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. 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.) 57:20:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75049">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75049</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Binghamton University Wind Symphony presents Music by Numbers, March 15, 2014 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works by Hazo, Arnold, Ziek, Nelhybel, Holst. Held at 8:00 p.m., March 15, 2014, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource University Wind Symphony Fabricius, Daniel Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Hazo, Samuel R., (b. 1966) Arnold, Malcolm, (1921-2006) Ziek, Gary D., (b. 1960) Nelhybel, Vaclave, (1919-1996) Holst, Gustav, 1874-1934. Date A point or period of time associated with an event in the lifecycle of the resource 3/15/14 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/09d8b6bfb22453542d8f405c92b91716.pdf 5509806073297ff07f11fbe5b4cba10e PDF Text Text BINGHAMTON N I V E R S I T Y STA TE UN IV E R S I T Y O F N E W YORK h e ZldecC ' D E P A R T M E N T SHAK ESPE A RE: T H E I NTERNATIONAL BA RD _ M A L e a C e l e n e , t e nor j o h n / [ M g p a n o R a c h e lC ele nta no; b assoo n Satuwrdoy, Ma rch/15, 2014 3:00 p . m CMad ayu/yﬂ ecétwb ﬂaw �PROGRAM TRANSLATIONS I. Trinklied, D.888 An Sylvia, D.891 Franz Schubert (1 7971 828) Standchen, D.889 ll. Chanson de Shakespeare, Op.28 Chanson de clowns Chanson d’amour Chanson d’Ophélie .Ernest Chausson (18551899) Text from: Antony and Cleopatra III. Two incidental pieces from Twelfth Night..... Kom nu hit, dod Hallila, uti storm och I regn TRINKLIED (Drinking Song) Translation by: Prof. Rosmarie Morewedge Bacchus, robust lord of wine. Come with sparkling eyes May your barrel drown our cares. Fill us up until the world twirls around us Fill us up until the world twirls around us! .Jean Sibelius (18651957) Act II, vii Come, thou monarch of the vine Plumpy Bacchus with pink eye! In thy vats our cares be drown’d With thy grapes our hairs be crown’d; Cup us, till the world go round, Cup us, till the world go round! wlNTERMISSIONca IV. Fear no more .. Paul Schleuse (b. 1971) V. Four Shakespeare Sonnets, Op. 16. . Richard Hugunine 1. A Woman’s Face, Sonnet #20 (b. 1953) 2. Mine Eye and Heart are at a Mortal War, Sonnet #46 3. No Longer Mourn for Me, Sonnet #71 4. My Love is as a Fever, #147 “This program is oﬀered in partial fulﬁllment of the requirements f or the degree of M asters of Music: Opera. Michael Celentano is a student of Prof. Thomas Goodheart. AN SYLVIA (To Sylvia) Translation by: Prof. Rosemarie Morewedge Pray tell, what is Sylvia like that the expansive ﬁelds sing her praise? In beauty I see her approach heavenly favor and her traces show that everything obeys her. Is she beautiful as well as good? Charm refreshes like a mild childhood. Cupid hastens to her eye to heal his blindness and linger there in sweet repose. Therefore, may song resound in Sylvia’s honor: She conquers every allure that earth can oﬀer. Honor her with wreaths and the sound of strings! Text from: Two Gentlemen from Verona, Act IV, ii Who is Sylvia? What is she, That all our swains commend her? Holy, fair, and wise is she; The heavens such grace did lend her, That she might admired be. Is she kind as she is fair? For beauty lives with kindness. Love doth to her eyes repair, To help him of his blindness, And being helped, inhabits there Then to Sylvia let us sing, That Sylvia is excelling: She excels each mortal thing Upon this dull earth dwelling: To her let us garlands bring. STANDCHEN (Serenade) Translation by: Prof. Rosmarie Morewedge Hark, hark! The lark is in the blue air; And Helios, newly awakened, Waters his horses with the dew That covers the calyx of ﬂowers; The bud of the marigold Opens its golden eyes: Surrounded by all that is charming Sweet girl, get up, arise Arise, arise! �Ill. TWO INCIDENTAL PIECES FROM TWELFTH NIGHT KOM NU HIT, D 6 d (Come away, death) Translation by : Max Rydqvist Come here now. come here now, death In crape preserve me well. Haste away, haste away, need Beautiful maiden has taken my soul With sweeping and boxwood on the coﬀins lock, keep yourself done; many faithful have died but none such as you. No rose, no rose sprinkled on my black house. No friend, no friend may disturb the rest in earth’s gravel To me lie for a thousand sighers sake. to one side where no loving one shall see my earth and weep. Come here now. come here now death. Text from: Twelfth Night Act II, iv Come away, come away, death, And in sad cypress let me be laid; Fly away, ﬂy away, breath: I am slain by a fair cruel maid. My shroud of white, stuck all with yew, O prepare it! My part of death, no one so true Did share it. Not a ﬂower, not a ﬂower sweet, On my black coﬀin let there be strown; Not a friend, not a friend greet My poor corpse, where my bones shall be thrown: A thousand, thousand sighs to save, Lay me, o where Sad true lover never ﬁnd my grave, To weep there! HALLILA, UTI STORM OCH I REGN (Hey ho, the Wind and the Rain) Translation by : Max Rydqvist And when such as I was a little small drang. Hey ho out into the storm and rain Then was to me not a bed, more than a bed, forty rains, it rains each eternal day. But when I as a man begin to live wholly large. Hey ho, out into the storm and rain Then each shut his gate for the thief, fony rains it rains each eternal day. Text from: Twelfth Night Act V, i When that I was and a little tiny boy, With a hey, ho, the wind and the rain, A foolish thing was but a toy, For the rain it raineth every day. But when I came to man’s estate, With a hey, ho, the wind and the rain, ‘Gainst knaves and thieves men shut their gate, For the rain that raineth every day. Iv. Fear No More Text from: Cymbeline Act IV, ii Fear no more the heat of the sun, Nor the furious winter’s rages, Thou thy worldly task hast done, Home art gone, and taken thy wages. Golden lads, and girls all must, As chimneysweepers come to dust. Fear no more the frown of the great, Thou art past the tyrants stroke; Care no more to clothe and eat, To thee the reed is as the oak: The scepter, Learning, physic must, All follow this and come to dust. Fear no more the lightning ﬂash. Nor the alldreaded thunderstone. Fear not slander, censure rash. Thou hast ﬁnish’d joy and moan. All lovers young and lovers must, Consign to thee and come to dust. No exorcisor harme thee, Nor no witchcraft charm thee. Ghost unlain forbear thee. Nothing will come near thee. Quiet consummation have, And renowned be thy grave. V. FOUR SHAKESPEARE SONNETS 1. A WOMAN’S FACE (Sonnet #20) A woman’s face with Nature’s own handpainted Hast thou, the mastermistress of my passion; A woman’s gentle heart, but not acquainted With shifting change, as is false woman’s fashion; An eye more bright than theirs, less false in rolling, Gilding the object whereupon it gazeth: A man in hue, all hues in his controlling, Much steals men’s eyes and women’s souls amazeth. And for a woman wert thou ﬁrst created; Till Nature, as she wrought thee, fell adoting, And by addition me of thee defeated, By adding one thing to my purpose nothing. But since she prick’d thee out for woman’s pleasure, Mine be thy love and thy love’s use their treasure. �2. MINE EYE AND HEART AREAT A MORTAL WAR (Sonnet # 46) Mine eye and heart are at a mortal war How to divide the conquet of thy sight; Mine eye my heart thy picture’s sight would bar, My heart mine eye the freedom of that right. My heart doth plead that thou in him dost lie— A closet never pierced with crystal eyes— But the defendant doth that plea deny And says in him thy fair appearance lies. To ‘cide this title is mpaneled A quest of thoughts, all tenants to the heart, And by their verdict is determined The clear eye’s moiety and the dear heart’s part: As thus; mine eye’s due is thy outward part, And my heart’s right thy inward love of heart. 3. N O LONGER MOURN FOR ME (Sonnet #71) No longer mourn for me when I am dead Then you shall hear the surly sullen bell Give warning to the world, with vilest worms to dwell: Nay, if you should read this line, remember not The hand that writ it; for I love you so That l in your sweet thoughts would be forgot If thinking on me then should make you woe. O, if, I say, you look upon this verse When I perhaps compounded am with clay. Do not so much as my poor name rehearse. But let your love even with my life decay, Lest the wise world should look into your moan And mock you with me after I am gone. 4. MYLOVE IS AS A FEVER (Sonnet #147) My love is as a fever, longing still For that which longer nurseth the preserve the ill, Th’ uncertain sickly appetite to please. My reason, the physician to my love, Angry that his prescriptions are not kept, Hath left me, and desperate now approve Desire is death, which physic did except. Past cure I am, now reason is past care, And franticmad with evermore unrest; My thoughts and my discourse as madmen‘s are, At random from the truth vainly expressed: For I have sworn thee fair. and thought thee bright, Who art as black as hell. as dark as night. PROGRAM NOTES Translating a nd Setting Shakespeare : To Capture the Essen ce of a Master by Michael Celentano The act of translation is true art unto itself. It is easily forgotten that the ﬁnest literature known to man has been translated so that nonnative speakers may experience the same joys in reading a text as do the author’s intended audience. The true burden in ﬁnding the essence of the masters, such as Pushkin, Goethe, and Shakespeare, is a twofold task : How does one eﬀectively capture the thoughts of such writers in another language, with its own idiosyncrasies and does one attempt to recreate the metrical techniques that are often a byproduct of the language of origin? Composers face the same challenges as they write to express both their and the authors thoughts about the text. In his article, “Fit Only for Barbarians: The Sound of Translated Poetry”, Keith Bosley examines two distinct camps with which translators tend to associate: Those that adhere strictly to the original meter of the piece and those who use freeverse to best capture the essence of the text. While the RussianAmerican poet, Joseph Brodsky, states that translating into freeverse is a sign of decadence and a spiritual betrayal of the original text, the famous French translator of Shakespeare, Yves Bonnefoy argues that any attempt to “naturalize” the original and ﬁt it into an existing mold in the language of the translator is doomed; that whoever attempts it is a mere versiﬁer and no poet. Bosley ultimately concludes that a translation should “glorify [the] original, not [the author]”. He goes on to say that “To achieve such gloriﬁcation, [one] need[s] to make [the] original poet sing as though he were writing in [that other] language, which of course is impossible...". Composers face the same challenges as they set translated texts. Concerning Shakespeare, three speciﬁc circumstances are examined through the recital program: Speeches in verse, incidental songs to be sung during a performance, and sonnets. Each have their own unique metrical devices that composers either chose to incorporate or ignore depending on the translation provided and their own sentimentalities towards Shakespeare. The settings of Schubert adhere strictly to the Bard’s original meter and present the circumstance whereby the music can be performed with either the translation or the source material. Chausson’s choices oﬀer a much more conversational approach to the text, using pauses in the vocal line to express emotion. Particularly in the third setting, Chanson d’Ophélie, uses a quasirecitative approach to the text which allows for the shaping of the text in small bursts, The selections of Sibelius on the program are unique in that they were composed speciﬁcally for a staged production of Twelfth Night in 1909. Though composed for guitar and voice, these selections will be performed with harpsichord to achieve a more haunting eﬀect to contrast the comedy of the play. �Fear No More By Dr. Paul Schleuse Fear No More takes its text from Act IV, Scene 2 of Shakespeare’s Cymbeline, a play set in the semilegendary world of pre Christian Britain. It is a lamenting hymn sung by the brothers Polydore and Cadwall over the corpse of Fidele, a young man who has wandered, exhausted and ill, into the cave where they live. Nothing about this scene is as it seems, however: Fidele is really King Cymbeline’s daughter Imogen in disguise, and she is not really dead—she has drunk a potion meant to mimic death under the mistaken belief that it was medicine for her illness. Meanwhile Polydore and Cadwell, unknown to themselves. are really Guiderius and Arviragus, Cymbeline’s longlost sons. This web of mistaken identities threatens to turn this scene into one of ironic comedy, but the sincerity and passion of the lament instead makes it one of the play’s emotional high points and conﬁrms the brothers’ royal character. The three main stanzas of the poem are set here as free expansions on the piano’s short introduction, with the singer intoning the words in a mixture of recitative and song. The ﬁnal six lines of the poem turn from lament to benediction, and the music takes on a ritualistic. quasireligious character. The song’s premiere was given by soprano Melissa Givens at Rice University in 1993; this is the ﬁrst performance of a revised version. Setting a Shakespeare Sonnet By Richard Hugunine Setting a Shakespeare sonnet to music is a daunting task : First, l wanted not to damage the poetry by trivialization or by excessive drama. Second, I have attempted to convey my intimate emotional response to these emotionfreighted poems. Number 20, A Woman’s Face. records the innermost and intimate thoughts of a man in love. He is by turns yearning, gracious. bitter. happy and also in pain. Still, he takes what little he can get, and is grateful – even if what he gets is not what he truly wants. Number 46, Mine Eye and Heart, records Shakespeare’s internal battle as to whether he loves a lady more with his eyes or more with his heart. Both ultimately win, but in diﬀerent ways. Number 71, No Longer Mourn for Me is a man’s plea to his love to forget him when he is dead, to move on with her life. But we clearly hear him mourning not only for her loss of him, but mouming also for his own passing. The extraordinary intimacy of tragedy is nearly unbearable. Number 147, My Love is as a Fever depicts the wild emotions that love has conjured – emotions that ultimately lead this man to demonize the woman he thought he loved. I hope I have managed to capture and express for you. if even in a small and clumsy manner, a portion of the deep emotions Shakespeare evokes from me in these masterworks. ABOUT THE PERFORMERS MICHAEL CELENTANO, tenor is currently a candidate for the Masters of Music in Opera degree program at SUNY Binghamton University and is a resident artist of TriCities Opera in Binghamton, New York. Recent appearances include Nemorino in Elisir d’amore with Berks Opera Workshop and Alfred in Die Fledermaus with Bel Cantanti Opera. Upcoming performances include The Teapot, The Mathematician, and The Frog in Ravel’s L’Enfant et les Sortilége with Bel Cantanti Opera, the cover of Beppe in Maryland Lyric Opera’s inaugural performances of I Pagliaoci, and Goro in Berks Opera Workshop’s production of Madama Butterﬂy. Michael Celentano is a student of Prof. Thomas Goodheart. JOHN ISENBERG, piano a native of Endicott, NY, holds a Bachelor‘s Degree in Music and a Master’s Degree in Italian Literature from Binghamton University. He performs many diﬀerent musical genres including Opera, Art Song, Musical Theater, Gilbert and Sullivan, cabaret shows, traditional Scottish, and various styles of sacred music ranging from Gregorian chant to contemporary Praise music. John formerly worked for the TriCities Opera in Binghamton, NY, ﬁrst as Accompanist, then additionally as Education Outreach Coordinator and Chorus Master. As part of OperaGoRound touring program, he accompanied over 500 performances throughout New York State and northern Pennsylvania . John has played for WSKG radio broadcasts of several Operalogue preview performances including Puccini’s Madama Butterﬂy, Donizetti’s Lucia di Lammermoor and Mozart’s The Magic Flute. He appeared on public television as part of a show called Sound Fusion, and during the holiday seasons. He has worked with numerous theater and musical groups in the Binghamton area. including SRO Productions, the Madrigal Choir of Binghamton. the Binghamton Downtown Singers and the Summer Savoyards. John is currently the Organist/Pianist and Choir Director at Sarah Jane Johnson Memorial United Methodist Church in Johnson City. A native of Long Island, RACHEL CELENTANO, bassoon is a young artist currently attending the Peabody Conservatory of The Johns Hopkins University in Baltimore, Maryland, Ms. Celentano is studying with Phillip Kolker and majoring in Bassoon Performance and Music Education. She has won the Long Island Youth Orchestra Concerto Award and has appeared as principal bassoon with New York AllState Symphonic Band, Nassau Suﬀolk Wind Symphony, Long Island Youth Orchestra, Peabody Wind Ensemble, and in the opera, The Merry Wives of Windsor, with the Delaware Valley Opera Company. Additionally, she has performed with One World Symphony, Peabody Latin Jazz Ensemble, and Peabody Improvisation and Multimedia Ensemble. Ms. Celentano doubles on the clarinet and alto saxophone, and teaches privately. �Binghamton University M usic Department’s Coming Events GﬁMbéhﬁﬂﬂﬁb‘éﬁﬂ'ﬁié'wéﬁﬂaﬁb 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 $10 general public; 5 7 iaculty/staﬀ/seniors; $5 for students Thursday, March 20 – MidDay Concert 1:20 p.m. Casadesus Recital Hall free Thursday, March 27 MidDay Concert 1:20 p.m. Casadesus Recital Hall free Friday, March 28 Harpur Vocal Jazz 8:00 p.m. Casadesus Recital Hall free Saturday, March 29 Junior Recital: Caitlin Gotimer, soprano with Jake Stamatis, bass baritone – 3:00 p.m. Art Museum free Saturday, March 29 Master’s Recital: Matthew Samluk, baritone 8:00 p.m. Casadesus Recital Hall free Thursday, April 3 MidDay Concert 1:20 p.m. Fine Arts Room 21 free Friday, April 4 Opera Scenes 8:00 p.m. Art Museum $10 general public; $7 faculty/Staﬀ/seniors; $5 for students « a w w w m m w w w a o m m For tickets or to he added to our email list, visit anderson.binghamton.edu or call (607) 777ART S. For a complete list of our concerts call ( 607) 7 7 7 2 5 9 2 , visit mustahmghamtonedu or become a fan on Facebook. a f . E l f you were inspired by this performance, consider supporting the Department of Music with a ﬁnancial gift. Your support helps to continue the wor k of students , ja mlty and guest artists and their contributi ons to our community. Please make your donation payable a f to the Binghamton University Mustc Department, and send your usic Depart ment , P.O. Boat 6000, Binghamton, N Y check to B U M 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. 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. 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 Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 42:20:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75052">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75052</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Shakespeare: The International Bard Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works by Schubert, Chausson, Sibelius, Scheuse, Hugunine. Held at 3:00 p.m., March 15, 2014, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Celentano, Michael Isenberg, John Celentano, Rachel Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Schubert, Franz, 1797-1828 Chausson, Ernest, 1855-1899 Sibelius, Jean Schleuse, Paul Hugunine, Richard Date A point or period of time associated with an event in the lifecycle of the resource 3/15/14 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/b4e2f1e02ebfdb8b36eb49446edcf585.pdf 5f53adf107a853fbc669dda539e1a96e PDF Text Text BINGHAMTON U N I V E R S I T Y S T A Y S U N I V E R S I T Y O F N E W Y O R K d e [4 e D E P A R T M E N T MODlus A N D F R I E N D s J aney Choi, violin Roberta Crawford , viola S tephen Stalker, cello Micha el Salmirs, piano with Gabriel Boyers, violin Timoth y Perry, clarinet Sunday, F ebruary 2, 2014 3 p.m. W atters T heater �P R O GR A M Duo for Violin an d Viola.... in G Major, KV 423 Allegro A dagio Rondeau : Allegro A B O U T T H E P ERFORM ERS ..Wolfgang Amadeus M ozart (17561791) GABRIEL BOYERS, violinist, has been praised for his ‘rock steady ﬁnger and bow technique” by New Music Connoisseur Magazine and has been described by The Boston Phoenix as an “elegant, accomplished player” and as one of “the most talented young string players in town.” As recitalist and chamber musician, Gabriel has been heard at numerous festivals and halls, including at the Sandor Vegh Institute in Prague, the Banﬀ Centre for the Arts in Canada, Vail Valley Bravo Music Festival, the Troy Savings Bank Music Hall, and Boston’s Jordan Hall and beginning in 2013, he performs as Second violinist of the newly formed Simrock String Quartet (with Gabriela Draz. Stephanie Fong and Raﬁ PopperKeizer). Gabriel has participated in many worldpremiere performances, including as concenmaster for the 2005 Carnegie Hall premiere of ”Concerto for Turntables and Orchestra” with DJ Radar, as well as the 2006 premiere of “F or Lou” by John Luther Adams, which he also recorded for New G abriel Boyers, violin Roberta Crawford, viola Trio for Clarinet, Cello an d Piano . .. .. J ohannes Bra hms In A Minor, Op. 114 Allegro A dagio A ndantino grazioso Allegro (18331897) Timoth y Perry, clarinet Stephen Stalker, cello Micha el Salmirs, piano t o INTERMISSION cz Piano Quintet in A Major, Op. 81... Antonin Dvorak (18411904) Allegro, m a n on tanto Dumk a : A ndante con moto Scherzo (Furiant): M olto v iv ace Finale : Allegro J aney Choi a nd G abriel Boyers, violin Roberta Crawford , viola Stephen Stalker, cello Micha el Salmirs, piano World Records. In 2007, Boyers was a resident artist at the “Atlantic Center for the Arts“ in Florida, where he worked with composer Lee Hyla to develop “Cadenza,” a work for solo violin based on portions of composer‘s Violin Concerto. In 2010, with pianist Keith Kirchoﬀ, Boyers gave the world premiere of Leo Omstein’s 3rd Sonata for Violin and Piano, a newly discovered work approximately 90 years old, which they will record next year as part of a survey of Omstein’s complete works for violin and piano. Boyers holds undergraduate and graduate degrees from Tufts University and New England Conservatory, where his principal teachers were Masuko Ushioda and James Buswell. In addition to his performing activities, Boyers is owner of Schubertiade Music & Arts (wwwschubertiadernusiccom) and deals in rare Musical Autographs and Antiquarian Music and Ephemera. Since 2011, he has directed the Primary Source Series at the Boston GoetheInstitut, a chamber music concert series where each program is built around rare musical artifacts and manuscripts. Canadian violinist, JANEY CHOI gave her Camegie Hall recital debut in 1997 as a winner of the Artists International Auditions and continues an active career performing as a soloist and with such groups as the Ardelia Trio. New York City Ballet, and the Teaching Artists Ensemble of the New York Philharmonic. The recipient of numerous awards, including National First Prize in the Canadian Music Competition, and a Performing Arts Grant from the Ontario Arts Council, she has participated in such festivals as Mostly Mozart, Norfolk, Taos. the Spoleto Festivals in the U.S and Italy, Festival Musical de Santo Domingo, the Santa Fe Opera and the Sarasota Opera An avid interarts and crossgenre collaborator, she is the Music Director of Thomas/Ortiz Dance, and has performed numerous times with the Parsons Dance Co. She initiated a collaboration between the Paul Taylor Dance Company and the Binghamton University Orchestra. Her other interests have taken her to the visual arts world, developing and presenting an annual “Music + Art” show commissioning artwork based on chamber works. She has recorded and appeared with such mainstream performers as Bono (U2) and Quincy Jones, Adele. Beyonce, Aretha Franklin, Enya, Elton John, JayZ, Sarah McLachlan, Lenny Kravitz, and Kanye West, on the Grammys, MTV, Saturday Night Live, The Today Show, at Live 8, Radio City Music Hall and Royal Albert Hall in London, England. Dr. Choi was the youngest and only PieCollege student ever accepted by her late mentor, Joseph Fuchs at The Juilliard School, where she graduated from the accelerated BM/MM program with the Joseph Fuchs Graduation Prize. Her other major teachers include Joel Smimoﬀ, Victor Danchenko, Harvey Shapiro, and Arnold Steinhardt. She attained her Doctor of Musrcal Arts degree at Rutgers University with full scholarship and the Graduate Fellowship Award. She has been on the faculty of Binghamton University since 2006 and is a Teaching Artist for the New York Philharmonic and Chamber Music Society of Lincoln Center. She has presented educational workshops for the College Music Society National Conference, Tokyo College of Music and Lincoln Center Institute. In her free time, she enloys marathon and triathlon training, playing soccer and ice hockey ROBERTA CRAWFORD, violist, performs extensively as a recitalist and chamber musician, As coartistic director and a founding member of the Finger Lakes Chamber Ensemble. Ms Crawford has participated in over two hundred solo, chamber, and lecturerecitals presented by the ensemble since its formation in 1990 Ms Crawford is violist with the Mobius Ensemble, resident piano quartet at Binghamton University which performs frequently on campus and throughout the region. She has performed with the Catskill Chamber Players, appeared often on the Cayuga Chamber Orchestra’s Sunday Chamber Music Series and was a guest performer with the Ariadne String Quartet. Ms. Crawford has played with the Portland and Syracuse symphonies and has served as principal violist for the Cayuga Chamber Orchestra. Recent activities include performance in the world premiere of Fault Lines for piano quartet, written by awardwinning composer, James Matheson and presented at Comell University‘s Mayfest 2010. An advocate of new music, Ms. Crawford has premiered numerous works featuring viola and has been the dedicatee of several works written speciﬁcally for her. She has participated in music festivals throughout the United States and in the Caribbean and has appeared in live performance broadcasts for public radio and �television. A dedicated teacher, Ms. Crawford has served as clinician, coach, and adjudicator for numerous music organizations and as director of ViolaFest at Binghamton. Ms. Crawford also served for ﬁve years as a Faculty/Artist for NSOA ASTA String Institute at Ithaca College. She has been a guest faculty member at Phillips Academy, the Quartet Program, Ithaca College, and the Eastman School of Music and is currently coordinator of strings at Binghamton University. DR. TIMOTHY PERRY, Professor of Music, is now in his twentyeighth season as conductor/director of the orchestral program at Binghamton University. A Wisconsin native, he attended the University of Wisconsin Madison as a National Merit Scholar prior to graduating with distinction from the Manhattan and Yale Schools of Music. He taught in the Minnesota State University system for ﬁve years prior to joining the BU faculty in 1986. In addition to directing the University Symphony and String Orchestras, Dr. Perry also directed the BU Wind Ensemble program from 19862005 and served as the Music Director of the Binghamton Community Orchestra from 19942004. He continues to perform a wide range of orchestral, opera and musical theater repertoire as Guest Conductor with both regional and international ensembles. Since 2005, Dr. Perry has twice collaborated with New York’s renowned Paul Taylor Dance Company, and worked as Music Director with faculty and performers of DUOC in Santiago, Chile for binational productions of West Side Story and The ThreePenny Opera. As BU’s Professor of Clarinet he is active throughout the world as soloist, chamber musician and teacher, including three appearances at the world conference of the Intemational Clarinet Association and touring for the Department of State as United States Musical Ambassador for Latin America and the Caribbean. He is Past President of the Northeast Division of the College Orchestra Directors’ Association, and will be a featured speaker at the National CODA Conference in January 2014. Pianist MICHAEL SALMIRS is well known as a recitalist and chamber musician. As a founding member and artistic director of the Finger Lakes Chamber Ensemble, he maintains a full season of chamber concerts and lecture recitals and recently presented a series on the last three piano sonatas of Beethoven. He has appeared as soloist with the Coming Philharmonic, Binghamton University Orchestra, Cayuga Chamber Orchestra, and was frequently a featured pianist on their Sunday Chamber Series. In addition to performing most of the standard chamber music repertoire for strings and piano, he has premiered numerous solo and chamber works, and has given the world premieres of Piano Quintets by David Liptak and Marek Harris, as well as Diego Vega’s Piano Quartet with the Finger Lakes Chamber Ensemble and Piano Quartet by Wendy Wanki Lee with the Binghamton University resident piano quartet, Mobius Ensemble. He has also participated in such contemporary music series as Binghamton University’s Musica Nova, Cornell University’s Ensemble X, Chiron, and has toured and recorded for the Syracuse Society for New Music. Mr. Salmirs studied at the New England Conservatory and Eastman School of Music; his teachers include pianists Leonard Shure and Rebecca Penneys and composer Karel Husa. Salmirs has taught at the Syracuse University School of Music and Hobart and William Smith Colleges. He is currently a faculty member at Binghamton University where he is Coordinator of Piano Studies. As a composer, his Silenced Voice, for Soprano, Baritone, Clarinet, and Piano Quartet, was premiered in 2010 at Binghamton University. He is presently composing a vocal chamber work on texts by Stephen Levine as well as a Piano Quintet. This season features performances of the complete works for cello and piano by Beethoven with cellist, Stefan Reuss and a piano recital at Binghamton University in April. STEPHEN STALKER, cellist, teaches at Binghamton University. He formerly taught at Colgate University, Mansﬁeld University, Ithaca College and the Binghamton City School District. He was the principal cellist of the Cayuga Chamber Orchestra in Ithaca, NY, and has performed extensively with the Catskill Chamber Players of Oneonta, NY, and in concerts at Binghamton University. Performing with the Catskill Chamber Players he has presented “Meet the Composer“ concerts with prominent American composers including John Cage, Virgil Thomson, Lou Harrison and George Crumb. The Chamber Players appeared at Weill Recital Hall, premiering a set of four string quartets by Henry Brant. With violinist, Janet Brady, and pianist, Walter Ponce, he performed the complete Beethoven Trio cycle at Binghamton University. He performed with Solisti New York on their Alaskan cruise of the Inner Passage from Vancouver to Juneau. As a member of the Madison String Quartet, he was a ﬁnalist in the Naumberg Chamber Music Competition in New York City and the Evian lntemational String Quartet Competition in Evian, France. He has performed in many recital appearances with pianist, Michael Salmirs. He performs regularly with the Trio Amici, Trilogy, Baroque ‘n Blue, Early On and in concerts at Binghamton University. He is a past president of the New York State Chapter of the American String Teachers Association and was Strings Chair for the New York State School Music Association. He is a founder of the Southern Tier Music Teachers Association and the Binghamton Cello Festival. He is a graduate of the Manhattan School of Music in New York City. � 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. 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. 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 Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio disc Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74979">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74979</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mobius and friends Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works by Mozart, Brahms, Dvořák. Held at 3:00 p.m., February 2, 2014, Watters Theater. Creator An entity primarily responsible for making the resource Choi, Janey Crawford, Roberta Stalker, Stephen Salmirs, Michael Boyers, Gabriel Perry, Timothy Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Mozart, Wolfgang Amadeus, 1756-1791 Brahms, Johannes, 1833-1897 Dvořák, Antonín, 1841-1904 Date A point or period of time associated with an event in the lifecycle of the resource 2/2/14 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/0c92387b4a328abf30acdfebb2e54733.pdf 4a7c422cacaf4774d3553707603b0ff3 PDF Text Text BINGHAMTON U N I V E R S I T Y STATE U N I V E R S I T Y O F N E W Y O R K M [4 M D E P A R T M E N T Piano Ensemble from the studios of Jinah Lee & Michael Salm irs Tuesday, April 29, 20 1 4 8:00 p.m. Casadesus Recital Hall �2c) PROGRAM (93 Hungarian Dance in G minor, Bk. 1........................ Johannes Brahms (18331897) Natasha Talukdar, Benjamin Calhoun An der schonen blauen Donau, Op. 31 4................Johann Strauss, Jr. (18251899) Arr. by Christian Mondrup Amela Dervishi, Jee Soo Han Maurice Ravel Beauty and the Beast from Mother Goose (18751937) Samantha Bangug, Christine Fan Ballet from Petite Suite................................................CIaude Debussy (18621918) Xiaomo Qian, Siqi Feng Arabian DlnLL Dance of the Sugar Plum Fairy Pyotr Ilyich Tchaikovsky (18401893) Arr. Eduard Langer Priscilla Cheng, Annie Tao Charles Gounod Faust: Valse Brillante (18181893) Arr. Fr. Burgmuller Hwi Jae Cho, Yujung Jane Jung Libertango......................................................................Astor P iazzolla (19211992) Arr. Pablo Ziegler Annie Tao, Natasha Talukdar �Binghamton University Music Depa rtment’s Upcoming Events 6&66ﬂ66ﬂ6r’éﬂ6r’éﬂoﬁéﬂééﬂ66ﬂéiéﬂ Tuesday, April 29 – Piano Ensemble Concert 8:00 p.m. – Casadesus Recital Hall free Th u day, May 1 MidDay Concert 1:20 p.m. Casadesus Recital Hall free Th ursday, May 1 – GrammyAward Winning vocal guest a rt ist Jacqueline HornerKw iatek 8:00 p.m. Casadesus Recital Hall $5 general public; free for students Friday, May 2 Flute Studio a nd Flute Chamber Concert 1 1:30 a.m. Casadesus Recital H all 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 (aculty/sta(if/seniors; tree tor students Saturday, May 3 – Senior Recital: Xander Edwards, cello 8:00 p.m. Casadesus Recital Hall free Sunday, May 4 TriCities Opera presents Staruss’ Die Fledermaus 3 :00 p.m. The Forum Theater call (607) 7 7 20400 for tickets Tuesday, May 6 – Pe rcus ion Ensemble Concert 8:00 p.m. Anderson Center Chamber H all $7 general public ; $5 (aculty/stai‘f/seniors; free for students m e w b m e w m m e w m w b w e a For tickets or to be added to our email list, visit anderson.binghainton.edu or call (607) 777AR’IX, For a complete list of our concerts call (607) 7772 592, visit music. binghamton.edu or become a fan on Facebook. If you were inspired by this performance, consider supporting the Department of Music with a ﬁnancial gift. Your support helps to cont i nue the work of students, faculty, a nd gues t art is t s a nd their contrilmtions to our community. Please make your donation payable to the Binghamton University Music Department. and send your check to B U M usic Department, l ’ . ( ) . Box 6000, Binghamton, N Y 13902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&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. 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. 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 Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 37:16:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74952">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74952</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCoverContinuous Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Piano ensemble from the studios of Jinah Lee and Michael Salmirs Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works by Moszkowski, Debussy, Manookian, Brahms, Dvořák, Rachmaninoff, Chabrier, Piazzolla. Held at 7:30 p.m., December 9, 2014, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Lee, Jinah Salmirs, Michael Fan, Christine Green, Maurice Chen, Shana Han, Jeesoo [Jee Soo] Cermak, Samantha E. Lee, Yuseong Malinovsky, Daniel Su, Vicky Bogdanove, Grace Calhoun, Benjamin Bangug, Samantha Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Moszkowski, Moritz, 1854-1925 Debussy, Claude, 1862-1918 Manookian, Jeff Brahms, Johannes, 1833-1897 Dvořák, Antonín, 1841-1904 Rachmaninoff, Sergei, 1873-1943 Chabrier, Emmanuel Piazzolla, Astor Date A point or period of time associated with an event in the lifecycle of the resource 12/9/14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/bf10fb5c0bdd7bfeb2ed36f916423969.pdf a342bd8bbc791ca86f4bf0acb9cae3a7 PDF Text Text BINGHAMTON U N I V E R S I T Y S T A TE UN I V E R S I T Y OF NEW V O R K [4 z e t d ec D E P A R T M E N T UNIVERSITY SYMPHONY ORCHESTRA Hea ther Worden, Conductor PRESENTS “From the N ew World” FEATURING THE PREMIE RE OF “MUSIC FOR SONORA” BY C HRISTIAN M ARTIN Saturday, December 6, 2014 3:00 p.m. Osterhout Concert Theater �BINGHAMTON UNIVERSITY SYM PHONY ORCHESTRA Ploy licolP o : ea PROGRAM 6 Emily Paye Fl ute agiotti Jessica Bi 1 , Kohar Bedonian Our Town . Music from the Motion Picture Music for Sonora . ‘World Premiere* Aaron Copland (19001990) Chris tian Mar tin (b.1984) _, Michelle Li Oboe Joe Kim Ti g h ts 53 :1 5:11” Clarinet Mary McGaiay Skylar 0. Buono Bass Clarinet ® IN TERMISSIO N « 8 Lame” Bass Bassoon Bailey Thomas Symphony No. 9 in E minor, op.95. “From the New World” 1. Adagio All egro molto g s sATBO 111. Scherzo: Molto vivace I V . Allegro con fuoco Antonin Dvoi‘ak (18411904) Percussion Alex Szigethy . Emi Bm Daniel Cooke Keyboards Alison Tuck Emily Goetz Micah Neiss Steve 0,50” Ben Calhoun Dan Meln i ovsky Lindsay Covn i gton Sharon Grazi rano E Margaret Girardi Jaya Rao Violoncello Daniel Moriaeis Violin I Kierain Mu Gabriele lﬂirye Alexio Chang Abriame Guruparan Jiwon Nam Kristen Moriarty Many Spencer Deborah ‘ ' ' Evan FemMznothnl Charlie Miler Allison Butler Kelly Mercer Chloe Tso Nathaniel Christman Sara Inca R yan Ferernoe Jessica Funnel pa“, Mug, e Golden 19 GW’VM Raeleen Biohler Contrabass John Voi Laira n d Tamra " Sim,” Benarie Kyle Cullen Robert Durante French Horn Emmanuel Davis Violin II A E M $0.59 j Dave Ripic Tuba Eleanor Krasner i mbs Cricket T o Sara Kohtz Anthony DeNirlis Emma Lecarie Maya Orlofsky Jodie Bach M“ KY‘W (Jay) Kim Viola Harman Watrobski Patrick Jones ei McMah Am on Gabriel Bedald Matt McAu. liﬀe Kathryn Saturnino © Trumpet Anne Taylor Elliott Vogel Thomas Parker Trombone Jacob Strotnrn Bethany Evans Christopher Beard Rebewe Sgroi Harrison Duriln ya, Stein Kaitlyn Magma“ Nicholas Hoyos heg s 8050 emplo ysﬁmds‘ . rotaTtin oatbng; Woot Brass and Parmesan rotate assignments by compositon and are listed alphabetically; St rings mn i si seatn i g b y conrgnend are listed n i mmmmwgezwmm and supportn i g our ﬁne studentmusicai ns! �Biughamtou a PROGRAM NOTES « Our Town Music from the Film ScoreAaron Copland I f y ou are trying to answer the ques tion, “what is American music?', you would most likely have a discussion about Aaron Copland’s compositions. Born in 1900 in Brooklyn, New York, this American music composer sought to encompass an “American sound” in his compositions by invoking jazz and folk style into classical composition techniques. His journey to produce this sound truly began in Paris (19171921) at the Fountainebleau School of Music where he studied with acclaimed teacher, Nadia Boulanger. His study abroad gave him the tools to begin fulltime composition work upon returning to the United States in 1925. His goal when he came back to America was to create music that was accessible to audiences, meaning that it could be easily learned and would have a wider appeal. He found these qualities to be most pertinent with incidental music and so his compositional focus surrounded ﬁlm scores and ballets. Some of his more acclaimed works include Rodeo (1942 ballet), The City (1939 ﬁlm score), Appalachian Spring (1944 ballet), and the composition tha t we will explore more in depth, music from the ﬁlm score Our Town. Written in 1940 and based on Thornton Wilder’s play by the same name, the ﬁlm score from Our Town found great acclaim, even earning Copland an Oscar nomination. Copland said of ﬁlm score music in general, “The composer is in a special posi tion to apprecia te wha t music does to a ﬁ l m because he sees i t ﬁrs t without any music. Movie audiences may not consciously realize they are listening to music when they view a ﬁlm, but it works in their emotions nonetheless.” Copland succeeded in accessing daese emotions through capturing the quiet and ordinary daytoday living of Grover’s Corners (the town in which the play is based) through his humble musical composition. His subtle utilization of the New England town’s hymn runes, along with the delicate namre in which he constructed the tempi and melodic themes brought together a score that was both beautiful and hones t t o the r eali ty o f the town. M usic for Sonora Christian Martin written by Daniela Rivera’ Music for Sonora, is an orchestral piece built on a short Navajo hymn that comes from the Native American Church in Arizona. Written in a free variation form and conceived in a sneamofconscioumess manner, the music reﬂects the composer’s memory of his childhood home in the Arizona desert. The vast, openness of the desert is depicted by spatial, linear harmonies which open the piece and continue for some time. After ﬁrst being introduced by the chorus, individual melodic fragments of the original song are staggered, transposed, interwoven and augmented in r hythm by the orchestra and soloists. What follow are a number of varia tions on the main theme both transposed up, transposed down, augmented in rhythm, and restated in retrograde (reverse). The piece closes with repetitions of the opening melody. which gradually fade away. Martin earned his BA and MM in Composition at Binghamton U niversity omposition. He currently works as an (SUNY) and plans to pursue a DMA i n C in Tempe, AZ and as a freelance Rio Salado College for instructor adjunct editor/ transcriber of music. He is also the accompanist of the Nimmonsburg United Methodist Chancel Choir and heads the music for a new contemporary praise and worship service there. Christian has performed with the Phoenix Boys Choir, the Arizona State University Choral Union, the Canterbury Choir, the Binghamton University Chorus, the Harpur Chorale, and the Vivaldi Singers. He has worked as a freelance musician, performing extensively on various instruments in a range of styles. Serving as a concert organizer and performer, he has performed for Senior Citizen Centers, Banquets. and Fundraiser Concerts. He has served as a studio producer of several genres of music including production for 2008 American Idol Top Twelve Finalist David Hernandez. Many of his compositions have won national awards, including 1st place in the San Jose Choral Productions Choral Composition Competition, 2nd place in the Edwin Fissinger Choral Composition Competition, and 3rd place in the Corpus Christi Chorale Choral Composition Competition. Christian was also awarded the Samuel Reiser Scholarship (2012) and the Philip Friedheim Memorial Award (2014). In 2012, his Six Preludes for solo piano were performed by composer and pianist Christopher Morgan Loy (PhD). His most recent work Da ncing Water, Swimming Shadows, a song cycle written for Grammywinning mezzosoprano Jacqueline HomerKwia tek, was premiered by HornerKwiatek along with Michael Compitello (percussion), Timothy Perry (Clarinet), Margaret Reitz (Piano), and Joseph Vanderpool (Violin) in the Spring of 2014. A registered member of ASCAP, he currently works as the composer for AA. Michael Productions, writing music for television. He has provided editing and notation services for Schubertiade Music LLC, composer Daniel Thomas Davis, and for the late professor and composer Paul Goldsnub (PhD). written by Christian Martin Symphony No. 9 in E minor, op. 95, “From the New World” Antonin Dvorak Dvotak was born into the unsophisticated cultural and social background of a butcher and innkeeper’s family. However, this did not prevent him from being exposed to music at a young age. He attended school, took music lessons, played in church, and in the village band. In 1857 he entered the Prague Organ School, where he received a comprehensive academic foundation in music theory and performance, and soon a fter secured a spot as violist in a dance orchestra, which would become the Prague Provisional Theatre Orchestra. He played principal viola under the baton of such conductors as Bedrich Smetana and Richard Wagner. It was shortly a fter this tha t he le ft the orchestra to pursue composing full time. �In June 1981, Jeannette Thurber, president of the Na tional Conservatory of Music i n A merica, asked Dvorak i f he would accept the post of Artistic Director and Professor of Composition. Securing a composer of Dvofalt’s eminence to lead the conservatory would be an exceptional feat. Besides Dvorak’s fame in America, a noteworthy reason for the oﬀer was his reputa tion as a composer wi th a na tionalistic style. Thurber had long dreamt of the creation of a na tional American style of music and raising the standards equal to those in Europe. While teaching, Dvorak built the curriculum and found many of his students receptive to his ideas while also providing him with inspiration. It was through them that he ﬁrst encountered AfricanAmerican and American Indian music. Once hearing them, he arpressed belie f that they would be the basis for this new American style. In 1893, with the support of Jeanette Thurber and the commission from the New York Philharmonic, Dvoi’alt released his Symphony No. 9 (“From the New World”) in E minor. I t w as very much a reﬂection on the experiences and emotions of the composer during his time in America while combining the broader European wmphonic style. The opening movement immediately announces the main the me. a distinc tive melody tha t will appear in every movement. The second movement is characterized by a lovely. romantic English Horn melody that was inspired by Longfellow’s poem Song of Hiawatha “Funeral in the Forest”. This melody would la ter be arranged by one of his students into the now famous spiritual. Goin ’ Home. The third movement Scheno. also inspired by Longfellow’s Song of H iawatha (the Indian dance and feast) is characterized by an oﬀbeat melody created around a hemiola (a rhythm with a 2 against 3 feel). In the fourth movement, Dvoialt uses the development to work in the themes of a ll of the previous movements and presents the motto with the majestic and stormy brass sec tion. His response to American popular styles is seen where he alludes to folksongs that incorporate the pentatonic (5 note) scale in melodic lines, rhythmic ostinatos, and strongly syncopated rhythms. He does a ll of this while also incorpora ting follt music from his own home country. Together these features present a dramatic, lyrical, and na tionalistic symphony that presents a rich panorama of ravishing and sensa tional orchestral colors. written by Jessica Biagiotti* BiNGHAmTON l j x ’ iunu il n m oul c JoséLuis Now J J M usm Director ° 11 m Yon heheh " , Your él’l’lu lusci! ' 6077233931 www.binghamtonphilharmonic.org “ ta d ; d e J MI] Binghamton Community Orchestra Presenting Quality Orchestral Laperiences for fh 20742075 Season i5 H E HR] “The Migh ty Handful” Saturday. November 22. 2014 “How Suite l l ls'“ Saturday. February 28. 2015 “Romantic Spring” Saturday May 9. 2015 Welcommg back to the podium as conductm Dr. Timothy Perry Concerts start at 7 pm East Middle School ' ~ Program notes written by Daniela & Jessica were done as part of a project for the Basic Conduc ting course this semester tha t is taught by Dr. Timothy Perry & Heather Worden. o 167 East Frederick Street Binghainlon ' . NY ' 139 13904 Visit mm:BinghanitonConmuminOrchestmorg for more information! 75 =< 3] Q o — 0> 5 2 a 35 Binghamton H Community 0mm“ �B i gbam ton University Departmen t o f M usic Coming Events 0 6 m Saturday, Dece m ber 6 Italian Diction Class Reciml– 7:30 p.m. Casadesus Recital Hall ~ free Sunday, December 7 First Act o f Verdi ’s ‘Talstaﬀ” – 1p.m 8 4 p.m. – Anderson Center Chamber Hall – $ 1 0 general public; $7 faculty/staﬀ/seniors/alumni; $5 for students Tuesday, December 9 – Piano Ensemble Coneen – 7:30 p.m. Casadesus Recital Hall free Wednaday, December 10 ~ Nukporfe African Drumming and Dance Ensemble 7:30 p.m. Watters Theater $5 general admission at the door Thursday, December 1 1 ~ Ho lidly MidDay Concert– 1:20 p.m. Casadesus Recital Hall free Thursday. December 11 ~ Harpur Chorale and Women’s Chorus H oliday Concert 7:30 p.m. – Trinity Memorial Church, Binghamton – a free donation will be collected at the door Friday, December 1 2 Chinese Singing Class Recital 7:30 p.m. Casadesus Recital Hall free Saturday, J an u u y J I – Musica Nova: A tribute concert in memory o f Paul R . Goldstaub ~ 7:30 p.m. Anderson Center Chamber Hall TBA Friday, February 6 ~ TriCities Opera presents Rossr’ni’s The Italian Gid in Algiers 8:00 p.m. The Forum Theater call (607)7720400 for tickets Saturday, February 7 GuestArtist: Pianist Gleb lvanov 7 :30 pan. Anderson Center Chamber Hall TBA Sunday, February 8 TriCities Opera presents Rusini ’s The l tali m Girl in Algiers 3:00 p.m. – The Forum Theater – call (607 )7 720400for tickets Sunday, February 15 Jonathan Biggers Lecture/Recital Baroque Organ Performance Practice Concert 4 :00 p.m. Fine Arts Room 2 1 $7 general public; $5 famlry/staﬀ/senims/alumni; free for students Q – [ = ] G W M M M M M M M M M Q For tickets or to be added to our email list, visit andersonbinghamtonedu or call (607 ) 777ARTS. For a complete lat of our concerts call (607 ) 7 7 72592, visit music.binghamton.edu or become a fan on Facebook. If you were inspired by this performance, consider supporting the Department of Music with a ﬁnancial gift. Your support helps to continue the work of students, faculty, and guest artists and their contributions to our community. Please make your donation payable to the Binghamton University Music Department, and send your check to B U Music Department, P.O. Boa 6000, Binghamton, NY 13902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. 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. 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 Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:13:43 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74879">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74879</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource University Symphony Orchestra presents From the New World: Featuring the premiere of "Music For Sonora" by Christian Martin Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works by Copland, Martin, Dvořák. Held at 3:00 p.m., December 6, 2014, Osterhout Concert Theater. Creator An entity primarily responsible for making the resource University Symphony Orchestra Worden, Heather Martin, Christian Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Copland, Aaron, 1900-1990 Martin, Christian Dvořák, Antonín, 1841-1904 Date A point or period of time associated with an event in the lifecycle of the resource 12/6/14 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/f93892f53ab8f03a8e991e7ff16f1c0e.pdf 4ef622a099e870f8913ee751832d00f0 PDF Text Text B NGHAMT ON U N I V E R S I T Y STATE UNIVERSITY OF NEW Y O R K W [4 0 D E P A R T M E N T 1 . 1 m m , ( J ) ; ) , ” , ﬂ ‘l ! / h . , ﬁ l e “ . ¢ ( p . ,. dt a' Swo ,l w i _ sxcétnfa J ! ) MIDDAY CON CERT Th u rsd ay, Dece mber 4, 2014 1:20 p.m. Fine Arts Room 2 1 �PROGRAM Toccata on “Joy to the World” Craig Phillips (b. 1961) Two ChoralePreludes for Advent...........................................J.S.Bach (16851750) Nun Komm, der heiden Heiland (“Now come, Savior of the Gentiles") Wachet au f, ruft uns die Stimme (“Sleepers, Wake! A Voice is Calling") Jonathan Biggers, organ Aria: Mache dich, mein Herg.......coovvievivccnininresisaenesssnnessenss Bach from Christmas Oratorio (16851750) Thomas Goodheart, baritone Jonathan Biggers, organ Glorious Blue (electronic) Masakazu Kurihara Eight Songs of Americana for unaccompanied baritone 1. Vision 2. Arizona 3. Three Black Crows 4. Beaver Cap, Sir 5. Pretty Molly 6. MotherlnLaw 7. Old White Mule 8. The Maple on the Hill Richard Hugunine (b. 1953) Jake Stamatis, baritone Variations on a theme by Rossini from the opera La Cenerentola Jessica Biagiotti, ﬂute William James Lawson, piano Frédéric Chopin (18101849) �Bingha mton University Depa rtment of M usic Coming Events é b é b é b é b é b é ﬁ é b é b é b é ﬁ é b é b Thursday, December 4 ~ MeiDay Co n cer t 1:20 p.m. – Fine Arts Building, Room 21 free Friday, December 5 – Flute S tudio and Flute Chamber Concert 10:45 a.m. – Casadesus Recital Hall free Friday, December 5 Holiday Organ Concert featuring jonathan Biggers – 7:30 p.m. – United Presbyterian Church, 42 Cheango Street, Binghamton $5 general public; free for students Saturday, December 6 Italian Diction Class Reci tal 7 :30 p.m. – Casadesus Recital Hall ~ free Sunday, December 7 Firs t A ct of Verdi ’s “Falstaﬀ” ~ 1p.m & 4 p.m. Anderson Center Chamber Hall – $ l 0 general public, $7 faculty/staﬀ/senion/alumni; $5 for students Tuesday, December 9 Piano Ensemble Concert– 7:30 p.m. Casadesus Recital Hall – free Wednesday, December 10 – Nukporfe African Drum m ing and Dance Ensemble – 7:30 p.m. ~ Watters Theater $5 general admission at the door Thursday, December 11 Holiday MidDay Concert~ 1:20 p.m. Casadesus Recital Hall free Thursday, December 11 ~ Harpur Chorale and Women ‘5 Chorus Holiday Concert 7:30 p.m. Trinity Memorial Church, Binghamton – a free donation will be collected at the d oor Friday, December 1.7 Chinese Singing Class Reci tal 7:3 0 p.m. Casadesus Recital Hall free Saturday, january 3 1 Mus ica Nova: A tribu te concert i n memory o f Pau l R . Goldftaub – 7:30 p.m. Anderson Center Chamber Hall ~ TBA é b é b é w b é b é ﬁ n ﬁ é ﬂ é é ﬂ é w b é é ﬂ ﬁ b ' BS [ = ] k For tickets or to be added to our email list, visit andersonbinghnmtonxdu or call (6 0 7) 777ARTS. For a complete list ofour concerts call (607) 7772592, kit music.binghamton.edu or become a fan on Facebook. If you were inspired by this performance, consider supporting the Department of Music with a ﬁnancial gift. Your support helps to continue the work of students, faculty, and guest artists and their contributions to our community. Please make your donation payable to the Bmghnmton University Music Department, and send your check to BU Music Department, P.O. Box 6000, Binghamton, N Y 13902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&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. 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. 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 Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 50m 55s Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75040">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE75040</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCoverContinuous Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mid-day concert, Thursday, December 4, 2014 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works by Phillips, Bach, Kurihara, Hugunine, Chopin. Held at 1:20 p.m., December 4, 2014, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Biggers, Jonathan Goodheart, Timothy Stamatis, Jake Biagiotti, Jessica Lawson, William James Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Phillips, Craig Bach, Johann Sebastian, 1685-1750 Kurihara, Masakazu Hugunine, Richard Chopin, Frédéric, 1810-1849 Date A point or period of time associated with an event in the lifecycle of the resource 12/4/14 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/a4f0bc27fbd95a6be4be2fb2b77b3e15.pdf c2d8a7135bdddb617aef846ad65c07d6 PDF Text Text BINGHAMTON UNIVE RSITY STATE UNIVERSITY OF NEW YORK UNIVERSITY PERCU SSION ENSEMBLE CONC ERT Joel Smales, Directo r Tuesday, December 2, 2014 7:30 PM Anderson Center Concert Theater �&e PROGRAM The General ..........................................................................Joel Smales (b. 1967) Sharpened Stick ······························,····························· .. ••• ..... Brad Dietz (b. 1972) Slap Happy ............................................................................Joel Smales (1967) O' Sacred Head ............................ ............... ............................. J.S. Bach (1685-1750) Marianne ...............................................................................Traditional Three Little Birds ................. :............................................... Bob Marley (1945-1981) One Love ..................................................... . ........................ Bob Marley (1945-1981) Extremes ......................................................................... David Mancini (b. 1952) Galloping Comedians ........................................................... Kabalevsky (1904-1987) The Binghamton University Percussion Ensemble Emily Goetz Bobby Hopkins David Indictor Alex Rava Alex Strong Carly VanOpdorp Nick Cioffi Kasha Pazdar �ABOUT THE DIRECTOR Joel Smales is Adjunct Professor of Percussion at Binghamton University and Director of Bands at Binghamton High School's Rod Serling School of Fine Arts, in Binghamton, NY. He holds music degrees from the Crane School of Music (BM) and Binghamton University (MM). His school ensembles have performed for Bands of America in Indianapolis, New York State School Music Association Winter Con(erence, New York State Band Directors Association Winter Conference, Music Educators National Conference National Conference in Minneapolis, Percussive Arts Society International Co9vention in Nashville, First Night Virginia, First Night International, ' the World Physics Conference an, numerous Steel Drum Festivals and a concert tour throughout Oklahoma. I As a performer, Mr. Smales performs as Principal Percussionist with the Tri-Cities Opera Orchestra, with the Binghamton Philharmonic Orchestra, eNeRJee Jazz Trio and Caribbean steel band PANIGMA. He has performed on over thirty professional CD recordings and runs an annual Summer Percussion Camp in Binghamton for area school students. His published works include solos, ensembles, books and method books published by Kendor, HoneyRock, Drop6, House Panther Press and Phantom Music Publishing. Mr. Smales has presented clinics for MENC, NYSSMA, NYSBDA and the NJMEA and his articles on music and percussion have appeared in Percussive Notes, School Band and Orchestra, School Music News, The Instrumentalist, Vermont Music Educator and Band World magazmes. Smales served as the Percussion Chair for the New York State School Music Association from 2004-2011 and V.P. for the NYS Percussive Arts Society from 2005-2010. Joel and his wife Athena live in Kirkwood, NY with their four children. �Binghamto n University Departmen t of Music Coming Events Thursday, Decemher4 -Mid-Day Concert-.1:20 p.m. - Fine Arts Building, Room 21 - free Friday, Decemher 5 - Flute Studio and Flute Chamber Concert- 10:45 a.m. - Casadesus Recital Hall- free Friday, December 5 - Holiday Organ Concert featuring Jonathan Biggers - 7:30 p.m. - United Presbyterian Church, 42 Cheango Street, Binghamton • $5 general public; free for students Saturday, December 6 - Italian Diction Class Recital- 7:30 p.m. - Casadesus Recital Hall - free Sunday, Decemher 7 - First Act of Verdi's ''Falstaff"- 1 p.m & 4 p.m. -Anderson Center Chamber HaU - $10 general public; $ 7 faculty/ staff/ seniors/alumni; $5 for students Tuesday, December 9-Piano Ensemble Concert- 7:30 p.m. - Casadesus Recital Hall -free Wednesday, December 10 - Nukporfe African Drumming and Dance Ensemhle - 7:30 p.m. Watters Theater - $5 general admission at the door Thursday, December 11-HolidayMid-D ay Concert- 1:20 p.m. - Casadesus Recital Hall - free Thursday, December 11 - Harpur Chorale and Women's Chorus Holiday Concert - 7:30 p.m. - Trinity Memorial Church, Binghamton - a free donation will be collected at the door Friday, December 12 - Chinese Singing Class Recital- 7:30 p.m. - Casadesus Recital Hall- free Saturday, January 31 - MusicaNova: A tribute concert in memory of Paul R. Goldstaub 7:30 p.m. - Anderson Center Chamber Hall - TBA Friday, February 6- Tri-Cities Opera presents Rossini's The Italian Girl in Algiers - 8:00 p.m. - The Forum Theater - call (607)772-0400 for tickets For tickets or to be added to our email list, visit anderson.binghamton.edu or call (607) 777-ARTS. For a complete list of our concerts call (607) 777-2592, visit music.binghamton.edu or become a fan on Facebook. If you were inspired by this performance, consider supporting the Department of Music with a financial gift. Your support helps to continue the work of students, faculty), and guest artists and their contributions to our community. Please make your donation payable to the Binghamton University Music Department, and send your check to BU Music Department, P.O. Box 6000, Binghamton, NY 13902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&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. 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. 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.) 45m 18s Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover 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 University Percussion Ensemble concert, December 2, 2014 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works by Smales, Dietz, Bach, Marley, Mancini, Kabalevsky. Held at 7:30 p.m., December 2, 2014, Anderson Center Concert Theater. Creator An entity primarily responsible for making the resource Smales, Joel Goetz, Emily Hopkins, Bobby Indictor, David Rava, Alex Strong, Alex VanOpdorp, Carly Cioffi, Nick Pazdar, Kasha Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Dietz, Brad Bach, Johann Sebastian, 1685-1750 Marley, Bob Mancini, David Lee Kabalevsky, Dmitry Borisovich, 1904-1987 Date A point or period of time associated with an event in the lifecycle of the resource 12/2/14 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/1798b1d0c3750a2df68df0ba0da59e58.pdf ba2ff0d7c4a3050302e5e1f2f2eb70ee PDF Text Text BINGHAM TON U N I V E R S I T Y STATE U N I V ER S I T Y O F NEW Y O R K D E _ _ _ \ _ _ _ A< 6 ? “ — P — _ A R T M E N J HOLIDAYM IDDA Y C ON C ER T Th ursday, Decem ber 11, 2014 1:20 p.m. Casadesus Recit al Hall T �PROGRAM Adolphe Adam O Holy Night .. (18031856) Jenny Gac, soprano Michael Lewis, piano Ludwig Van Beethoven Violin Concerto in D, Op. 61.. (17 70182 7) 3. Rondo (Allegro) Eleanor Krasner, violin 1 Margaret Reitz, piano d 1 0 0 The Twelve Days of Christmas (1780) 0 2 0 , 0 Traditional English Carol T he Voice Studio of Tom Goodheart Flute Quartet Rudolph The RedNosed Reindeer“ d ! 7 . S ] ...Johnny Marks (19091985) Jessica Biagiotti, ﬂute Eleni Florakis, ﬂue Michelle Li, ﬂute Jacqueline Robins, ﬂute Trombone Choir Traditional Carols Deck the Halls ~ O Christmas Tree ~ The First Noel 3 9 1 2 4 0 ( { 5 L1 S Christopher Beard, trombone Jacob Strohm, trombone Patrick Jones, trombone Bradley Marquardt, trombone Mike Sugarman, euphonium q ua f from Messiah. “Comfort Ye My People” “Ev’ry Valley Shall Be Exalted ” “4613 .. Georg Frideric Handel (16851759) Jordan Schreiner, tenor Michael Lewis, piano What Child Is This Arr. By James Christensen o .Evan Flury (b. 1992) ake Stamatis, baritone; Cole Tornberg, tenor John lsenberg, piano Stephen Stalker, cello This Day, Will Be. .Ernst Victor Wolﬀ (18861961) g / g , ’ 1 [ 9 Georg Frideric Handel from Messiah. (16851759) Rejoice Greatly, O Daughter of Jerusalem S 7 1 5 l 3 Sleigh Ride .. m‘ma Meroé Adeeb, soprano Michael Lewis, piano Leroy Anderson (19081975) Margaret Reitz and , iris Bartlette, piano duet �Binghamton U niversity Depa rtment of Music Coming Events e webe me a ebe a ebe meb a e mebeb Thursday, December 11 – Har pur Ch orale a nd Women ’s Ch orus H o liday C on cer t – 7:3 0 p.m. – Trinity Memorial Church, Binghamton – a free donation will be collected at the door Frida y, Dece mber 12 – Chinese Singing Class Rec i tal 7:30 p.m. – Casadesus Recital Hall – free Saturda y, Dece mber 1 3 – Italian Diction Class Re c i tal 7:30 p.m. Casadesus Recital Hall ~ free Saturday, january 31 Musica Nova: A tribute concert i n mem ory o f P au l R . Golds taub ~ 7:30 p.m, – Anderson Center Chamber Hall ~ TBA Friday, February 6 TriCi ties Opera presents Rossini’s The I talia n G ir l i n A lgiers 8:00 p.m. The Forum Theater c all (607) 7720400 for tickets Saturday, February 7 Guest Artist: Pianist Gleb Ivanov 7:30 p.m. Anderson Center Chamber Hall TBA Sunday, February 8 TriCi t ies Opera presents Rossini’s The Italia n G ir l i n A lgiers – 8:00 p.m. The Forum Theater call (607) 7720400 for ticke ts Sunday, Februa ry 15 Jonathan Biggers Lecture/R ecital Baroq ue Organ Pe rforma nce P ractice Concert 4500 p.m. Fine Arts Room 21 $7 general public; $5 faculty/staﬀ/seniors/A’lumn i; free for students Th ursday, February 26– MidDay Concert – 1 :20 p.m. Casadesus Recital Hall free Sunday, Ma rch 1 Piano & Cello Masterworks with Stephen Zank and Stephen Stalker 3:00 p.m. Anderson Center Chamber Hall $10 faculty/smﬀ/seniors/alumn i; $5 forstudents é b a ﬁ b é b ﬁ b é b é b ﬂ ﬁ é ﬁ ﬁ é ﬂ ﬂ é w b ﬂ é b ﬁ ﬁ b » . — For tickets or to be added to our email list, visit anderson.binghamton.edu or call (607) 777ARTS. For a comple te list ofour concerts call (607) 77 72592, visit musictbmghnmtonredu or become a fan on Faceboolc. [ = ] E If you were inspired by this performance, consider supporting the Department of Music with a ﬁ nancial gift. Your support helps to continue the work of students, faculty, and guest artists and their contributions to our community. Please make your donation payable to the Binghamton University Music Department, and send your check to B U Music Department, P.O. Box 6000, Binghamton, NY 13902. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&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. 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. 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 Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 50:35:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74591">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74591</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Holiday mid-day concert, December 11, 2014 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works by Beethoven, Flury, Handel, Wolff, Anderson. Held at 1:20 p.m., December 11, 2014, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Gac, Jenny Lewis, Michael Krasner, Eleanor Reitz, Margaret Goodheart, Tom Flute Quartet: Biagiotti, Jessica Florakis, Eleni Li, Michelle Robins, Jacqueline Trombone Choir: Beard, Christopher Strohm, Jacob Jones, Patrick Marquardt, Bradley Sugarman, Mike Stamatis, Jake Tornberg, Cole Isenberg, John Stalker, Stephen Schreiner, Jordan Adeeb, Mëroe Bartlette, Chris Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Beethoven, Ludwig van, 1770-1827 Flury, Evan Handel, George Frideric, 1685-1759 Wolff, Ernst Victor Anderson, Leroy Date A point or period of time associated with an event in the lifecycle of the resource 12/11/14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound