96 10 1775 https://omeka.binghamton.edu/omeka/files/original/d52a03ceba1bb7f772f924f551be7e9c.pdf 36dc1bfd1d22d17eedb87eeae311d1e6 PDF Text Text BINGHAMTON U N I V E R S l T Y State University of New York . “ 1 7 x ; AY \R = N i x a J = 4 \ D E P A R Ti [4 M E N T 5 1 2 w— — ~ Flute Ensemble Georgetta Maiolo, director F riday, May 12, 2006 8 :00 p.m. Casadesus Recital Hall �Prog ram ...Arranged by Paul Morgan . An Elizabethan Suite. 1, Stephen Thomas, his A l e 2. Bateman’s Ayre “3. Waters, his Love % . Durance Masque 5 , The Nobleman, his Almain 6. Douland’s Almain Two ROME BORER ...... ...... ...... ...... ...... ...... ...... ...BélaBartok (18811945) Arr. by Anne McGinty La Caccia Pastorale Vivace Georg Philipp Telemann (16811767) Arr. by Giovanni Gatti MorningHas Broken arr by Amy RiceYoung . Epigrams : Anne McGinty (b. 1945) . ...... ...... ...... ...... ..GrahamP own ing Children’s Suite. . (b. 1949) 1. Pop goes the Ensemble 2. Oranges and Vodka 3. The Teddy Bears Freakout Nuances.. ...... ...... ...... ...... ...... ...... ...... ...... .Ann eMcGinty (b. 1945) �The Comedians’ Gallop... (from The Comedians, Op. 26)m Dmitri Kabalevsky (19041987) Arr. by Ricky Lombardo CedarRidge...... ....... ....... ....... ....... ....... .RickyLombardo (b. 1946) Sabre Dance. . . . . . . . o o c i i n i i i i i i i n i n i i n Kabalevsky (19041987) Arr. by Mitchell Bender Sailor ’s H o r n p 1 p e . . T r a d i t i o n a l A m . b y Adrian Brett Members of the Binghamto n University Flu te Ensemble Kelsey Bauer Stephanie Dodge Juliette Guarino Leah Hays Nicole Lean Katherine Navarette Valerie Spiller Meghan Tate Melissa Voldan �Comnig “Crenst Sa t u r d ay, M a y 1 3 – In dian Cl assical M usic by vo calist Ashwini Bhi deD es hp an de , a cc om pani ed by Vishwan ath Sh irodkar on ta bl a an d Se ema Shirodkar on harm oniu m 7:00 p.m – Watters Theater $10 general admission ; $ 5 for students (co sponsored by IPAS) W ed nesd ay, M ay 1 7 – Master ’s Recital : Jody Sc hu m, p ian o – 8:00 p.m. – Casad esus Recital Hall – free � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. 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.) 31:24:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204287">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204287</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.) 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 Binghamton University Flute Ensemble, May 12, 2006 Recital Tape 2006-5-12 Description An account of the resource Works of Morgan, Bartók, Telemann, Rice-Young, McGinty, Powning, Kabalevsky, Lombardo, Brett. Held at 8:00 p.m., May 12, 2006, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Maiolo, Georgetta 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 2006-5-12 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 79b1fcbe-75a6-4575-9c95-138096557192 https://omeka.binghamton.edu/omeka/files/original/1d2c0a16a995f38a3aa9f9982db68c2a.pdf 019f046b434504c87ce331c888af24bf PDF Text Text BINGHAMTON U N I V E R S I T Y State University of New York ’ DNIv ARC ea > *\ ’ \ \ s i D E P A H T M E , N T S l \= AN EVENING OF INDIAN CLASSICAL MUSIC Ashwini BhideDeshpande, vocal Vishwanath Shirod kar, tabla Seema Shirodkar, harmonium ﬁ i i I l i Saturday, May 13, 2006 7:00 p.m. Watters Theater �PRO GRA M Khyal in Rag Puriya Dhanashri I. Alap II. Bada Khyal in tintal III. Chota Khyal in ektal Thumri in Rag Kaﬁ I. “Mitawal mane nahe ” (‘My love you are not listening to me’) in tintal Song for Holi Festival in Rag Maand I. “Ita lagara mose khalo nahori” (‘Please do not spray the colored Holi paint on me! ’) in dipchandi tal Jhoola song in Rag Pilu I. “Re Jhule ki Radha pyari” (‘My lovely Radha’) in dadra tal Bhajan in Rag Bhairavi I. “Mai kahee sama jhawa jabad juga andha ” (‘How can I explain it to a world of blind people?’) in keherwa tal Composed by Saint Kabir Hind ustan i Classical Music The origins of Indian classical music can be traced to the Vedas, a set o f four texts that com prise the foundation o f the Hind u reli gion, and were passed down orally until around 1500 B.C. when they began to be written down. The texts comprise hymns, which not only aided memorization, but also provided the foundation of Indian music. In the ﬁrst few centuries A.D., the sage Bharata compiled a treatise on music, dance, and theatre that provided the theoretical foundations for future directions in Indian composition. Bharata outlined the organization of rhythm and meter into cycles made up of groupings of beats now referred to as tala. Every composition is set to a particular tala cycle made up of stressed and unstressed beats. Knowledgeable audience members may externalize the tala by a system of claps (tali) representing the strong beats, and waves (khali) representing the weak beats. The tala cycles for each o f the pieces tonight have been notated below. �Bharata also formulated the concept of raga, which is the melodic system underlying Hindustani music. Ragas consist of a scale, as well as a set of musical rules governing choice and emphasis of pitches, melodic motion, and ornamentation. Ragas normally are associated with certain times of day and/or seasons of the year. Bharata related each raga, to a speciﬁc rasa, or emotion. The eight rasa are love, humor, anger, compassion, valor, wonder, disgust, and fear. The term raga means ‘color’, and ragas are supposed to color the mind and stimulate listeners to emotional response. After the writings of Bharata, wandering monks began composing sacred hymns, known as Bhaj ans, in the raga and tala cycles formulized by Bharata, which provide the source for many contemporary Indian classical compositions. V From this common historical origin, classical music in India has gradually become divided geographically into Northern (Hindustani) and Southern (Karnatik) traditions since the 13” century A.D. The source of this division was the occupation of Northern India by successive waves of Muslim conquerors including Persian, Turkish, Arab, and Central Asian peoples. During the successive reigns of these Muslim dynasties, Northern India came to adopt and adapt several instruments, styles, and techniques from Persian and Arabic music. Hindustani classical music, as we know it today, took shape in the 1 6” century A.D. in the courts of the Mughal em perors as Hindu musicians began to seek employment as court musicians. At the Mughal courts Hindu musicians mixed with Persian musicians, and they began to develop a hybrid of both musical traditions. They also began to intermarry, and many contemporary Hindustani musicians have Persian surnames. Through time, certain families of court composers established gharana, or stylistic schools of performance and interpretation. Eventually these schools took on talented students from outside the family, spreading the inﬂuence of these previously local styles. ‘During the British colonization of India (18501947), many of the courts were dissolved and musicians shifted their performances to the concert stage, where they can now be enjoyed by all. EF) �ABOUT THE MUSIC Khyal in Rag Puriva Dhanashri Khyal (‘imagination’) is the most frequently performed genre of Hindustani vocal music. It was developed in the early decades of the 18™ century by the musician Nyamat Khan in the court of the Mughal Emperor Muhammad Shah (r. 17191748). Compared to Dhrupad, the other more ancient genre of vocal music, khyal features greater use of improvisation, including rapid melodic runs, known as tan, and this facet was perhaps responsible for its name, loosely translated as ‘imagination’. This increased use of improvisation is believed to have been drawn from Muslim devotional hymns known as gawwali. In contemporary performance, the Khyal is considered the main event, and is often followed by some “light” classical genres such as Thumri and Bhajan to wind the performance down. Khyal compositions, known as bandish, are made up of a few lines of text set to the melodic rules of the raga, and the metric rules of the tala. There are only two sections, the ascending (sthayi), where the melody ascends the scale, and the descending (antara), where the melodic motion descends the scale. From this minimal kernel of precomposed material, the artist must develop the piece with extensive improvisation using both the syllables of the text, solfa type syllables (known as sargam), as well as pure vowel sounds. In this way khyal may be cautiously compared to a Jazz composition where a singer will sing the regular piece straight through and then use scatsinging to improvise before returning to the original composition. In performance, the singer usually begins with an alap, an unmetered, introductory improvisation that is m eant to introduce the notes and melodic rules of the raga. During this portion, which may last from 30 seconds up to 5 minutes, the tabla drummer does not play as it is in free rhythm. This is then followed with a bandish in slowmedium tempo known as bada khyal (‘big khyal ’). The bada khyal will be in a tala cycle, highlighted by the entrance of the drummer. _ �Following this composition, without a pause, will be a diﬀerent bandish in a fast tempo and in a diﬀerent tala, known as chota khyal (‘small khyal ’). By the end of the chota khyal the singing will be extremely fast and virtuosic. The whole performance of khyal may last from 204 0 minutes depending on the inspiration of the artist. Rag Puriya Dhanashri is an evening raga normally performed after sunset. It is a combination of two earlier ragas Puriya and Dhanashri that became very popular in the 20™ century. The scale normally avoids the tonic (C) in the ascent and may be notated as: Ascent Z E h or a 12 wv Descent or o o l h e y I aa Y b \ l 10d 1 o z E e e a The bada khyal is in tintal, a 16beat cycle divided into 4 sets of 4 beats (4/4/4/4). Its notation in stressed (X=clap) and unstressed (O=wave) beats is: 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 1 5 1 6 x x o x The chota khyal is in ektal, a 12 beat cycle divided into 6 sets of 2 beats (2/2/2/2/2/2). Its notation is: 1 x 2 3 7 o 4 5 x 6 7 8 o 9 1 0 x 1 1 x 1 2 [ l �Thumr i in Ra g Kaﬁ Thumri is a genre of “light” classical music that evolved from songs perform ed to accomp any erotic dances by courtesans to a more A Y t l serious style that came to accompany the kathak classical dance during the period of about 1 7701870 A.D. Eventually in the court of Nawab Wajid Ali Shah of Lucknow (r. 18471856) thumri was elevated to a court genre that featured female singers who entertained male audiences in a manner similar to the Japanese Geisha. In the early 2 0 century , the courtesan tradition fell into disrepute, under the pressures of the British colonial regime as well as in the eyes of the largely Westemeducated Indian middleclass. Thumri singers could no longer support themselves, so khyal performers took over the artistic singing of thumri. Now thumri has become part of the classical concert repertory, where it is used to wind down both performers and audience after a lengthy rendition of khyal. Thurmri is considered “light ” music because its compositions and improvisations can bend and even break the melodic rules of its raga. Thumri bandish are usually lively and quick paced, with texts that emphasize romantic love, including the pangs of longing, the desperation of separation, or unrequited love. Thumri compositions also feature improvisation by the vocalist, and may also allow the tabla drummer and harmonium player space to improvise. Rag Kaﬁ uses a scale similar to the Western dorian mode, with one important diﬀerence: the third and the seventh may also be played natural. Eﬀectively, this means the artists m ay sing combinations in both ionian and dorian modes. 2 Ascent 3 l f ~¢ o= o® a y 0 a e a Descent 1 9 . l ’ w a J Il w ‘ o � aand Song for Holi Festival in Rag M Songs for the Holi festival represent another genre of “light” classical music that has come out of folk music into the concert repertory. The Holi festival is the known as the Spring Festival of Colors, and normally occurs in March. The night before the full moon, every village lights a bonﬁre to burn the residual dried leaves and twigs of winter. This bonﬁre is the commemoration of a Hindu legend where the demoness Holika was burnt to death ensuring the victory of good over evil. The following morning the community squirts colored water and smears colored powders over each other, giving us the title of this song, which asks that the singer be spared from this part of the festivities! The festival of Holi is also closely associated with Lord Krishna, who in his young age played and frolicked with his band of cowherds and maidens (the Gopis). Lord Krishna played Holi with so much gusto that even today the songs sung during Holi are full of the pranks that he played on the Gopis, especially his childhood sweetheart Radha, who incidentally forms the subject o f the next piece. Rag Maand is an evening rag typically played from 69 p.m., and uses a scale similar to the Western major scale, however it avoids c descent pattern : the 2 ” (D) in the ascent, and has a characteristi € = Descent Ascent ‘ d ’ 4 F l > . & o = o a 2 _ »a i e ' “ r o Dipchandi tal is a 14beat cycle divided into alternate sections of three and four beats (3/4/3/4). It is notated: 1 2 3 4 5 6 7 8 9 1 0 1 1 1 Y 2 1 3 1 4 F �Krishna and Radha sitting in the Jhoola = 2 3 – 7 7 i i l . wo , i ’ " 1 p‘m‘ o a t R E S . i” 5 5gm5 , ; . ’4V So @~] r i 4 . . ' ”5“ I fo 2 8 g l ] swing that has become an i mportant ' Jhoola song in Rag Pilu Jhoola songs form part of a larger genre of “light” classical pieces known as dadra, because they all use the dadra tala cycle. Jhoola is a icon in northern India because of its association with the romantic love , , __ MM between Lord Krishna and his ﬁrm " A N _ favorite Gopi Radha. In northern . i i “4 . India Jhoola songs are typically sung l & ~ nB UBER! by women during the monsoon Whmnd m g © ”i f ' ‘ season (August), which falls during t h e holy month of Shraavan. D uring this month constant oﬀerings are made to the various Hindu deities, including Lord Krishna. A Jhoola usually has a happier mood and evokes the joyfulness of wet, green earth, when girls in rural areas sit swinging on wooden planks tied with ropes to trees. The musical phrasing in a Jhoola must also convey the swaying movement of a swing. 3 4 Rag Pilu is a highly imaginative and complex raga that uses both the natural and ﬂatted 3 ” and 7", much like Rag Kaﬁ, above. It is commonly used in folk and lightclassical genres. It is normally sung in the early evening from 36 p.m. 2 Ascent or ev p– t 4 © ANS, l ; — T / Descent 1 Q) ‘ > 1 or E = a or l 1 r E or = o 1 0 J a v e T 1 ® 0x J ® V o vv ‘O m — _ l 4 V o > > Dadra tal is a 6beat cycle divided into two sets of three beats (3/3) and is notated: 1 2 3 4 5 6 x o �Bhajan in Rag Bhairavi The ﬁnal piece of the evening is a Bhajan, which is a genre of devotional hymns to the Hindu deities. Bhajans express religious love for the divine, and are an important component of the Bhakti, or devotional movement Hinduism. The singing of Bhajans is meant to connect human beings with the divine, in the same manner that romantic love connects husband and wife. This Bhajan was composed by a famous Hindu saint named Kabir (14401518). Kabir was an Indian mystic who preached an ideal of seeing all of humanity as one. He was known to be a weaver and later became famed for scorning religious aﬀiliation. His philosophies and ideas of loving devotion to God are expressed in metaphor and language, using vernacular Hindi. Rag Bhairavi is one of the most wellknown and loved ragas, and is often used as it is here to conclude a performance. Traditionally, Bhairavi is a morning raga, but it is now often used at any tim e of day or night. Bhairavi is suited for the expression of romantic or devotional love and admiration, and is used to compose both Bhajans and Thumri. There is considerable ﬂexibility in the performance rules of Bhairavi, and artists often introduce shades of other ragas according to their skill and imagination. Its basic scale, however, is as follows: 2 Ascent or or = Soe eT a ~~¢ Spe rI = orm r o a 7 Ta — l oV Zee Descent [) I e o » a l l a Keherwa tal is an 8beat cycle divided into two sets of 4 beats (4/4) notated as: 1 1 2 1 3 4 5 ] 6 ] 7 ] 8 x o –Notes by James Burns �ABOUT THE P ERFOR MERS Ashwini BhideD eshpand e (vocal) Amongst the vocalists of the younger generatio n of the Jaipur Atrauli tradition of Khyal singing, Ashwini BhideDeshpande is an artiste of great caliber. She has been performing in a number of prestigious music conferences in India for over ﬁfteen years and has had successful concert tours of Europe as well as of North American continent. Ashwini began her training at the age of ﬁve under the guidance of Pandit Narayanrao Datar. After graduating with a “sangeet visharad” from Gandharva Mahavidyalaya, she started receiving guidance and meticulous attention from her mother, Smt. Manik Bhide, a great Khyal singer herself. Ashwini has inherited all that was best in her mother’s style and was able to add to her repertoire with great sensitivity and intellect. Presently she is receiving guidance from Pandit Ratnakar Pai, a veteran of the Jaipur gharana. Systematic exposition of the Rag structure, brilliant phrasing, variety o f tan patterns, ease and grace in all of the three octaves mark her singing. She does not merely present the grammar of a Rag, but can build it up into an aesthetically pleasing experience. A resident of Mumbai, Ashwini is a graduate in Microbiology and also holds a Ph.D. degree in Biochemistry. Vishwanath Shir od kar (tabla) The art of accompaniment on tabla in Indian classical music is a very subtle and a diﬀicult one. Many try it, but only a very few become successful in it and are recognized for how they embellish the perfo rmance o f the main artiste . When it comes to providing accompaniment to a classical vocalist, the job of a tabla accompanist is even more diﬀicult. Vishwanath Shirodkar is one of those few who exempliﬁes these qualities. His knowledge of vocal music gives him an added advantage and has therefore been recognized as one of the best accompanists of the younger generation. �He was initiated into tabla by Shree Suryakant Naik, and later on he received training from Pandit Vaibhav Nageshkar. At present, he is receiving advanced training from Pandit Suresh Talwalkar, who is one of the most revered teachers of tabla. Vishwanath has accompanied many well known vocalists as well as instrumental musicians. These include Padma Talwalkar, Rashid Khan, Ashwini BhideDeshpande, C. R. Vyas, Shobha Gurtu, Malini Rajurkar, Shubha Mudgal, Veena Sahasrabuddhe, Rakesh Chaurasia, Brij Narayan, N. Rajam, Ulhas Bapat and Zarin Daruwala. ! l Vishwanath is a graduate in engineering but devotes all of his time to classical music. He has toured the United States, Canada, South America, the Middle East and has performed in all major cities of India. Seema Shirodkar (harmonium) Beginning at a very early age, Seema had an acute interest in music, and started her initial training under the guidance of Shree Umesh Ansulkar. Over the next several years she received extensive training under the able guidance of Pandit Tulsidas Borkar, recognized by many has a complete teacher. She also beneﬁted from her association with the Late Shree Vishwanath Pendharkar, one of the most gifted and versatile teachers and performers. It was Pandit Borkar who groomed her as an accompanist and it was Shree Pendharkar who taught her the ﬁne points of a solo performer. Seema has accompanied vocalists that include Kishori Amonkar, Veena Sahasrabuddhe, Rashid Khan, Padma Talwalkar, Arati AnkalikarTikekar, Ashwini BhideDeshpande, C, R. Vyas, Shubha Mudgal, Rajan and Saj an Misra, Sanjeev Abhyankar and Prabhakar Karekar. Seema is a graduate of the S.N.D.T. University and is on the faculty of the Gandharva Mahavidyalaya, in Mumbai. Seema has gone on concert tours of the United States, Europe, the United Kingdom, Canada and the several countries of the Middle East. 1 i � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&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 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:19:56 42:22 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204290">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204290</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.) 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 An evening of Indian classical music, May 13, 2006 Recital Tape 2006-5-13 Description An account of the resource Held at 7:00 p.m., May 13, 2006, Watters Theater. Creator An entity primarily responsible for making the resource Bhide-Deshpande, Ashwini Shirodkar, Vishwanath Shirodkar, Seema 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 2006-5-13 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID a989b096-9823-4a10-940b-486cb19ad171 https://omeka.binghamton.edu/omeka/files/original/853e79cfc3d5917164d57dd15d0fea14.pdf 257c54570d53b6383c7b682c9e4791bf PDF Text Text BINGHAMTON U N I V E R S I T Y State University of New York wdc [4 B E R A R T M E N T The University Win d Ensembl e presents The L egacy of ~ A lfred R eed (19212005) Ro bert G . Smith Music Direc tor a n d Con d uctor assisted by Danie l Bris k G radua te Con ducto r and Jessica Will iamson G rad uate C onduc tor Sunday , May 7 , 2006 3:00 p. m. Anderson Cen ter Cha mber H all �PROGRAM This season the University Wind Ensemble has been pleased to present one composition by Alfred Reed in eac h concert. This ﬁnal concert of the 20052006 season features a complete program of additional works. What was originally envisioned as homage to the Dean of American Wind Band Composers has become a celebration of his life an d his contributions to the wind band movement around the world. El Camino Real, A Latin BaREASY L i k .i v e r s o n (1970) A Jubilant Ove rture Conducted by Mrs. Williamson* nasensies Russian Christmas M u s e . 8 0 d rerensensssana arr (1961) Greensleeves Conducted by Mr. Brisk* Armenian Dances, P a r t .. (1972) Tzarani Tzar (The Apricot Tree) Gavaki Yerk (Partridge’s s Song)Gomidas Vartabed (18691935) Hoy, Nazam Eem (Hoy, My Nazam) Alagya (An Armenian Mountain) Gna, Gna (Go, Go) ..(1985) . Three Revelations from the Lotus Sutra... I. The Awakening (To Awaken in the Light o f the Universe) II. Contemplation (To Contemplate the Depths of the Soul) III. Rejoicing (To Rejoice in the Beauty of P eace) *Mrs. Williamson ’s and Mr. Brisk’s performances are in partial satisfaction of the requirements for the Master of Music in Conducting. They are graduate students of Dr. T imothy Perry. �PROG RAM NOT E S Alfred Reed (192 12005) With over 250 published works for concert band, wind ensemble, orchestra, chorus and chamber groups, Alfred Reed is one of America’s most proliﬁc and frequently performed composers. Born Alfred F reidman, his music career began in 1931 in the N e w York schools of music. H e studied trumpet with Abraham Nussbaum , theory and composition with John Sacco and began playing professionally at the age of 14. Later, he was oﬀered a scholarship to study composition with Paul Yartin, a student of SaintSaens. His ﬁrst successful composition, Interludium for orchestra, was performed by the N BC Symphony and later published in an arrangement for organ. Reed wrote many compositions and arrangements for band during his service with the Army Air Corps in World War II. When composer Roy Harris and Reed’s commanding oﬀicer both ordered him to produce a work for radio broadcast honoring the friendship between the Russian and American people they gave him a two week deadline. In eleven days, Reed prod uced Russian Christmas Music, the work that la unched his career as a composer of music for winds. Following the war, he began studying with V ittorio Giannini at Juilliard, but left to work as a staﬀ composer and arranger at both NBC and ABC. Be rnard Kalban of Charles H. Hansen Music Corporation asked Reed to write music for young wind players, thus, beginning his long associat ion with the school band movement. In 19 53, Reed accepted a position as conductor of the Ba ylor University Orchestra and while there he completed his bachelor’s and master’s degrees. Returning to N e w York in 1956, he went to work for Hansen as a senior editor. In 1966, he took a position at t he University of M iami in order to have time to devote to his writing. Over the next 27 years, he composed most of his wellknown works for band including : The Hounds of Spring, Othello, Music for ‘Hamlet’, and Armenian Dances (part I and II). In 1981, he was invited to Japan by Sony ’s Toshio Akiyama to conduct and record with the Tokyo Kosei Wind Orchestra. This led to a long association with TKWO and other Japanese music or ganizatio nsHis work took him to 49 states and 18 countries. By R. Smith El Camin o Real (A Latin Fantasy) was comm issioned by the 58 1“ Air Fo rce Band (AF RES) and its Commander, Lt. Col. Ray E. Toler. The music is based on a series of chord progressions common to countless generations of Spanish ﬂamenco guitarists, whose ﬁery style and brilliant playing have captivated millions o f music lovers throughout the world. The ﬁrst section o f the music is based upon the dance form known as thc Jota, while the second, contrasting section is derived from the Fandango, but here a ltered considerably in both t ime and tempo from its usual form. By A. Reed �A Jubilant Overture opens as a joyous celebration of music layering many driving rhythms in d iﬀerent voices within the ensemble. It is interesting to note that while Reed uses many of the same rhythmic motives throughout the piece, it never sounds repeti tive and continues to capture the audie nces attention. The middle section of this piece is lyrical and expressive while still keeping some of the underlying excitement from the opening. Reed transitions from this lyrical section gracefully as we begin to hear the opening motives return slowly at ﬁrst and then with great gusto leading up to the end of the piece. By J. Williamson Russian Christmas Music was originally written in November of 1944 and was ﬁrst performed in December of that year at a special concert in Denver, Colorado, by a select group of musicians from ﬁve of the leading Service Bands stationed in that area. An ancient Russian Christmas Carol (“Carol of the Little Russian Children”), together with a good deal of original material and some motive elements derived from the liturgical music of the Eastern Orthodox Church, forms the basis of this musical impression of Old Russia during t he jubilant Christmas season. Although cast in the form of a single, continuous movement, four distinct sections may be easily recognized, which the composer originally subtitled: Children’s Carol, Antiphonal Chant, Village Song and the closing Cathedral Chorus. By A. Reed Greensleeves This familiar ancient tune is set in three verses, each with an introductory section. The ﬁrst verse is introduced by ﬂowing eighth note lines in the woodwinds. These ﬂowing lines continue throughout the ﬁrst verse, with the melody being stated just as gently by the tenor voices o f the brass section. In the second verse, the woodwinds begin the melody following a key change. The brass section, by and large has accompaniment ﬁgures. The entire ensemble takes on an “organ like” broadness to usher in the ﬁnal verse. The original key has returned by this point, but a sense of fullness that was absent in the ﬁrst verse is present now. The ﬂowing eighth note lines of the woodwinds return as the piece closes in the same fashion as it began. By D. Brisk I I �American Dances, Part I was completed in 1972 and was performed at the CBDNA convention in Urbana, Illinois by the University of Illinois Symphonic Band, under Dr. Harry Begian, who had suggested the work. Comprising a four movement suite, Armenian Dances, Parts I and II is based on authentic Armenian folk songs from the works of the founder o f Armenian classical music, Gomidas Vartabed (18691935). P a rt I I was composed in 1 975 and the entire work was performed in 1976. By R. Smith Three Revelations fr om the Lotus Sut ra is an attempt to rea lize in music three diﬀerent states of man ’s soul in his quest for ultimate perfection. The ﬁrst movement, Awakening (To Awaken in the Light of the Universe) portrays the vastness and richness of the experience of the human mind on expanding its ﬁeld of view from the narrow conﬁnes of daily life to the contemplation of, and merging with, the entire universe. The second movement, Contemplation (To Contemplate the Depths of the Soul) represents a turning away of the mind from the ‘outer ’ to the ‘inner ’ universe... the attempt to fathom the limitless possibilities of the h uman conciousness i n its quest for identity, to answer the eternal questions beginning with the word “Why?” The third and ﬁnal movement, Rejoicing (Rejoicing in the Beauty of Peace) depicts the realization that, while on earth, peace is not merely the absence of war, destruction, pain and suﬀering, but a thing of beauty in and of itself...and an occasion for heartfelt rejoicing on the part of all men, everywhere, who share the same eternal quest as true brothers. By A. Reed �T H E CONDUCTORS ROBERT SMITH is Music Director and Conductor of the Binghamton University Wind Ensemble. Professor Smith holds a Bachelor of Science in Music Education from Hartwic k College, a Master of Music in Conducting from Binghamton University and is a candidate for the Doctor of Musical Arts in Music Education from Boston University. Locally, he is conductor of the annual observance of TubaChristmas and is former conductor of the Maine Community Band, the oldest band of its kind in the United States. He has guest conducted all county and community bands throughout central N e w York as well as the Goshen College (IND) Wind Ensemble and Orchestra. His conducting teachers include Frederick Fay Swift, Thurston Dox, Thomas Ives, Timothy Perry, Robin Linaberry, John Graulty and Mariusz Smolij. An active performer, he currently plays principal euphonium with the Southern Tier Concert Band and tuba with the Brass Nickel quintet and the Crown City Brass sextet. Professor Smith is the irrunediate past president of the Broome County Music Educators Association and recipient of the 2005 BCMEA Distinguished Service Award. Professional memberships include The Broome County Music Educators Association, the N e w York State School Music Association, the Music Educators Nat ional Conference, The National Band Association, The Association of Concert Bands, The Conductors Guild, The World Association of Symphonic Bands and Ensembles, The College Band Directors National Association and the International Tuba and Euphonium Association. l 1 JESSICA WILLIAMSON holds a Bachelor of Music in Music Education from SUN Y College at Fredonia and is currently a candidate for the Master of Music in Conducting from the Binghamton University. Her conducting teachers include: Timothy Perry, Patrick Jones, David Rudge and Rudolph Emilson. Jessica is the director of the Whitney Point Middle School Concert Band, Sixth Grade Band and Jazz Band. She has performed with the Long Island Winds, the Southern Tier Concert Band and with the EVE A Youth Commission of Germany. Memberships include N e w York State School Music Association, the National Association of Music Educators and the Broome County Music Educators Association. DANIEL BRISK graduated from Wilkes University in Pennsylvania with a degree in Music Education. Mr. Brisk is currently an instrumental music educator at Chenango Valley High School where he conducts the Symphonic Band, Jazz Band, Pep Band and has been heavily involved in the Theatre Guild. A tubist, Mr. Brisk currently performs as a member of the Southern Tier Concert Band, European Brass and is a freelance musician. He is currently enrolled at Binghamton University where he is pursuing a Masters Degre e with a focus on Instrumental Conducting under Dr. Timothy Perry. He has previously studied conducting under Cyril Stratanski, Dr. Alan Baker, Ferdinand Liva, Jerome Campbell and Dr. Richard Brown. 2 1 iS �T H E PERFO RMERS r L Flute Erica LeoUtica, NY S u b i n LimWilliston Park, N Y Elise MartingaleMassapequa, NY Katie NavaretteBrunswick, NY Valerie SpillerNorthport, N Y Piccolo Melissa VoldanHilton, NY Oboe Ephraim AtkinsonAmherst, NY A b iga i l SneagG reat Neck, N Y E b Clarinet Theresa PerroneGreene, N Y Bb Clarinet Heather BolandMerrick, N Y Joanne BriceSpring Valley, NY D o r i a n Dodd La ke Katrine. N Y Michele GrexerQueens, N Y Christa HeschkeOlean, NY A n d r e i LeeEast Meadow, N Y Danielle QuickSyracuse, NY Richard SalvagniQueens, NY Da n ZaccariniN ew Hyde Park. N Y Bass Clarin et C h l o e H o pza pfe l L a ke Ronkonkoma, N Y Alto Saxoph one 0 I F Horn Ro b e rt MullerPoughkeepsie, N Y Mate usz RekMiddle Village, NYC, N Y William Stal lsworthSouth Orange, N Y Trumpet Philip DeitzH untington, NY John MarschhauserManorville, NY Thomas OsaSeaford, N Y St e v e n PanXinjiang,China Andrew San fratelloMohegan Lake, N Y D a v i d WrightBinghamton, N Y Trombone Christopher ChenRoslyn, NY David HennanWind Gap, PA Euphonium R ic k M okanLancaste r, N Y T uba Dan GallagherMaine, NY Paul McddaughRock Hill, NY Percussion Christopher JacobsonBaldwinsville, NY E u n Y o u K imBinghamton, N Y J a na KuceraBi nghamton, N Y Scdrick MyrtilSpring Valley, N Y M i k e VentiBinghamton, N Y String Bass E m i l y A l k icwiczEast Fishkill, N Y Chris Zavala East Mcadow, N Y Tenor Sa xophone Adam GoodstoneMcllick, NY G rad uate Assista nt Amy NaticllaBuﬀalo, NY Baritone Sa xophone A d a m G eringerEast Meadow, N Y Kathryn Boc zarWhitney Point, N Y �Sunday, May 7 – Master ’s Recita l – William G ilchrest, t rumpet – 7:30 p.m. – Casadesus Recital Hall – free Wednesd ay, May 10 – An Evening of G erman Vocal Music – 8:00 p.m. – Casadesus Recital Hall – free J Wednesd ay, May 10 – Co nductor ’s Conce rt – 7:00 p.m. – FA 111 – free Th ursday, M ay 1 1 – MidDay Stude nt Recognition Co ncert wit h faculty a nd stude nt perfor mers – 1 :20 p.m. – Casadesus Recital Hall – free Th ursday, May 1 1 – H a rp u r Chorale a n d Wome n ’s C ho rus – 8:00 p.m. – Anderson Cente r Chamber Hall – free Th ursday, M ay 1 1 – Anton io Vivald i : Concerti “ Four Seasons” for violin – 10:00 p.m. – Casadesus Recital Hall – free F riday, M ay 12 – F l ute Ense mble – 8 :00 p.m. – Casadesus Recita l Hall – free Saturday , May 1 3 – Indian Classica l Music by vocal ist Ashwini BhideDeshpande, accompanied by Vishwa nath Shi rod kar on tabla a nd Seema Shirod kar on harmoni um – 7:00 p.m – Watters Theater $10 general admission; $5 for students (co sponsored by IPAS) Wednesd ay, May 1 7 – Master ’s Recita l : Jod y Sch um, pian o – 8 :00 p.m. – Casadesus Recita l Hall – free ) 1 / JI � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. 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Creator An entity primarily responsible for making the resource Reed, Alfred Smith, Robert Brisk, Daniel Williamson, Jessica 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 2006-5-7 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID b94924c0-aa23-4284-b0ec-6308785de63f https://omeka.binghamton.edu/omeka/files/original/09121a409387ec1aac18bbd50af526a1.pdf 49efe2badf97ee46df7a3c9b7675c082 PDF Text Text BINGHAMTON U N I V E R S I T Y State University of New York ; U N il v ARC d Recto! X = P e c D E P A R T M E N T 2 0 0 , G1 "“N _. \ In conjunction with the Indtan Performing Arts of Binghamton presents: MUSIC FROM INDIA Ustad Shahid Parv ez, sitar Ramdas Palsule, tabla Thursday, September 14, 2006 7:00 p.m. Anderson Center Chamber Hall �PROGRAM Rag Yaman I. Alap II. Jor III. Jhala IV. Gat(s) ; t Thumrt or Dhun (To be announced) Hindustani Classical Music The origins of Indian classical music can be traced to the Vedas, a set of four texts that comprise the foundation of the Hindu religion, and were passed down orally until around 1500 B.C. when they began to be written down. The texts comprise hymns not only aided memorization, but also provided the foundation of Indian music. In the ﬁrst few centuries A.D., the sage Bharata compiled a treatise on music, dance, and theatre that provided the theoretical foundations for future directions in Indian composition. Bharata outlined the organization of rhythm and meter into cycles made up of groupings of beats now referred to as tala. Every composition is set to a particular tala cycle made up of stressed and unstressed beats. Knowledgeable audience members may externalize the tala by a system of claps (tali) representing the strong beats, and waves (khali) representing the weak beats. Bharata also formulated the concept of raga, which is the melodic system underlying Hindustani music. Ragas consist of a scale, as well as a set of musical rules governing choice and emphasis of pitches, melodic motion, and ornamentation. Ragas normally are associated with certain times of day and/or seasons of the year. Bharata related each raga, to a speciﬁc rasa, or emotion. The eight rasa are love, humor, anger, compassion, valor, wonder, disgust, and fear. The term raga means ‘color’, and ragas are supposed to color the mind and stimulate listeners to emotional response. After the writings of Bharata, wandering monks began composing sacred hymns, known as Bhaj ans, in the raga and tala cycles formulized by Bharata, which provide the source for many contemporary Indian classical compositions. ] l i �From this common historical origin, classical music in India has gradually become divided geographically into Northern (Hindustani) and Southern (Kamatik) traditions since the 13% century A.D. The source of this diversion was the occupation of Northern India by successive waves o f Muslim conquerors including Persian, Turkish, Arab, and Central Asian peoples. During the successive reigns of these Muslim dynasties, Northern India came to adopt and adapt several instruments, styles, and techniques from Persian and Arabic music. Hindustani classical music, as we know it today, took shape in the 16™ century A.D. in the courts of the Mughal emperors as Hindu musicians began to seek employment as court musicians. At the Mughal courts, Hindu musicians mixed with Persian musicians, and they began to develop a hybrid of both musical traditions. They also began to intermarry, and many contemporary Hindustani musicians have Persian surnames. Through time, certain families of court composers established gharana, or stylistic schools of performance and interpretation. Eventually, these schools took on talented students from outside the family, spreading the inﬂuence of these previously local styles. During the British colonization of India (18501947), many of the courts were dissolved and musicians shifted their performances to the concert stage, where they can now be enjoyed by all. I �ABOUT T HE INSTRUMENTS Tampura Tampu ra is a longnecked lute, unfretted and roundbodied. It has four or ﬁve wire strings that are plucked op en one after the other to create a steady drone ambiance. The strings are normally tuned to the 1%" and 5™ scale degrees of the raga. The tampura articulates a constant drone, to melodically frame the monophonic improvisations of the musicians. Sitar The sitar is perhaps the most widely known (and heard) Hindustani classical instrument. A typical sitar has 19 or 20 strings (depending on the style) with 67 playing strings on top and 13 sympathetic strings underneath the curved frets. The sympathetic strings vibrate when the playing strings are sounded, giving it a lush sound. The curved frets are moveable, allowing ﬁne variation in tuning, and raised so that the sympathetic strings can run underneath the frets. The instrument is plucked with a wire pick worn on the index ﬁnger, called (mizrab), and with the nail of the pinky ﬁnger. The wide neck allows notes to be bended up to a ﬁfth interval on each fret, and the gourd resonators provide a rich sustain. The sitar originated from a Persian instrument that was combined with an older Indian instrument, the Rudra Veena. The descendance of the Sitar from the lute family of P ersian instruments makes it a distant relative to the European lute. Tabla The tabla set is the principle percussion instrument used in Hindustani classical, religious, and ﬁlm musics. The instrument consists of a pair of hand drums of contrasting sizes and timbres. The smaller drum, played with the dominant hand, is made from a conical piece of wood and is often called a tabla. One of its primary tones is tune d to a speciﬁ c note of the raga, and thus contributes to and complements the melody. The larger drum, played with the other hand, is called bayan and is made of metal. It covers a lower range than the other drum. The playing technique for both drums involves extensive use of the ﬁngers and palms in various conﬁgurations to create a wide vari ety of diﬀerent sounds. On the bayaﬂ, the heel of the hand is also used to apply pressure in a sliding motion so that the pitch is changed during the sound’s decay. l I ﬂ ! �ABOUT THE MUSIC Rag Yaman l l 5 Yaman is regarded as one of the grandest and most fundamental ragas in Hindustani music. Yaman is usually one of the ﬁrst ragas taught to students, however its intricacies can only be realized by a master musician, and consequently students continue to study Yaman throughout their lives. Scholars of Hindustani music trace Yaman to the 16% century when it was believed to have been introduced by either Arab or Persian musicians. Yaman is an early evening raga (9 pmmidnight) and evokes a mood of serenity and peace. Artistic depictions of the raga often show a noble lord in white garments on a lionthrone being fanned with a whisk. Musically, the scale of Yaman is a major scale with a raised fourth (the Lydian mode). The ﬁrst and ﬁfth pitches are usually omitted during ascending phrases, and the favored notes are the third and seventh pitches. Here is a notation of the scale in ascending and descending modes: 4 £ 3 1 ? ? ? “ ” 4 or . , E ‘ M ° = The instrumental performance tonight features an extensive opening l 1 solo sitar sequence known as AlapJorJhala. The alap is an unmetered improvisation that demonstrates the scale, mood, and musical rules o f the raga. Normally musicians begin at the mid range of their instrument, and slowly descend to the lowest notes. Then the alap progresses all the way up to the highest octave on the instrument, and then back down to the middle range. In the next section, the jor, the musician introduces a sense of pulsation through the extensive plucking of a set of 3 drone strings (cikarl), in alternation with stokes on the melody strings. Despite the feeling of pulsation, this section is not bounded by a speciﬁc tala cycle. The ﬁnal part of the opening sequence, jhala, is a climactic section featuring extensive strumm ing of the drone strings often using sixteenth notes and building up speed to a thunderous climax. Depending on the skill and mood of the performer, this completely extemporaneous opening sequence can last from 1040 minutes (sometimes longer). �Following the above opening sequence, the artist will play one or more instrumental compositions known as gat. Gat are precomposed melodies that are thoroughly developed using extensive improvised runs that return to the main theme. G at are in a tala cycle, and at this point in the performance the tabla drummer will enter, often with a rhythmic cadence timed to end on the ﬁrst beat of the tala cycle. Often the sitar and tabla will trade rhythmic combinations in a playful question and answer style. Normally an artist will choose from slow, medium, and fast speed gats in the same raga, although they may employ diﬀerent tala cycles. I l‘ [ . �ABOUT T HE P ERF ORM ERS USTAD SHAHID PARVEZ KHAN is one of the most important sitar players of his generation and a favorite concert artist both in India and abroad. He belongs to the seventh generation of the famous Etawah gharana (also known as Imdadkhani Gharana) of sitar playing. Shahid Parvez is the son of Ustad Aziz Khan, the third generation Imdadkhani maestro, and a grandson of Ustad Wahid Khan, the Surbahar and Sitar virtuoso. Both father and grandfather initiated Shahid Parvez into music: vocal and tabla at the age of 3. By the age of four he started to learn Sitar and was soon recognized as a child prodigy. A purist from the beginning, Shahid Parvez has developed a style of his own, combining the Gayaki and the Tantrakari schools of instrument playing. Gayaki ang shows the inﬂuence of Ustad Vilayat Khan, his father ’s cousin. Ustad Shahid Parvez is a ‘top’ grade artist of All India Radio. He is one of the few maestros to enjoy global reputation, and he has numerous LP records, audio and videocassettes, and Compact Discs to his credit. He has been honored with several awards, both national and international, and has participated in many major festivals in India and abroad, including the Festival of India, held in the United States, Canada, Russia. and Europe. RAMDAS PALSULE is a versatile Tabla player and one of the senior most disciples of the famous TalYogi Pt Suresh Talwalkar. Being an accomplished soloist as well as a versatile accompanist, he has performed widely in all the eminent music festivals of India. He has toured with several artists throughout the world including the United States, Canada, Germany, Australia, Africa and the Gulf Countries. He has provided accompaniment to vocalists and instrumental music including: Santoor, Sitar, Moham Veena (an instrument invented by the Grammy Ward Winner Vishwa Mohan Bhat). His forte is Indian Classical music, which is unique in itself, and is renowned the world over. �Coming “Crents Saturd ay, Sep tem ber 16 – A Re union In R ecital: Jud y Berry, soprano and Timothy LeF ebv re, baritone – 8 :00 p.m. – A nderson Center Chamber Hall $15 general public; $13 faculty/staﬀ/seniors; $ 7 students Saturd ay, Sep tem ber 23 – Master ’s Recit al – Ste fanie Sudduth, soprano – 8:00 p.m. – TriCities Opera Center, 315 Clinton St., Binghamton – free Sunday, September 24 – Master ’s Recital – Andrew Sudduth, baritione – 8:00 p.m. – TriCities Opera Center, 315 Clinton St., Binghamton free Thursday, October 5 – Mid Day Con cert with faculty and student perform ers – 1 :20 p.m. – Casadesus Recital Ha ll – free Saturd ay, October 7– Song of Silk : An Evening of Chinese Music and Dance – 8:00 p.m. – Osterhout Concert The ater $12 general public ; $10 faculty/staﬀ/seniors; $7 students Sunday, Octob er 8 – F rench Twist : An Af ternoon of Cha mb er Music – 3 :00 p.m. – Anderson Center Chamber Hal l $15 general public; $13 faculty/staﬀ/seniors; $7 students Thursd ay, Oc tob er 1 2 – Mid Day Con cert with faculty and studen t perform ers – 1 :20 p.m. – Casadesus Recital Ha ll free ' Friday, October 1 3 – Children ’s C onc ert : M aking Movie Music – University Symphony Orchestra 9:30 a.m. – Osterhou t Concert Theater $4. This performance is for school groups (Sponsored by The Discovery Center, Time Warner Cable and the Binghamton University Music Department). Saturd ay, October 14 Children ’s Con cert : Making Movie Music – University Symphony Orchestra – 1 :00 p.m . – Osterhout Concert Theater $5. This performance is for school groups. (Sponsored by The Discovery Center, Time Warner Cable and the Bin ghamton University Music Department). Tuesday, Oct obe r 17 – Binghamton Bar oqu e Ensemble – 8:00 p.m. Casadesus Recital Hall $9 general public; $7 faculty/staﬀ/seniors; free for students Thursd ay, Oct obe r 19 – Mid Day Con cert wit h faculty and stud ent perform ers – 1 :20 p.m. – Casadesus Recital Ha ll – free Saturd ay, October 21 – Family Weeke nd Concert – University Wind Ensemble, Harpur Chorale, Women’s Chorus – 3 :00 p.m. – Osterhout Concert Theater Free � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. 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.) 37:59:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204297">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204297</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.) 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 Music from India, September 14, 2006 Recital Tape 2006-9-14 Description An account of the resource Binghamton University Music Dept. in conjunction with the Indian Performing Arts of Binghamton. Held on Sept. 14, 2006, 7:00 p.m., Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Parvez, Ustad Shahid Palsule, Ramdas 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 2006-9-14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 4bffae26-0836-40d1-bd3c-f027e645b700 https://omeka.binghamton.edu/omeka/files/original/ee783803f57cd521f3d67db844aca30e.pdf f0d9433c8d9ee1fdc225cbcc773993ce PDF Text Text BINGHAMTON U N I V E R S I T Y State University of New York U N T V f B. Y C . \ Y D E P A R T M E N T T > R < 200k G~\0 PeccoL A REUNION IN R ECITAL Judy Berry, soprano Timothy LeFe bvre, baritone Duane Skraba lak, piano Saturday, September 16, 2006 8:00 p.m. Anderson Center Ch amber Hall �PROGR AM WDINTERMISSION®3 “Sound the TriBpPEE “My Dearest, my Fairest” Henry Purcell (16591695) “It’s a Grand Night for Singing,” State Fair...........Richard Rodgers (19021979) “If I Loved You,” Carousel Oscar Hammerstein II (18951960) “Some Enchanted Evening,” South Paciﬁc Ms. Berry & Mr. LeFebvre n “The Last Rose of Summer” ...cccccceeeeeeeeeeeeenn.«eer... Thomas Moore old Irish Folk Air (17791852) Sir John Stevenson (17611833) Ms. Berry Ms. Berry & Mr. LeFebvre / “Strahlender Mond,” from Das Vetter aus Dingsda From Liederkreis.........................................weeeee... RObETt Schumann In der Fremde (18101856) Intermezzo Waldesgesprach ....Eduard Kiinneke (18851953) Ms. Berry “Song to the Moon” from Rusalka Mr. LeFebvre Antonin Dvorak (18411904) Ms. Berry “Du sollst der Kaiser meiner Seele sein” from Der Favorit Robert Stolz (188019 75) “Di provenza,” from La Traviata....................... Ms. Berry Mr. LeFebvre “Herbstlied” Ms. Berry & Mr. LeFebvre From I Pagliacci “Ballatella” “Silvio! A quest’ora” Ms. Berry Fehx Mendelssohn (18091847) Ruggiero Leoncavallo (18571919) Ms. Berry & Mr. LeFebvre l “Pura siccome un angelo,”.........cociveiaciicisonnas from La Traviata Ms. Berry & Mr. LeFebvre Giuseppe Verdi (18131901) Giuseppe Verdi (18131901) �Translations Sound the Trumpet Sound the trumpet till around You make the listening shores rebound. On the sprightly hautboy play. All the instruments of joy That skillful numbers can employ To celebrate the glory of this day. My Dearest, my Fairest My dearest, my fairest, I languish for you. Thy kindness has won me. Thy charm has undone me. I ne’er, no ne’er shall be free. I faint with the pleasure I fain would repeat. Ah, why are love’s raptures so short and so sweet? Thus pressing, and kissing, fresh joys we’ll pursue, And ever be happy, and ever be true. But alas! Should you change, ah tell me not so! No, never, my dearest. No, never, my fairest. No, my dearest, no! The Last Rose of Summer ‘Tis the last rose of summer, Left blooming all alone, All her lovely companions Are faded and gone. No ﬂower of her kindred, No rose bud is nigh, To reﬂect back her blushes, Or give sigh for sigh is the last rose of summer, Left blooming alone; I’ll not leave thee, thou lone one, To pine on the stem; Since the lovely are sleeping, Go sleep thou with them; ‘Thus kindly I scatter Thy leaves o’er the bed Where thy mates of the garden Lie scentless and dead. So soon may I follow When friendships decay, And from love’s shining circle The gems drop away! When true hearts lie withered And fond ones are ﬂown Oh! who would inhabit This bleak world alone? In der Fremde From my home beyond the lightning’s ﬂash, The clouds drift over me. But father and mother are long since dead, And no one there remembers me anymore. How soon, how soon comes the quiet time When I too shall rest; and over me Will rustle the lovely, lonely forest. : And no one will remember me anymore even here. Intermezzo Your blessed image I keep deep in my heart; So gay and happy, it looks At me all the time. My heart sings softly to itself An old, beautiful song That soars into the air And hastens to you. ”4 ] : { 1 J ! [ 4 l l Waldesgesprach It is already late, it is growing cold; Why do you ride alone through the wood? The forest is vast, you are alone; Beautiful bride! I will see you home! Great are the deceit and the cunning of men; My heart is wracked with pain; The sound of the horn is all around us. Begone! You do not know who I am. So richly adorned are both horse and lady, So enchanting is your young body — Now I know you – God be with me! You are the sorceress Lorelei. You know me well – from a high cliﬀ My castle looks silently deep into the Rhine. It is already late, it is growing cold. Nevermore shall you leave this wood! Du sollst der Kaiser meiner Seele sein I know a land without boundaries I know an empire, wherein entwine a thousand tender thoughts about my love, Rosenpfad. That is the land, in where I live, that is the empire I give to you on whose throne I lift you in the free land of my heart. Refrain: You, you, you should be the emperor of my heart. You, you, you should wear the purple, all alone. You, you, you should wield the scepter only you are allowed to rule there, you aspire to be a Conquerer there. If you love me, you have as payment in my heart your crown, and do as you will upon the golden throne which my love has built for you. You are the Emperor, whom I choose, and your Wishes are orders. You’ll be obeyed by my soul, which I entirely entrust to you. Herbstlied Oh, how soon the cycle ends, Spring turns into wintertime! Oh how soon all happiness Turns to sad silence! The last sounds soon fade! The last songbirds are soon ﬂown! The last green is soon gone! They all want to return home! Oh, how soon the cycle ends, Merriness turns to longing sorrow. Were you a dream, you thoughts of love? Sweet as spring and fast disappearing? �Only one thing will never wane: The longing that never goes. Ah, how soon the cycle ends! Oh how soon all happiness Turns to sad silence! Ballatella Screeching up in the sky, And they go the ways of the sky. Let it wander in the atmosphere this thirsting for azure and for splendor; the way we follow a dream or a chimera, and they go after the golden clouds. Let the wind chase and the storm bark, with open wings it heals all challenges; the rain, the lightning, nothing ever stops it and they go over abysses and the sea. They go down there towards a strange land Which perhaps dreams and which goes But the bohemians of the sky follow the arcane power which it urges...and go..and they go! Silvio! A quest ’ora In the duet, Nedda and Silvio tell of their love for each other. At ﬁrst, from feelings of duty, Nedda refuses to leave her husband’s troup and run away with Silvio. But when Silvio accuses her of no longer loving him she states her readiness to ﬂee with him. It ’s a Grand Night for Singing It’s a grand night for singing, The moon is ﬂying high, And somewhere a bird Who is bound he’ll be heard, Is throwing his heart at the sky! It’s a grand night for singing, The stars are bright above. The earth is aglow And, to add to the show, I think I am falling in love! Falling, falling in love! Maybe it’s more than the moon, Maybe it is more than the sight of the night, Maybe it’s more than the earth, Shiny and silvery blue, Maybe the reason I’m feeling this way Has something to do with you! If I Loved You If I loved you, Time and again I would try to say All I’d want you to know. If I loved you, Words wouldn’t come in an easy way Round in circles I’d go! Longin’ to tell you, But afraid and shy, I’d let my golden chances pass me by! Soon you’d leave me, Oﬀ you would go in the mist of day, Never, never to know how I loved you If I loved you. Some Enchanted Evening Some enchanted evening You may see a stranger, you may see a stranger Across a crowded room And somehow you know, You know even then That somewhere you’ll see her Again and again. Some enchanted evening Someone may be laughing, You may hear her laughing Across a crowded room And night after night, As strange as it seems The sound of her laughter Will sing in your dreams. Who can explain it? Who can tell you why? Fools give you reasons, Wiseman never try. Some enchanted evening When you ﬁnd your true love, When you feel her call you Across a crowded room, Then ﬂy to her side, And make her your own For all through your life you May dream all alone. Once you have found her, Never let her go. Once you have found her, Never let her go! Strahlender Mond Shining moon, who crowns heaven’s canopy, My songs ascend to you nightly. Shining moon, who crowns heaven’s canopy, Repeat, oh repeat them to my beloved. Be my ambassador, my conﬁdant! Carry my songs to my far away beloved. Shining moon, who crowns heaven’s canopy, Be my ambassador, my conﬁdant! Be my ambassador for sweet thoughts which stir in my heart And which I cannot tell him Ah, all my wishes, my longing, my love, Yes, to you only’I entrust them! Shining moon, who crowns heaven’s canopy, My songs ascend to you nightly. Shining moon, who crowns heaven’s canopy, Repeat, oh repeat them to my beloved. Be my ambassador, my conﬁdant! Carry my songs to my far away beloved. Shining moon, who crowns heaven’ Song to the Moon Silvery moon in the great dark sky, Your beams see farther than we do. Over the world goest wandering, In many a window art looking. Oh, moon! Do stay a while, stay with me, Tell me, oh where is my loved one? Tell him, oh silvery moon sailing by, that in my arms I enfold him. Tell him in dreams to think of me, even if only for awhile. May he, though far away, know my thoughts. Tell him, oh tell him, I am here waiting. If of me a human soul is dreaming, May my thoughts rouse him from sleep. Moon, moon, oh don’t go in! �ABOUT T HE PERFORMERS Di Provenza The sea and soil of Provence— who has erased them from your heart? From your native, brilliant sun— what destiny stole you away? Oh, remember in your sorrow that joy glowed on you, and that only there peace can yet shine upon you. God guided me! Ah, your old father— You don ’t know how much he has suﬀered! With you far away, with misery has his house become full. But if in the end I ﬁnd you again, hope did not fail within me, if the voice of honor didn’t become silenced in you, God listened to me. t Pura siccome un angelo Violetta is visited by Giorgio Germont, Alfredo’s father, who tries to persuade her to end her love aﬀair with Alfredo. Alfredo’s life with a JUDY BERRY returns to Greater Binghamton aﬁer establishing an internation al opera career. Graduate of both TCO’s RATP and BU ’s MM in Opera progr am, local audiences fondly remember her for her portrayals of “Gilda”, the “Queen of the Night”, “Olympia”, “Juliette”, and “Adina”, as well as the title roles in Luc ia di Lammermoor and Lakmé. She garnered top honors in numerous majo r vocal competitions including the Baltimore Opera Competition, the Enrico Caruso Vo ice Competition USA, the Liederkranz Foundation, the New York Grand Opera, the Queens Opera, the New Jersey State Opera, The Musicians Emergency Fund, a nd the Loren L. Zachary Society for the Performing Arts. With the Peter Sellars production of Nixon in China, she sang the world premiere with Houston Gr and Opera, and toured to the Edinburgh Festival, Amsterdam, Los Angeles, BAM, the Kennedy Center, Paris and Frankfurt. From 19932001, she was engaged in Germany with the Wuppertal Opera and appears regularly on numerous Europea n stages, including Leipzig, Mannheim, Diisseldorf, Niirnberg, Wiesbad en, Dortmund, Bremen, Osnabriick, Mainz and the Eutiner Festspiele. She has also performed with the Baltimore Opera, Knoxville Opera, Virginia Opera, Pittsburgh Opera Theater, at Carnegie Hall and Lincoln Center, as well as with the Edmonto n Opera in Canada, Teatro de la Opera in Puerto Rico, and the Festival of Perth in Australia. Her extensive repertoire of over ﬁfty roles includes “Violetta” in La Traviata, “Marguerite” in Faust, “Fiordiligi” in Cosi fan tutte, “Sophie” in Der Rosenkavalier, “Giulietta” in Capuleti e i Montecchi, and the title roles in T he Ballad of Baby Doe and Alban Berg’s Lulu. A much sought after interpreter of modern music, oratorio, and concert repertoire, Ms. Berry has recorded on the Orfeo label. Grateful and appreciative of her invaluable training, Ms. Berry is proud to be a part of the TCO and BU continuum by serving the next generation o f rising stars; in the capacities o f Assistant Stage Director and German coach at TCO, and in the years 2003 and 2006, as a member of the voice faculty of Binghamton University. nearprostitute is creating scandal, and his sister risks to be left by her future husband (Pura siccome un angelo). Violetta is moved, and promises to Germont that his request will be satisﬁed (Dite alla giovine). T Baritone TIMOTHY LEFEBVRE just returned from his debut with Central City Opera singing in productions of The Ballad of Baby Doe and The Coronation of Poppea . LeFebvre has appeared in concert with the Jacksonvi lle Symphony, Pensacola Symphony, West Virginia Symphony Orchestra, Vermo nt Symphony, Minnesota Symphony, Syracuse Symphony, American Symphon y Orchestra, Pittsburgh Symphony, Spokane Symphony, Bingham ton Philharmonic, Rochester Bach Festival, Berkshire Choral Festival, Williamsport Symphony, Syracuse Chamber Music Society, the Skaneateles Festival and with the prestigious Marlboro Music Festival. He has also appeared in concert at New York’s Carnegie Hall and Alice Tully Hall. LeFebvre’s operatic experien ce includes leading roles with San Francisco Opera, TriCities Opera, Sarasota Opera, Chattanooga Symphony and Opera, Syracuse Opera, Indianapolis Oper a, and Opera Theater of Pittsburgh. Mr. LeFebvre is a winner of the New York �Liederkranz Vocal Competition, and other awards include the Richard F. Gold Career Grant, an Opera Fellowship at Binghamton University and Regional Finalist in several Metropolitan Opera Competitions. LeFebvre is a graduate of Carnegie Mellon University and Binghamton University and is currently Assistant Professor of Voice at Binghamton University. 20062007 engagements include appearances with the Chattanooga Symphony and Opera in Le nozze di Figaro and the Syracuse Symphony in Mozart ’s Requiem. He will also appear in concert at Carnegie Hall in March. DUANE SKRABALAK is Artistic Director and resident Conductor of TriCities Opera. Mr. Skrabalak was chosen years ago by CoFounders Carmen Savoca and Peyton Hibbitt to be the person to bring the company into its second half century and the new millennium. In addition to his duties as Artistic Director of OperaGoRound (the touring educational program of TCO), he also serves as vocal coach for the Resident Artist Training Program and is Adjunct Assistant Professor of the M.M./opera program at Binghamton University. Skrabalak joined TCO as a singer and pianist in 1970. He soon became the TCO choral director, and eventually crossed into conducting, coaching voice and language. He made his conducting debut in 1974 with Gounod’s Faust. Since then, he has conducted more than 70 productions, as well as numerous chamber productions and excerpt shows. Among his many credits, Skrabalak served as music director for the world premiere of Myron Fink’s Chinchilla, and serves as host of TCO ’s Operalogues which are also broadcast on public radio. His conducting credits include appearances with the Atlanta Civic Opera, the Jerusalem Symphony for the Israel Festival, the Clemens Center and the Opera Theatre of Pittsburgh. As a soughtafter vocal recital pianist, he has toured throughout the U.S. and abroad. 1 � 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.) 01:19:58 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204300">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204300</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 A reunion in recital, September 16, 2006 Recital Tape 2006-9-16 Description An account of the resource Works of Purcell, Moore, Schumann, Stolz, Mendelssohn, Leoncavallo, Rodgers, Künnecke, Dvořák, Verdi. Translation of works included in accompanying program. Held at 8:00 p.m., September 16, 2006, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Berry, Judy LeFebvre, Timorthy Skrabalak, Duane 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 2006-9-16 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 58768d19-f699-4641-b8e5-4b8fb4c47f67 https://omeka.binghamton.edu/omeka/files/original/a0d8781df4bd3958fb12e8154f3a76e3.pdf c41a01e2ac806f992a5a26e50615f534 PDF Text Text i BINGHAMTON U N 1 V E R s 1 T Y , State University of New York 1 . U 1 N ” V W E 1 I N\4 {em 1 1 . . 4 n “ L ' prese nts a Conc . ert , for the” N E W YO R K STATE ASSOCIATION ' guD 1 _ , OF sbaF g COLLEGE MUSIC PRO GRA MS Saturday, September 9, 2006 11:00 a. m. eo 1 Anderson Center Chamber Hall , �PROGR AM ‘Mi chiamano M ini’ Gahu Dance of the Ewe People of Ghana Binghamton University African Music Ensemble James Burns, Director Three Shakespeare Songs, Op. 6 Come Away, Death O Mistress Mine , ’ Blow, Blow, Thou Winter Wind ' . Roger Quilter ' (18771953) : 5 Timothy LeFebvre, baritone Duane Skrabalak, piano , Sonata for Violin & Piano Allegro vivo ; Intermede: Fantasque et légér Finale: Trés animé .. Claude Debussy (18621918) _ Janey Choi, violin , Michael Salmirs, piano Si mes vers availent des ailes.... My verses would speed, sweet and frail, Fly towards your garden so fair, If my verses had wings, Like a bird! They would ﬂy, like sparks, To your smiling hearth, If my verses had wings Like the spirit... .Reynaldo Hahn (1 8741 947) ' Poet, Victor Hugo : (18021885) Act I – P aris, Latin Quarter, c. 1830; a garret apartment; Christmas Eve Giacomo Puccini © (18581924) Poet, Victor Hugo (18021885) Mimi, a seamstress, knocks on the door of a neighboring apartment because her, candle has blown out. Rodolfo, a young poet, answers the knock and his own candle ﬂame goes out. He pretends not to ﬁnd the key that Mimi drops in the darkness, and’introduces himself in a poetic discourse. Then he sits in the dark and listens to Mimi’s simple words about herself. * Yes, they call me ‘Mimi, but my name is Lucy. My story is brief: On cloth or on silk , I embroider at home’or outside... I am cahn and happy and it is my hobby to make lilies and roses. 4 ~ Those things give me pleasure; that have so much sweet magic, that speak of love, of springtimes, that speak of dreams and illusions, those things which‘have the name poetry. : You understand me? They call me Mirni. the why, I don’t know. Alone, I make my meals at home by myself. \ 8 I do not always go to mass but I pray often to the Lord. I live alone, all alone, there is a white little room; . I look over the rooftops and into the sky but when comes the thaw the ﬁrst sun is mine... the ﬁrst kissof April is mine! A rose blooms in a vase . petal by petal I observe it! ' So delicate, the perfume of a ﬂower! but the ﬂowers that I make alas! do not have a fragrance! f . I would not know how to tell you anything about me. I am your neighbor who comes at odd hours to bother you. Stefanie Sudduth, ‘soprano Margaret Reitz, piano Next to you, pure and faithful, They would run night and day, If my verseshad wings, Like love! I �Sh Story Hour. .. Philip Parker 1. The Memory Poem by Sara Henderson Hay 2. The Builders 3. The Grandmother 4. One of the Seven Has Somewhat to Say 5. Juvenile Court 6. The Grievance 7. Dr. S—Advises a Worried Mother 8. Death of H.D., a Prominent Citizen 9. The Formula ‘y . t Timothy Perry, clarinet Anne Brady, narrator Allerseelen...........................................i.'................... Richard Strauss (18641949) Largo al factotum della citta... .Giacomo Rossini ' ‘From Il Barbiere di Siviglia . (17921886) 2 ' ' Soon Young Park, baritone Margaret Reitz, piano / Danzas Argentinas... . ................Alberto E. Ginastera ' II. “Danza de la moza “dOnosa” (19161983) III. “Danza del gaucho matrero” Eva MackiewiczWolfe, piano A H b ABOUT T H E PERFORMERS JAMES BURNS is Assistant ‘Professor of Music (Ethnomusicology) at Binghamton University. He obtained a BA from the, University o f Texas, Austin, PhD School of Oriental and African Studies, London. Research Interests: Music, Languages, Religions, and Literatures of Africa and the Diaspora. Taught African music and culture at the School of Oriental and African Studies, African drumming at Goldsmiths College and City College of London. Conducted over 5. years of ongoing ﬁeldwork in Ghana, Togo, and Benin with EweFon, Akan, and Dagbamba (Dagomba) ethnic groups. Ethnomusicologist for Project 5: Transformations in African Music and Dance . at the AHRC Centre for CrossCultural Music and Dance’Performance based in the U.K. Publications: A CD of Ewe dancedrumming entitled EWE D R U M M I N G FROM G H A NA : the soup which is sweet draws the chairs in closer (2005 Topic Records), an article “My mother has a television, does yours? Transformation and secularization in an Ewe funeral drum tradition,” published in the journal Oral Tradition (October 2005); read papers at the ICTM 2003 World Conference and the SEM annual conference (2004, 2005). , Performing musician of African and Afro Caribbean traditional musics. i Baritone TIMOTHY LEFEBVRE just returned from his debut with Central City Opera singing in productions of The Ballad of Baby Doe and The Coronation of Poppea. LeFebvre has appeared in concert with the Jacksonville Symphony, Pensacola Symphony; West Virginia Symphony Orchestra, Vermont Symphony, Minnesota Symphony, Syracuse Symphony, American Symphony Orchestra, Pittsburgh Symphony, Spokane Symphony, Binghamton Philharmonic, Rochester Bach Festival, Berkshire Choral Festival, Williamsport Symphony, Syracuse Chamber Music Society, the Skaneateles Festival and with the prestigious M a r l Music b o Festival. r o — He has also appeared in concert at New York’s Carnegie Hall and Alice Tully Hall. LeFebvre’s operatic experience includes leading roles withSan Francisco Opera, TriCities Opera, Sarasota Opera, Chattanooga Symphony and Opera, Syracuse Opera, Indianapolis Opera, and Opera Theater of Pittsburgh. Mr. LeFebvre is a winner of the New York Liederkranz Vocal Competition, and other awards include the Richard F. Gold Career Grant, an Opera Fellowship at BinghamtonaUniversity and Regional Finalist in several Metropolitan Opera Competitions. ‘LeFebvre is a graduate of Carnegie Mellon University and Binghamton University and is currently Assistant Professor of Voice at Binghamton University. 20062007 engagements include appearances with the Chattanooga Symphony and Opera in Le nozze di Figaro and the Syracuse Symphony in Mozart’s Requiem. He will also appear in concert at Carnegie Hall in March. ; DUANE SKRABALAK is Artistic Director and resident Conductor of the Tri Cities Opera Program. Mr. Skrabalak was chosen years ago by CoFounders Carmen Savoca and Peyton Hibbitt to be the person to bring the company into its second half century and the new millennium.‘ In addition to his dutieS’as �Artistic Director of OperaGoRound (the touring educational program of TCO), he also serves as vocal coach for the Resident Artist Training Program and is ~ Adjunct Assistant Professor of the M.M./opera program at Binghamton University. Skrabalak joined TCO as a singer and pianist in 1970. He soon became the TCO choral director, and eventually crossed into conducting, coaching voice and language. He made his conducting debut in 1974 with Gounod’s Faust. Since then; he has conducted more than 60 productions, as well as numerous chamber productions and excerpt shows. Among his many credits, Skrabalak served as music director for the world premiere of Myron Fink’s Chinchilla, and serves as host of TCO’s Operalogues which are also broadcast on public radio. His conducting credits include appearances with the Atlanta Civic Opera, the Jerusalem Symphony for the Israel Festival, the Clemens Center and the Opera Theatre of Pittsburgh. As a soughtafter f e o . recital pianist, he has toured throughout the U.S. and abroad. Aﬀiliate Artist at Cornell University. He maintains a private piano studio in Ithaca and enjoys teaching students of all agesandllevels. This season, Salmirs will perform Poulenc’s Aubade with the Cayuga Chamber Orchestra. 1 Canadian born violinist JANEY CHOI gave her Carnegie Hall recital debut in 1997, presented by Artists International. Recipient of numerous awards including the Ontario Arts Councils Chalmers Performing Arts Training Grant, and First Prize in the National Finals of the’ Canadian Music Competition, she has participated in many festivals, such as Juilliard’s Focus Festival, 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 collaborator, she has performed with such artists as Bono, Elton John, JayZ, Kanye West, Lisa Loeb: and Sarah McLaclan in such venues as Live 8, SaturdayNight Live, Radio C i t y Hall, MTV, and Lilith Fair, London. In addition, she has performed numerous times with the Parsons Dance Co., most notably at the Kennedy Center in Washington, D.C., and at the New Victory Theater in Times Square, and is currently the Music Director of Thomas/Ortiz Dance, a collaboration recognized by the American Music Center with a Live Music for Dance Grant. Dr. Choi holds a DMA from Rutgers University and both a BM and MM from The Juilliard School with the Joseph Fuchs Prize in Violin. She is a Teaching Artist for the New York Philharmonic, Lincoln Center Chamber Music Society and has recently joined the faculty of S i g m a n U niversity as Adjunct Instructor of Violin. ’ Pianist MICHAEL SALMIRS, a founding member and artistic director of the Finger Lakes Chamber Ensemble, is well known as a recitalist and chamber musician performing extensively throughout the region. H e has appeared as . _ soloist with the Corning Philharmonic, Binghamton University Orchestra, ‘Cayuga Chamber Orchestra, and has been a featured pianist on their Sunday chamber series. As a performer of contemporary music, he has participated in such series as Binghamton University’s Musica Nova, Cornell University’s Ensemble X, and has toured and recorded for the Syracuse Society for New Music. Salmirs studied at the New England Conservatory and Eastman School of Music; his teachers have included 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 an Adjunct Instructor of Piano at Binghamton University and an STEFANIE SUDDUTH will graduate from SUNY Binghamton in December of 2006 with her Masters degree in Opera. She is beginning her third season as a Resident Artist for TriCities Opera. Her recent rolls with TCO include cover .‘for the title role i n Madama Butterﬂy, 1“ Lady in The Magic Flute, Mrs. Gobineau in The Medium, Flora Bervoix in La Traviata, The Mether in Hansel and Gretel, and 2?” Woman in Dido and Aeneas. She was also in the chorus of Lucia di’Lammefrnoor and La Filled u Regiment. With the Atlanta Opera she performed in the chorus of Madama Butterﬂy. Stefanie is originally from Texas. She holds a Bachelor of Arts degree in Performance from Texas Wesleyan University, and graduated Summa Cum Laude. While at TWU, Stefanie was awarded ﬁrst place in the American Music Competition sponsored by SAI, the Marjorie Murphy ‘Scholarship, and Division III a t N ATS. Some of her . performances include Songs for a New World, Sophie in St. Nicholas, The Bald Soprano, and chorus in Hair and Evita. MARGARET REITZ, pianist, is a native of the Binghamton Area. She ' received her Bachelor and Master. of Music degrees in piano performance with accompanying emphasis, and has attended Boston University, New England Conservatory and Binghamton University. She has studied piano with Jean Casadesus, Victor Rosenbaum, ySeymour Fink and Walter Ponce, and accompanying with Allen Rogers. She has accompanied throughout the United States, England, South America, and at the American Institute of Musical Studies in Graz, Austria. Reitz and Binghamton University faculty member Timothy Perry were winners of the 1997 Artistic Ambassadors Program by the United States Information Agency in partnership with the John F. Kennedy Center for the Performing Arts. During the summer of 2005, Reitz, clarinetist Timothy Perry and cellist Stephen Stalker were invited to perform at the International Clarinet Conference in Tokyo, Japan. Other notable performances include guest chamber music artist in Morges, Switzerland and guest soloist with the Binghamton University Orchestra. She was the oﬀicial accompanist at the MTNA State and Eastern. Division Competition at Ithaca College in 2001 and will be returning in 2006. In addition, she was. selected to attend the Accompanying Workshop for Singers and Pianists held at Northwestern University. During the summer of 2006, she composed the musical score for an * independent ﬁlm by MANDIS Production, to be released in February 2007. ! TIMOTHY PERRY, clarinetist, conductor and Professor of Music, joined the Binghamton University faculty in 1986 as director of the orchestral and wind ensemble programs and instructor o f studio conducting and clarinet. Perry holds \ D.M.A., M\M.A. and M.M. degree from the Yale School of Music and a B.’ Mus. degree from the Manhattan School of Music. Dr. Perry’s more than two hundred programs include ten seasons as Music Director of the Binghamton Community Orchestra and as guest conductor of both the Catskill Symphony and Binghamton Philharmonic orchestras. PeW is widely known as a virtuoso ] �solo and chamber music clarinetist, touring Latin America and t he Caribbean as a United States ‘Musical Ambassador and appearing at international festivals in ~ Europe and Asia. He presented his third artist recital at an International Clarinet Conference this past summer in Tokyo. SOON YOUNG PARK, baritone, is originally from Seoul, Korea. He is currently enrolled in the Master of Music in opera at Binghamton University and is’a Resident Artist at TriCities Opera Company. He also holds a teaching ~ a ssistantship’ Binghamton University. He earned bachelors’ degrees from Yonsei University (Voice) and Korea Christian University (Theology), and then came to the United States where he earned a Performance diploma from Indiana ~ University. While at Indiana University, he received the Merit Scholarship, and he also served as Music Director at Bethel Christian Church in Indianapolis ~ from 20002005. ‘ Park has performed in many operas, including Marcello in La Boheme, Scarpia i n Tosca, Ford in Falstaﬀ and Notary in Don Pasquale a t Indiana University Opera Theatre, Papageno in TriCities Opera’s production of ~ The Magic Flute, and most recently as Bonzo and Commissioner in Madame Butterﬂy. He also sang in the chorus for Peter Grimes at Indiana and Lucia d i Lammermoor at TriCities Opera. He will be performing again with the Tri Cities Opera this coming October as Marcello in La Boheme. EWA MACKIEW ICZWOLFE, the winner of the International Competition ' of Renaissance and Baroque Music, and the International Competition for Young Pianists in Warsaw, Poland, is also the recipient of awards in international music competitions in Budapest, Hungary and Dresden, Germany. MackiewiczWolfe received her bachelor’s and master’s degrees in piano performance with honors and high distinction from the Academy of Music in , Lidz, Poland where she continued as Assistant Professor and Master Lecturer in , music. Since 1984, she has been associated with the Binghamton University Music Department where she is currently engaged as Adunct Instructor of Piano. MackiewiczWolfe appeared in several music festivals such as the Festival of Karol Szymanowski, The Piano Festival of Vladslav Kedra, Poland, Chamber Music Festivals in Germany and Hungary. Her career as a piano soloist developed further as a result of concerts arranged by the Association of Polish Artists/Musicians, Government Art Agency (PAGART), the Karol Szymanowski Musical Society, the Lodz Philharmonic Society, and various music colleges. ; ’ ; \ i � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&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.) 01:09 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204294">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE204294</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 Concert for the New York State Association of College Music Programs, September 9, 2006 Recital Tape 2006-9-9 Description An account of the resource Works of Quilter, Debussy, Hahn, Puccini, Parker, Strauss, Rossini, Ginastera. Held at 11:00 a.m., September 9, 2006, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Burns, James LeFebvre, Timothy Skrabalak, Duane Choi, Janey Salmirs, Michael Sudduth, Stefanie Reitz, Margaret Perry, Timothy Brady, Anne Park, Soon Young Mackiewicz-Wolfe, Ewa 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 2006-9-9 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID d36bec21-1e0e-4923-8cd1-09ba9f718564 https://omeka.binghamton.edu/omeka/files/original/1c29badc0acc254d16a29dd1fe23e155.pdf f27db51f5f28cd96015c871667f0c087 PDF Text Text BINGHAMTON U N I V E R S I T Y State University of New York Univ Po idee 4 : ~ D E P A R T M E N T 260)I A Y ‘ MUSICA NOVA F E A T U R I N G P E R F O R M E R S AND C O M P O S E R S O F N E W M U S I C Wendy Wa nK i Lee piano a n d com pose r Georg etta M aiolo ﬂu t e Pa u l Gold sta u b piano a n d com poser with guest artists E ric Ross t he re m i n, k e y boa rds, g u ita r a n d vocals M a r y Ross v ideo a rt ist S u nd a y, Fe b r u a ry 1 1 , 2007 3 :00 p m C asade sus R ec ital H al l �OUR GUEST A R T I S T S P ROGRAM Pastorale a o e Eric Ross “has excited audiences with his ﬁery virtuosity and innovative work” (Washington Post) and has performed concerts of original works at Lincoln Center, Kennedy Center, Brussels Palais des Beaux Arts, at Newport, Montreux, North Sea, Berlin, Copenhagen, Prague Jazz and New Music Festivals and Gilmore lntemational Keyboard Festival among others worldwide. For over twenty years he has led his ensemble that featured jazz giants, John Abercrombie, Larry Coryell, Andrew Cyrille, Oliver Lake, Leroy Jenkins and others. He performs on piano, guitar, synthesizers, and is a Master of the Theremin, one of the earliest electronic instruments. The New York Times calls his music “a unique blend of classical, jazz, serial and avantgarde.” c i v e s i i n n s s i n a n i o n a r s n i n s n n n e s s G o l d s t a n b Georgetta Maiolo, ﬂute Brandon Unger, sound design Mario Davidovsky Synchronisms #6 for piano and electronic sounds (Winner of t h e Pulitzer Prize for Music, 1971) Wendy WanKi Lee, piano Eric Ross began playing the theremin in 1975, and has performed on radio, ﬁlm and TV. He ’s written an Overture for 14 Theremins playing simultaneously, and gave the world premiere of Percy Grainger ’s Free Music No.l in New York City in 1997. Since 1976, with wi fe, Mary Ross, he’s presented multimedia performances of video, music, dance, ﬁlm and computer art. He ’s also played with blues legends Champion Jack Dupree, Lonnie Brooks, Sonny Terry and Brownie McGhee. In May, 2006, he was guest artist on the No.1 best selling CD album in Japan, Aqi Fzono’s “Cosmology”. Fantasy................................................................Wendy WanKi Lee Improvisation for Two Pianos Wendy WanKi Lee and Paul Goldstaub WINTERMISSION®3 Passage/or Theremin (Op. 5 3 L ) r i c Ross Eric Ross, theremin Rimn Vornl (Op. 37) Eric Ross and Mary Ross A multimedia piece, composed and improvised Mary Ross, video artist Eric Ross, theremin, keyboards, guitar and vocals Wendy WanKi Lee, piano Paul Goldstaub, piano and assorted objects + He has lectured on the theremin, piano, guitar, and electronic music at colleges, universities and schools in the USA and Europe. He was Master Teacher at the First International Theremin Festival and 1s considered to be the foremost authority on Frederick W. Riesberg, Franz Liszt ’s last pupil. Eric Ross was a personal friend of inventor Robert Moog, theremin virtuoso Clara Rockmore, and met and played for the inventor of the instrument, Professor Lev Termen, in 1991. He ’s drawn inspiration from them to continue developing the Theremin as a voice in his own compositions. �ABOUT T H E PERFORM ERS Mary Ross is a ﬁne art photographer and professional media artist. While many artists were exploring video’s timebased characteristics in the early 1970 ’s, she began using video and computers to produce still images on ﬁlm. As one of the ﬁrst ﬁne art photographers to do so, her photographs provide some of the carliest examples of how photography, video and computer technology converged in the 1970 ’s, emerged in the 1980‘s, and eventually evolved into contemporary digital photography. She has exhibited extensively at galleries and museums in the United States, Europe, Israel and Japan. Her photographs are in the permanent collections of the Kunsthaus, Zurich; International Polaroid Collection; Herbert Johnson Museum of A rt at Comell University; King’s Library, Copenhagen, Bibliotheque Nationale; Paris and the Lincoln Center Library Da nce Collection in New York City. Georgetta Maiolo is a mem ber the faculty at Binghamton University and Broome Community College, teaching Flute and directing Flute Ensembles. She also taught ﬂute at West Virginia University and Ithaca College. Mrs. Maiolo is a graduate of Duquesne University, and attended graduate school at West Virginia University. She studied with Bernard Goldberg, principal ﬂutist of the Pittsburgh Symphony, Marcel Moyse at Marlboro School of Music, and Victor Saudek. At the age of 15, she made her solo debut with the Pittsburgh Symphony. Mrs. Maiolo is the recipient of numerous honors, including the NCM EA National music award, the Pittsburgh Tuesday Musical Club, the Enola M. Le wis Scholarship and the Mu Phi Epsilon Sterling Achievement Award. Mrs. Maiolo is the principal ﬂutist of th e Binghamton Philharmonic Orchestra, TriCities Opera Orchestra, Southern Tier Concert Band and Downtown Singers Orchestra. She has premiered compositions by Jack Martin, Dan Locklair, Edith Borroﬀ, Malcolm Lewis, Richard Herman, Jeﬀrey Nitch, Timothy Rolls and Paul Goldstaub. She is a clinician for the Selmer Company and has recorded for Crest Records and NPR. W e nd y Wa nK i Lee is currently an Assistant Professor of Music at Binghamton University. She has held teaching appointments at the Oberlin College Conservatory of Music and University of Michigan. She received her graduate degrees (Ph.D., M.M.) in Music Composition and Theory at the University of Michigan, and a Bachelor of Music Composition from the University of Toronto. She is the recipient of grants and awards from the Government of Canada, University of Toronto, Center for Chinese Studies, International Institute, and School of Public Health at the University of Michigan. �Wendy’s compositions and folk music arrangements have been per formed at music festivals at A spen, Banﬀ, and Orford (Québ ec City), and in the United States, Canada, China, Korea, Malaysia, Singapore, and Taiwan. Her new piece for euphonium and piano, commissioned by Benjamin Pierce, will be premiered at the University of Arkansas in October 2007. Wendy has presented papers and lectures at national a nd intemational conferences, an d at the University of Cambridge, Eastern Illinois University, Western Michigan University, University of Western Ontario, and Agnes Scott College. Her research interests include music by Chinese composers such as Chen Qigang, Chen Y i, and Bright Sheng. As a pianist, Wendy received t he Fellowship and Licentiate of the Trinity College of Music in London, and a Diploma for the Associateship in Piano Performer of the Royal Conservatory of Music in Toronto. An advocate of new music, Wendy has prem iered many pieces by living composers and collaborated with numerous conductors, performers, and con temporary music ensembles. Associate Professor Pau l Goldstaub ’s compositions have been performed by the Guthrie Theater, the Minnesota Opera and the Cincinnati Opera; at Lincoln Center and Camegie Hall ; and in Canada, Great Britain, Japan, G ermany, Russia and Italy. His comic opera, The Marriage Proposal, based on Chekhov, was produced oﬀoﬀBroadwa y. A national ﬁnalist in the St. Paul Chamber Orchestra’s American Composer Competition, he has been awarded grants by the Nat ional Endowment for the Arts, the National Endowment for the Humanities, Meet the Composer and the Minnesota State Arts Board. He is also an annual ASC AP awards recipient. A specialist in creativity, he has presented papers and conducted workshops on music improvisation at the Oberlin Conservatory, Syracuse University, St. Olaf College, the Crane School of Music at SUNY Potsdam, and at the SUNY conference on creat ivity at the Fashion Institute of Technology in New York. Goldstaub earned the Doctor of Musical Arts and Master of M usic degrees at the Eastman School of Music, and a Bachelor of M usic degree at Ithaca College. He h as held positions at Ithaca Coll ege, the CollegeConservatory of M usic of the University of Cincinnati, Minnesota State University at Mankato and Eastern Michigan University. Binghamton University faculty, including Bruce Borton, Janet Brady, Peter Browne, Mary Burgess, Michael Carbone, Dan Fabricius, Al Hamme, April Lucas, Ewa MackiewiczWolfe, Georgetta Maiolo, ChaiKyou Mallinson, Timothy Perry, Marga ret Reitz, Stephen Stalker and Brian Stemberg, have given many of his works their local or world prem ieres. His latest composition will be premiered by the University Orchestra, under the direction of Dr. Perry, on March 3, 2007. His publishers include Roger Dean Publishing Company, Lawson Gould Music, Ken Dom Publications, and the International Trombone Association Press. Brandon Unger is a senior Music major at Binghamton University. He is currently focused on com posing, studying with Dr. Goldstaub, and has a very deep interest in recording and engineering. He looks forward to continuing his studies in music after Binghamton University in graduate school. �Sat u rd a y, Fe b r u a ry I 7 – Mas ter ’s Rec ital : A m y DeL eo, so pra no – 3 :00 p.m . – Casadesus R ecital Hall free Anderson Sat u rd a y, Fe b r uary I 7 – La Sa xopho ne a nd F riends 8:00 p.m. – rs; $7 /senio Center Chamber Hall SIS general public ; $13 facult y/staﬀ students s Recital Th u rsda y, Fe b ruary 22 – Mid Day C oncert – 1: 20 p.m. – Casadesu Hall free Micha el Sat u rd a y, Fe b r ua ry 24 Facul ty Recit al : Ja n e y Cho i, violin a nd c; $7 Salmirs, pi ano – 8:00 p.m. Casadesus R ecital Hall $9 general publi facult y/staﬀ/seniors; free for student s S und a y, Fe b r u a ry 2 5 – Unive rsity W i nd Ensem ble : A World p.m. Anderson Center Chamber H all free To u r – 3 :00 Hall Thursday, March 1 – M idDay Concert – 1:20 p.m. Casadesus R ecital free Osterhout Sat u rd a y, M a rc h 3 – Unive rsity S ym phon y Orc hest ra 8:00 p.m. dents Concert Theater S9 general publics ; $7 faculty/ staﬀ/seniors ; free for stu ma r Ol ivei ra, S u nd a y, M a r c h 4 – A bsol ut(e ) R ussia n with specia l g uests E l Chamber violin and Sand ra Robbins, viola 3 :00 p.m. Anderson Center Hall $25 general public ; S20 facult y/staﬀ/seniors; $1 0 students ecital Hall T h u rsd a y, M a r c h IS – M idDa y Co n c e rt 1 :20 p.m. Casad esus R free F rid a y, M a r c h 16 – Mate r ’s Recita l : A k i ra Ma ezawa , viol in – 8 :00 p.m. Casadesus R ecital Hall free Sat u rd a y, M a rc h 1 7, Ma ster‘s Recit al : M i riam W righ t, sop ra no 3 Casadesus R ecital Hall free Sat u rd a y, M a rc h 1 7 – H a r pu r C hora l e a n d Wo men ’s C hor us Anderson Center Chamber Hall Free S m a . :0 0 p.m. 8:0 0 p.m. : ecital Hall Th ursda y, Ma rc h 22 – Mid Day C onc ert 1 : 20 p.m. Casadesus R free 8 :00 p.m. Frida y, Marc h 2 3 – Neil Berg‘ s 1 00 Y ears of Broad way $25 public ; general $30 Theater Concert Osterhout Theater and faculty stall~ s eniors alum ni. $ 1 0 students ( A Beneﬁt tor the Music Athlet ic Departments) � 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.) 1:10:46 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196759">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196759</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. 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Creator An entity primarily responsible for making the resource Lee, Wendy Maiolo, Georgetta Goldstaub, Paul Ross, Eric Ross, Mary 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 2007-02-11 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 8637c79c-9e9f-4d30-9ac2-776823539f54 https://omeka.binghamton.edu/omeka/files/original/adeeb40ba71379a511bd9611545e7680.pdf 785fd8678148ed6b28fa9e333eda0e7a PDF Text Text BINGHAMTON U N I V E R S I T Y itate University of New York v { \¢ C J W I V a \ © 1% D E P A R T M E N T [awm ” ~ _ \ N wn { 1 . 2 . . . ) C ‘ , L A SAXOPHONE Family and F riends F eatu ri ng Bruce Borton a n d M a ry Burgess Along with Georgetta Maiolo, A pril Lucas, Timothy P e rry, Ben Aldridge, Ha kan H rom e k and Daniel Fabricius The E mpire Saxophone Quartet A pri l Lucas, Teno r Steven M a u k , So p rano Anthon y Alduino, Baritone Dan Miller, Alto With Gordon Stout, Marim ba Also Perform ing Timothy Le Febvre Ma rga ret Reitz, an d Robert Smith Saturday, February I 7, 2007 8:00 p.m. The Anderson Center Chamber Hall e– n— — – – a –—– �PROGRAM l F a cade: An Entertainment with Poems by Edith Sitwell (18871964 and Music by William Walton (19021983) Fanfare 1. Hornpipe 5. Through Gilded Trellises 6. TangoPasodoble 7. Lullaby for Jumbo 9. Tarantella 12. Country Dance 13. Polka 15. Something Lies Beyond the Scene 16. Valse 17. Jodelling Song 18. Scotch Raphsody 19. Popular Song 20. FoxTrot “old Sir Faulk” 21. Sir Beelzebub i: Bruce Borton, conductor Ma ry Burgess, reciter Georgetta Maiolo, ﬂute/piccolo Timothy Perry, Clarinet/Bass Clarinet April Lucas, Alto Saxophone Ben Aldridge, trum pet Hakan Hromek, cello Daniel Fabricius, percussion Thanks to William James Lawson, English diction instructor, for his invaluable help in the research and preparation of this piece. WINTERMISSION®3 �Concerto in C Min or for Oboe and Strings ...... .Alessand ro Marcel lo (16691747) Allegro Moderato Transcription by Jamal Rossi Adagio Allegro The Emp ire Saxop hone Qua rtet April Lucas, Soprano Saxo phone Saxsounds III (Diminishing Returns)........................ Steve n Galante (b. 1953) April Lu cas and Steven Ma u k, Alto Sa xophones David Kechley Valencia: Iberian Muszngs (b. 1947) ...on the edge Prayer and Lament with Interjections Please refrain. . .. The Emp ire Saxop hone Qua rtet with Gordon Stout George Hamilton Green arr. B. Goodman (189319 70) The Emp ire Saxop hone Qua rtet with Gordon Stout The Ragtime Robin Richard Rogers (19021972) It Might As Well Be Spring arr. Keith Young The Emp ire Saxop hone Qua rtet Daniel F a bricius, D rums ive Up The Saxophone.......................George Hamilton Green I fG and William Raskin Will You Come Back to Me? April Lu cas, Saxo phone Timothy Lefebvre, Bariton e Margare t Reitz, P iano Robert S mith, Tu ba Ce —–—— –—––— arr. George Wolfe �ABOUT T H E PE R FO R M ER S 1 ; A rts and Master of Music at of !1 lor he ac a B th bo ed arn S e CA AP RI L LU ! aculties of Binghamton e f th on tly en urr s c d i an ity ers niv U on mt ha ng Bi ollege and a forme r m em ber o f y C nit mu om C me oo Br d an ty Un iversi s is a founding m em ber ca Lu s. M y. ult fac ic us e m eg oll the Hartwi ck C has recorded with the Hudson d an et art Qu e on ph xo Sa e pir Em of the nfonia, t he New Sousa Si e on ph xo Sa e th et, art Qu e on Valley Saxoph tor uartet. A former regional direc Q ne ho op ax S ire mp E he d t an Band , Ms. Lucas has served as a ce an lli A ne ho op ax S an ric me h A of the Nort k State. She is a full or Y ew t N ou gh ou thr tor uc nd co clinician and guest Susq uehanna Valley School e th for r he ac te sic mu l nta me time instru hamton Philharmonic ng Bi e th of er mb me a is s ca District. Ms. Lu chestra, and the Southern Tier Or era Op es iti iC Tr the ra, Orchest ew Sousa Band under the N he f t r o be em m n a ee s b ha nd Concert Band a April Lucas has been soloist with 9. 98 e 1 inc n s rio h B eit f K n o tio direc mton Com munity Orchestra ha ing B the d, an rt B ce on C ier T the Southern and t he New Sousa Band. of choral activities at tor rec di en be s ha ON RT BR UC E BO He was di rector of the Binghamton 8. 98 e 1 nc si ity ers niv U on mt ha Bi ng conti nues to prepare choral d an 1, 9 88 19 m fro us or Ch Symphony ic. In addition to his on arm ilh Ph on mt ha ng Bi the performances for undergraduate and graduate es ch tea n rto Bo s, tie du g conductin d directs the Master of an , ice vo s, ue iq hn tec l ora ch d conducting an . H e was Music Departm ent chair ram og pr ng cti du on l C ora Ch in Music irector of G raduate Studies s D s a rve se tly en res p He 4. 00 from 19982 t at W est Georgia gh au n t rto Bo k, or Y ew N to ing in Music. Before com Georgia, he spent fou rteen in ing liv e hil W ta. lan At ar College ne istant with the At lanta ass g tin uc nd co nd a of er mb seasons as a me e Robert Shaw. Dr. Borton lat e th by d cte du on c rus ho C Symphony ty, Southern Illinois rsi ive Un an ley es W is ino Ill m holds degrees fro f incinnati, Col legeConservatory o f C o ity ers niv U the d an ty, rsi Unive Music. of the Cu rtis Institute of ‘ ate du gra a o, ran op s S, ES RG M AR Y BU niversity voice faculty U on mt ha ing B he f t r o be em m Music, has been a de her U. S. operatic de but with ma ss rge Bu s. M . ars ye ty en tw for over �Facade : An Entertain ment With Poems by Edith Sitwell (18871964) and Music by William Walton (19021983) 1. Hornpipe Sailor come To the drum Out of Babylon; Hobbyhorses Foam, the dumb Sky rhinoceros glum Watched the courses of the breakers ’ rockinghorses and with Glaucis, Lady Venus on the settee of the horsehair sea! Where Lord Tennyson in laurels wore a gloria free, ln a borealic iceberg came Victoria; she Knew Prince Albert’s tall memorial took the colours of the ﬂoreal And the borealic iceberg: ﬂoating on they see Newarisen Madam Venus for whose sake from far Came the fat and zebra’d em peror from Zanzibar Where like golden bouquets lay far Asia, Africa, Cathay, All laid before that shady lady by the ﬁbroid Shah. Captain Fracasse stout as an y waterbutt came, stood With Sir Bacchus both adrinking the black tarr’d grapes’ blood Pl ucked among the tartan leafage By the furry wind whose grief age Could not wither — like a squirrel with a gold starnut. Queen Victoria sitting shocked upon the rocking horse Of a wave said to the Laureate, “This minx of course ls as sharp as any lynx and blackerdeeper than the drinks and quite as Hot as any hottentot, without remose! For the minx ’, Said she, ‘And the drinks, You can see Are hot as any hottentot and not the goods for me! ’ i �5. Through Gilded Trellises ‘Through gilded trellises Of the heat, Dolores, Inez, Manuccia, Isabel, Lucia, Mock Time that ﬂies. “Lovely bird, will you stay and sing, Flirting your sheened wing, — Peck with your beak, and cling To our balconies?” They ﬂirt their fans, ﬂaunting — “O silence, enchanting As music!” then slanting Their eyes, Like gilded or emerald grapes, They take mantillas, capes, Hiding their simian shapes. Sighs Each lady, “Our spadille ls done. ”... ”Dance the quadri lle From Hell ’s towers to Seville; Surprise Their siesta,” Dolores Said. Through gilded trellises Of the heat, spangles Pelt down through the tangles Of bellﬂowers; each dangles Her castanets. shutters Fall while the heat mutters. With sounds like a mandoline Or tinkled tambourine. Ladies, Time dies!’ e e �6. TangoPasodoble When – Don Pasquito arrived at the seaside Where the donkey ‘s hide tide brayed. he Saw the banditto Jo in a black cape Whose slack shape waved like the sea — Thetis wrote a treatise noting wheat is silver like the sea; The lovely chat is sweet as foam; Erotis notices that she Will – Steal – the Wheatking’s luggage, like Babel Before the League of Nations grew — So Jo put the luggage and the label In the pocket of Flo the Kangaroo. Through trees like rich hotels that bode Of dreamless ease ﬂed she, Carrying the load and goading the road Through the marine scene to the sea. ‘Don Pasquito, the road is eloping With your luggage, though heavy and large; You must follow and leave your moping Bride to my guidance and charge!’ When Don Pasquito returned from the road’s end, Where vanillacoloured ladies ride From Sevilla, his mantilla’d bride and young friend Were forgetting their mentor and guide. For the lady and her friend from Le Touquet In the very shady trees upon the sand Were plucking a white satin bouquet Of foam, while the sand’s brassy band Blared in the wind. Don Pasquito Hid where the leaves drip with sweet... But a word stung him like a mosquito... For what they hear, they repeat! �7. Lullaby for Jumbo Jumbo asleep! Grey leaves thickfurred As his ears, keep Conversations blurred. Thicker than hide Is the trumpeting water; Don Pasquito’s bride And his youngest daughter Watch the leaves Elephantine grey: What is it grieves In the torrid day? And why should the spined ﬂowers Red as a soldier Make Don Pasquito Seem still mouldier? �9. Tarantella Where the satyrs are chattering, nymphs with their ﬂattering glimpse of the forest enhance All the beauty of marrow and cucum ber narrow and Ceres will join in the dance. Where the satyrs can ﬂatter the ﬂatl eaved fruit and the gherkin green and the marrow, Said Queen Venus, ‘Silenus, we ’ll settle between us the gourd and the cucumber narrow. ’ See, like palaces hid in the lake, they shake — those greenhouses shot by her arrow narrow! The gardener seizes the pieces, like Croesus, for gilding the pottingshed barrow. There the radish roots and the straw berry fruits feel the nymphs’ high boots in the glade. Trampling and sampling mazurkas, cachucas and turkas, Cracoviaks hid in the shade. Where. in the haycocks. the country nymphs ’ gay ﬂocks wear gowns that are looped over bri ght yellow petticoats, Gaiters of leather and pheasants ’ tail feathers in straw hats bewildering many a leathem bat. They they haymake. Cowers and whines in showers, the dew in the dogskin bright ﬂowers; Pumpking and marrow and cucumber narrow have grown through the spangled June hours. Melons as dark as caves have for their fountain waves thickest gold honey, and wrinkled as dark as Pan, Or old Silenus, yet youthful as Venus, are gourds and the wrinkled ﬁgs whence all the jewels ran. Said Queen Venus, ‘Silenus we’ll settle between us the nymphs’ disobedience, forestall With my bow and my quiver each fresh evil liver: for I don’t understand it at all!‘ �12. Country Dance That hobnailed goblin, the bobtailed Hob, Said, “It is time I began to rob, For strawberries bob, hobnob with the pearls Of cream (like the curls of the dairy girls), And ﬂushed w ith the heat and fruitish ripe Are the gowns of the maids who dance to the pipe. Chase a maid? She’s afraid!” “Go gather a bobcherry kiss from a tree, But don’t, I prithee, come bothering me!” She said, as she ﬂed. The snouted satyrs drink clouted cream ‘Neath the chestnut trees as thick as a dream; So I went, and leant, Where none but the doltish coltish wind Nuzzled my hand for what it could ﬁnd.A s it neighed. I said, “Don’t touch me sir, don’t touch me, I say. You’ll tumble my strawberries into the hay.” Those snowmounds of silver that bee, the spring, Has suck his sweetness from, I will bring With fairhaired plnts and w ith apples chi ll For the great god Pan ’s high altar l ’ll spill Not one!” So. in fun, We rolled on the grass and began to run Chasing that gaudy satyr the Sun ; Over the haycocks, away we ran Crying “Here be berries as sunburnt as Pan!” But Silenus Has seen us He runs like the rough satyr Sun. Come away! �13. Polka “Tra la la la la la la la la See me dance the pol ka’, Said Mr. Wagg like a bear, ‘With my top hat And my whiskers that — (Tra la la la) trap the Fair. Where the waves seem chiming haycocks I dance the polka: there Stand Venus’ children in their gay frocks, – Maroon and marine, — and stare To see me ﬁre my pistol Through the distance blue as my coat; Like Wellington, Byron, the Marquis of Bristol, Busbied great trees ﬂoat. While the wheezing h urdygurdy Of the marine wind blows me To the tune of “Annie Rooney”, sturdy. Over the sheafs of the sea: And bright as a seedsman ’s packet With zinnias, candytu fts chil, Is Mrs. Marigold’s jacket As she gapes at the inn door still, Where at dawn in the box of the sailor, Blue as the decks of the sea, Nelson awoke, crowed like the cocks, Then back to the dust sank he. And Robinson Crusoe Rues so The bright and foxy beer, – But he ﬁnds fresh isles in a negress’ smiles, — The poxy doxy dear, As they watch me dance the polka ’, �Said Mr. Wagg like a bear, ‘In my top hat and my whiskers that, – Tra la la la, trap the Fair. Tra la la la la la — Trala la I alala — Tra la la la la la la la La ] I . La Lal ’ 15. Something Lies Beyond the Scene Something lies beyond the scene, the encre de chine, marine, obscene Horizon In Hell Black as a bison See the tall black Aga on the sofa in the alga mope, His Bellrope moustache (clear as a great bell!) Waves in eighteeneighty Bustles Come Late with tambourines of Rustling Foam. They answer to the names of ancient dames and shames. And only call horizons their home. Coldly wheeze (Chinese as these blackarmoured ﬂeas that dance) the breezes Seeking for horizons Wide; from her orizons In her wide Vermilion Pavilion By the seaside The doors clang open and hide Where the wind died Nothing but the Princess Cockatrice Lean Dancing a caprice to the wind’s tambourine. l : �16. Valse ‘Daisy and lily, Lazy and silly, Walk by the shore of the wan grassy sea, — Talking once more ‘neath a swanbosomed tree. Rose castles, Tourelles, Those bustles Where swells Each foambell of ermine, They roam and determine What fashions have been and what fashions will be, – What tartan leaves born, What crinolines wom. By Queen Thetis, Pelisses Of tarlatine blue. Like the thin plaided leaves that the castle crags grew, Or velours d’Afrande: On the water gods’ land Her hair seemed gold trees on the honeycell sand When the thickets gold spangles, on deep water seen, Were like twanging guitar and like cold mandoline, And the nymphs of great caves, With hair like gold waves, Of Venus, wore tarlatine. Louise and Charlottine (Boreas ’ daughters) And the nymphs of deep waters, The nymph Taglioni, Grisi the ondine, Wear plaided Victoria and thin Clementine Like the crinolined waterfalls; Woodnymphs wear bonnets, shawls, Elegant parasols Floating are seen. The Amazons wear balzarine of jonquille Beside the blond lace of a deep–falling ril; Through glades like a nun �They run from and shun The enormous and goldrayed rustling sun; And the nymphs of the fountains Descend from the mountains Like elegant willows On their deep barouche pillows, ln cashmere Alvandar. barége Isabelle, Like bells of bright water from clearest woodwell. Our élégantes favouring bonnets of blond, The stars in their apiaries, Sylphs in their aviaries, Seeing them, spangle these, and the sylphs fond From their av iaries fanned With each long ﬂuid hand The manteaux espagnols, Mimic the waterfalls Over the long and the light summer land. 2 0 So Daisy and Lily, Lazy and silly, Walk by the shore of the wan grassy sea, Talking once more ‘neath a swanbosomed tree. Rose castles, Tourelles, Those bustles! Mourelles Of the shade in their train follow. Ladies, how vain, — hollow, – Gone is the sweet shallow, — Gone, Philomel!’ . �2 0 17. Yodelling Song ‘We bear velvet cream, Green and babyish Small leaves seem ; each stream Horses ’ tails that swish, And the chimes remind Us of sweet birds singing, Like the jangling bells On rose trees ringing. Man must say farewells To parents now, And to William Tell And Mrs. Cow. Man must say farewells To storks and Bettes, And to roses ’ bells, And statuettes. Forests white and black In spring are blue With forgetmenotes, And to lovers true Still the sweet bird begs And tries to cozen Them : “Buy angels’ eggs Sold by the dozen.” Gone are clouds like inns On the gardens’ brinks, And the mountain djinns, Ganymede sells drinks; While the days seem grey, And his heart of ice, Grey as chamois, or The edelweiss, . And the mountain streams Like cowbells sound – �Tirra lirra, drowned In the water’s dreams Who has gone beyond The forest waves, While his true and fond Ones seek their graves. ’ i 0 18. Scotch Rhapsody ‘Do not take a bath in Jordan, Gordon. On the holy Sabbath, on the peaceful day!‘ Said the huntsman, playing on his old bag pipe, Boring to death the pheasant and the snipe — Boring the ptarmigan and grouse for fun — Boring them worse than a ninebore gun. Till the ﬂaxen leaves where the prunes are ripe, Heard the tartan wind adroning in the pipe, And they heard Macpherson say: ‘Where do the waves go? What hotels Hide their bustles and their gay ombrelles? And would there be room? — Would there be room? Would there be room for me? There is a hotel at Ostend Cold as the wind, without an end, Haunted by ghostly poor relations Of Bostonian conversations (Like bagpipes rotting through the walls.) And there the pearlropes fall like shawls With a noise like marine waterfalls. And ‘Another little drink wouldn’t do us any harm’ Pierces through the Sabbatical calm. And that is the place for me! So do not take a bath in Jordan, Gordon, On the holy Sabbath, on the peaceful day — Or you’ll never go to heaven, Gordon Macpherson, And speaking purely as a private person That is the place — that is the place – that is the place for me! . — — �19. Popular Song v Lily O’Grady. Silly and shady, Longing to be A lazy lady, Walked by the cupolas, gables in the Lake’s Georgian stables, In a fairy tale like the heat intense, And the mist in the woods when across the fence The children gathering strawberries Are changed by the heat into negresses, Though their fair hair Shines there Like goldhaired planets, Calliope, lo, Pomona, Antiope, Echo, and Clio. Then Lily O’Grady, Silly and shady, Sauntered along like a Lazy lady. Beside the waves ’ haycocks her gown with tucks Was of satin the colour of shining green duc ks, And her folderol Parasol Was a great gold sun o’er the haycocks shining, But she was a negress black as the shade That time on the brightest lady laid. Then a satyr, doghaired as trunks of trees, O Began to ﬂatter, began to tease, And she ran like the nymphs with golden foot That trampled the strawberry, buttercup root, In the thick gold dew as bright as the mesh Of dead Panope ’s golden ﬂesh, Made from the music whence were born Memphis and Thebes in the ﬁrst hot morn, — A nd ran, to wake In the lake, Where the waterripples seem hay to rake. And Charlottine, Adeline, Q I — — — — — — — — — �Round rosebubbling Victorine, And the other ﬁsh Express a wish For mastic mantles and gowns with a swish; And bright and slight as the posies Of buttercups and of roses, And buds of the wild woodlilies They chase her, as frisky as ﬁllies. The red retrieverhaired satyr Can whine and tease her and ﬂatter, But Lily O’Grady, Silly and shady, In the deep shade is a lazy land; Now Pompeys dead, Homer’s read, Heliogabalus lost his head, And shade is on the brightest wing, And dust forbids the birds to sing. v ‘ O — �v C 20. FoxTrot “Old Sir Faulk” Old – Sir Faulk, Tall as a stork, Before the honeyed fruits of dawn were ripe, would walk, And stalk with a gun The reynardcoloured sun, Among the pheasantfeathered corn the unicorn has torn, forlorn the Smockfaced sheep Sit And Sleep; Periwigged as William and Mary, weep ‘Sally, Mary, Mattie, what’s the matter, why cry?’ The huntsman and the reynardcoloured sun and I sigh; ‘Oh, the nurserymaid Meg With a leg like a peg Chased the feathered dreams like hens, and when they laid an egg In the sheepskin Meadows Where The serene King James would steer Horse and hounds, then he From the shade of a tree Picked it up as spoil to boil for nursery tea,’ said the mourners. In the Corn, towers strain, Feathered tall as a crane, And whistling down the feathered rain. old Noah goes again – An old dull mome With a head like a pome, Seeing the world as a bare egg, Laid by the feathered air; Meg Would beg three of these For the nursery teas Of Japhet, Shem, and Ham; she gave it v Underneath the trees, Where the boiling Water Hissed, Like the gooseking ’s feathered daughter — kissed. Pot and pan and copper kettle Put upon their proper mettle, Lest the Flood – the Flood – the Flood begin again through these! �21. Sir Beelzebub When Sir Beelzebub called fo r his syllabub in the hotel in Hell Where Proserpine ﬁrst fell, Blue as the gendarmerie were the waves of the sea, (Rocking and shocking the barmaid). Nobody com es to give him his rum but the Rim of the sky hippopotamusglum Enhances the chances to bless with a benison Alfred Lord Tenny son crossing the bar laid With cold vegetation from pale deputations Of temperance workers (all signed In Memoriam ) Hop ing with glo ry to trip up the Lau reat e ’s fe et, (Moving in classical metres) Like Balaclava, the lava came down from the Roof, and the sea’s blue wooden gendarmerie Took them in charge while Beelzebub roared fo r his rum. None of them come! – Dame Edith Sitwell (1 887–1964) �Jew York City Opera while still a student at the Curtis Institute, and ubsequently appeared with Santa Fe Opera, Washington Opera, New Jrleans Opera, Nevada Opera, and many other regional companies ncluding TriCities Opera in Binghamton. Her European operatic lebut was at the Holland Festival in Amsterdam. She has also ierformed at the Spoleto Festival in Italy, at the Theatre Royale de la onnaie in Brussels, and with Dublin Grand Opera. Burgess has ppeared as soloist with more than two dozen U. S. orchestras, .ncluding the Boston Symphony (with Seiji Ozawa), Cleveland Orchestra (with Lorin Maazel, Eduardo Mata), Chicago Symphony (Sir Simon Rattle), and Cincinnati Symphony (Klaus Tennstedt, James Conlon). She has been a frequent guest at such prestigious festivals as Marlboro, Monadnock, Ravinia, Aspen, Blossom, Casals, Chautauqua, and the Cincinnati May Festival. Her repertory of forty roles in ﬁve languages ranges from Monteverdi and Cavalli to Britten and Virgil Thomson. Her performances of Britten ’s Les Illuminations and Mahler’s Symphony No. 2 with the Omaha Symphony were ﬁlmed for broadcast by Nebraska ETV. She has recorded for Columbia, Masterworks, CRI, Sony Classical and Telarc. TIMOTHY PERRY, clarinetist, conductor and Professor of Music, joined the Binghamton University faculty in 1986 as director of the orchestral and wind ensemble programs and instructor of studio conducting and clarinet. Perry holds D.M.A., M.M.A. and M.M. degree from the Yale School of Music and a B. Mus. degree from the Manhattan School of Music. Dr. Perry’s more than two hundred programs include ten seasons as Music Director of the Binghamton Community Orchestra and as guest conductor of both the Catskill Symphony and Binghamton Philharmonic Orchestras. Perry is widely known as a virtuoso solo and chamber music clarinetist, touring Latin America and the Caribbean as a United States Musical Ambassador and appearing at international festivals in Europe and Asia. In 2006 he presented his third artist recital at an International Clarinet Conference in Tokyo and performed Mozart ’s Clarinet Concerto on basset clarinet , as part of the composer’s 250th anniversary. GEORGETTA MAIOLO is a member of the faculty of Binghamton University and Broome Community College, teaching Flute and directing Flute Ensembles. From 1977 to 1996, she held the position of Assistant Professor of Flute at Ithaca College, Ithaca, New York. She �also taught ﬂute at West Virginia University, Morgantown, West Virginia. Mrs. Maiolo is a graduate of Duquesne University and attended graduate school at West Virginia University. Mrs. Maiolo studied with Bernard Goldberg, principal ﬂutist of the Pittsburgh Symphony, Marcel Moyse at Marlboro School of Music, and Victor Saudek. She is the principal ﬂutist with the Binghamton Philharmonic Orchestra and the TriCities Opera Orchestra, Southe rn Tier Concert Band and the Downtown Si ngers Orchestra. In addition to her playing positions, she concertizes as a soloist, recitalist and chamber musician. Mrs. Maiolo was honored to conduct the NYSSMA AllState Flute Choir. She served as the ﬂute chairperson for the NYSSMA Manual from 1981 to 2001. She is a “clinician” for the Selmer Company and has recorded for Crest Records and NPR. [ L I 2 BEN ALDRIDGE holds both Bachelor’s and Master’s degrees from Yale University, and began teaching trumpet at Binghamton University in 1976. Aldridge has directed both trumpet and mixed brass ensembles throughout his tenure at BU, has performed both solo and chamber repertoire, and has taught theory as well. Aldridge is a member of the Binghamton Philharmonic and the Utica and Catskill Symphonies, as well as the Glimmerglass Opera Orchestra. He also performs with and arranges for the Catskill Brass Quintet. Aldridge is a charter member of the International Trumpet Guild, and has been recorded on Columbia and Redwood records. Cellist HAKAN HROM EK was trained in music performance at Ithaca College, SUNY Purchase, and Binghamton University. His teachers include Peter Wiley, Marion Feldman, Daniel Phillips, Stephen Stalker, Einar Jeﬀ Holm, and Fritz Wallenberg. He has attended the International Congress of Strings, Round Top International Festival, Chamber Music at the 92nd Street YNYC, Spoleto Music Festival, Skaneateles Festival, and the Kenai Penninsula Music Festival In Alaska. An active performer, Mr Hromek is principal cellist of the Binghamton Philharmonic, TriCities Opera Orchestra, and The Orchestra of the Southern F inger Lakes. He has also pe rformed with the Cayuga Chamber Orchestra, Bach Works in NYC, and the Syracuse Symphony. During the sum mer of 2006, Mr. Hromek completed his fourth season as cellist in the DeVere Quartet, which serves as resident quartet for the Kenai Peninsula Festival in Alaska and at present is cellist for the Novo Quartet. An avid chamber musician Mr. Hromek I) �enjoys collaborating in a cello and piano duo on a regular basis with Margaret Reitz and various local artists in the Central New York area. DANIEL FABRICIUS took the post of Percussion Instructor at Binghamton University in September of 1992 and has been Director of Bands at Owego Free Academy since 1989. Fabricius is an active performing percussionist in the Southern Tier. He is a member of the Binghamton Philharmonic as well as Timpanist/P rincipal Percussionist for the Orchestra of the Southern Finger Lakes. In recent years he also has performed as a percussion soloist in chamber ensembles, in musical theater productions and with several nationally known artists. He performs often as a freelance musician and as a member of the local dance band “Classy Brass.” Mr. Fabricius has conducted many honor band festivals and is a past president of the NYS Band Directors Association. GORDON STOUT, Professor of Percussion at Ithaca College School of Music, is a composer as well as a percussionist who specializes on marimba. Many of his compositions have become standard repertoire for marimbists worldwide. He has recorded many of his own works as well as those of other American composers. As a lecturerecitalist for the Percussive Arts Society, he has appeared at twelve international PAS Conventions. Gordon has served on several juries of international competitions and has appeared as a featured soloist at The World Marimba Festival in Japan. Gordon is a clinician /recitalist for Kp3 and performs exclusively on their M5.0 Imperial Grand ﬁveoctave marimba. STEVEN MAUK, Professor of Saxophone at Ithaca College School of Music, has presented numerous solo and chamber concerts throughout the world, including four tours to Russia. As a foremost authority on the soprano saxophone, Mauk has had twentyﬁve works dedicated to him. He has recorded 1 7 albums and authored four books. Mauk is an artist/clinician for both Selmer and Vandoren. He is a past president and has been Director of Scholarly Publications for the North American Saxophone Alliance. Mauk, the recipient of a Dana Teaching Fellowship and a Dana Research Fellowship for his excellence in teaching and research, also received the Ithaca College President’s Recognition Award. He was the recipient of the 199598 National �Artist Award from the Phi Kappa Phi Honor Society and received Ithaca College’s Excellence in Teaching Award for 20012002. DAN M I L L E R is a native of Endicott, New York. He is chairman of the SpencerVan Etten School music program where he directs the middle school and high school bands and jazz ensembles. Dan earned his undergraduate degree from Syracuse University (with performance honors) and a Master’s in Music Education from Ithaca College. He is a past president of the Tioga County Music Educators Association and regularly works as an adjudicator and clinician throughout the Southern Tier of New York State. In addition to being the alto saxophonist in the Empire Saxophone Quartet, Dan is also a member of Classy Brass and the Mason Warrington Orchestra. He has performed with the Syracuse based Society for New Music and the Binghamton Philharmonic and has recorded with the Swing Street Jazztet and the Empire Saxophone Quartet. v AMY NATIELLA, a senior Sociology major at Binghamton University, has been studying saxophone under April Lucas for the past four years. She is a member of the University Wind Ensemble and Saxophone Quartet. Amy appeared as a soloist with the University Wind Ensemble this past semester and is a native of Buﬀalo, NY. TIMOTHY LEFEBVRE, baritone, has appeared in concert with the Vermont Symphony, Minnesota Symphony, Syracuse Symphony, American Symphony Orchestra, Pittsburgh Symphony, Spokane Symphony, Binghamton Philharmonic, Rochester Bach Festival, Berkshire Choral Festival, Williamsport Symphony, Syracuse Chamber Music Society, the Skaneateles Festival and with the prestigious Marlboro Music Festival. He has also appeared in concert at New York’s Carnegie Hall and Alice Tully Hall. Mr. LeFebvre is a winner of the New York Liederkranz Vocal Competition. Other awards include the Richard F. Gold Career Grant, an Opera Fellowship at Binghamton University and Regional Finalist in several Metropolitan Opera Competitions. LeFebvre’s operatic experience includes leading roles with San Francisco Opera, TriCities Opera, Sarasota Opera, Chattanooga Symphony and Opera, Syracuse Opera, Indianapolis Opera, and Opera Theater of Pittsburgh. LeFebvre is a graduate of Carnegie Mellon University and Binghamton University and is currently on the faculty at Binghamton University. �’ " MARGARET REITZ, pianist, is on the faculties of Binghamton University and the Ithaca College School of Music. She received her Bachelor and Master of Music degrees in piano performance with accompanying emphasis and attended Boston University, New England Conservatory, and Binghamton University. She studied piano with Jean Casadesus, Victor Rosen baum, Seymour Fink, Walter Ponce, and Allen Rogers. Reitz has accompanied throughout the world and has been a guest chamber music artist in Morges, Switzerland. She and Binghamton University faculty member Tim Perry were winners of the 1997 Artistic Ambassadors Program by the United States Information Agency in partnership with the John F. Kennedy Center for the performing arts. Reitz was a guest artist on the Cornell Summer Series in August of 2006 and will be an oﬀicial pianist at the International Double Reed Competition and Convention this coming June. ROBERT SMITH is Music Director and Conductor of the Binghamton University Wind Ensemble. Professor Smith holds degrees from Hartwick College, Binghamton University and is a candidate for the Doctor of Musical Arts from Boston University. Locally, he conducts the annual observance of TubaChristmas and is former conductor of the Maine Comm unity Band. He has guest conducted all county and community bands as well as the Goshen College(IND) Wind Ensemble and Orchestra. An active performer, he currently plays principal euphonium with the Southern Tier Concert Band and tuba with the Brass Nickel quintet and the Crown City Brass sextet. Professor Smith is the immediate past president of the Broome County Music Educators Association and recipient of the 2005 BCMEA Distinguished Service Award. �ABOUT THE MUSIC Facade, An Entertain ment, was collaborated by William Walton, Edith Sitwell, and her two brothers in Oxford in 1922 during his 15 year stay with the family. Edith Sitwell quotes “The poems in Facade are abstract poems, that is, they are patterns in sound. They are, too, in many cases, virtuoso exercises in techni que of an extreme diﬀiculty.” Twenty one of Sitwell ’s poems were set to music by Walton, the 19 year old student greatly interested in modern music and popular British dance music of the 1920’s. His interests are obvious in the chamber music for the poems, the familiar rhythms of the foxtrot, music hall dances, circus music, tarantella and tango are combined with angular pieces, musical dissonance and lyrical sections. The poems and music are meant to be savored as sound, unclear and abstract, but beautifully integrated. Concerto in D Minor for Oboe, strings, and basso continuo is considered Alessandro Marcello ’s best known work. Johann Sebastian Bach noted its worth when he transcribed the work for harpsichord (BWV974). Marcello’s other works include cantatas, arias, canzonets, and violin sonatas. Saxsounds III, Diminishing Retu rns (1978), was written while Galante was a student in composition and saxophone at the University of Michigan. Both his saxophone teacher and his is composition teacher encouraged him to write a work that incorporated the saxophone with the latest sound technology. The resulting duet is played through a digital delay unit that produces an ostinato and provides pulse and mood throughout the piece. The saxophonists produce traditional sounds as well some non traditional sounds (vocal sounds and multiphonics) that make the saxophone not only a wind and percussive instrument, but part human at times. Valencia : I berian Musings for Mari m ba and Saxophone Quartet is dedicated to the Empire Saxophone Quartet and Gordon Stout. The work was inﬂuenced by a trip to Spain in September of 1997 by composer David Kechley. The ﬁrst �l l vl l movement, ....on the edge, is a fast, relentless piece with the marimba maintaining a perpetual motion punctuated by the saxophone ’s exclamatory remarks. The second movement, Prayer and La m ent with Inter jections juxtaposes several moods requiring the marimba and saxophones to reverse roles. The marimba opens the “prayer” using its ability to create organlike sustained sounds. The saxophones later articulate the “lament” against this backdrop. Please refrain......, the third movement, refers to the playful vam p that sets the pace for this energetic, rondolike movement. The opening rhythm was suggested by a Cedar Walton tune, Bolivia. Despite the vamp element, this movement creates variations on the material introd uced in the ﬁrst movement. George Hamilton Green began playing at age 1 1 and at 19 entered Vaudeville, earning himself the reputation of being a show stopping, virtuoso xylophonist. The Ragtime Rob in was one of his six novelty xylophone solos cut for the Edison recording company that would eventually include more than 150 sides. Green eventually left Edison and recorded for com panies such as Victor and Columbia. He was a noted teacher, performer and author of pedagogical materials that remain important today. In 1946 he retired to become a successful artist, illustrator and cartoonist. Academy Award winning song, It Might As Wel l Be Spring, is from the musical “State Fair” (1945), one of Richard Rogers’ early collaborations with lyricist Oscar Hammerstein II, and their only collaboration written directly for the screen. Rogers wrote the music for over 50 stage and ﬁlm musicals and helped make the American musical a legitimate art form. Keith Young’s arrangement o f this song features a jazz improvisation solo. r J} �Coming “Cuenst Th ursday, Febr uary 22 – Mid Day Conce rt – 1 :20 p.m. – Casadesus Recital ' Hall free Saturda y, F e b ruary 24 – F aculty Recita l : Janey Choi , violin and M ichael Salmirs, piano – 8:00 p.m. – Casadesus Recital Hall $9 general public; $7 faculty/staﬀ/seniors ; free for students Sunday, Feb ruary 2 5 – Universit y Wind Ensemble : A World To ur – 3:00 p.m. – Anderson Center Chamber Hall – free Th ursday, March 1 – MidDay C oncert – 1 :20 p.m. – Casadesus Recital Hall – free Saturday, March 3 ~ University Symphony Orchestra – 8:00 p.m. – Osterhout Concert Theater –$9 general publics; $7 faculty/staﬀ/seniors; free for students Sunday, Mar ch 4 – Absol ut(e) Russian with special guests Elma r Oliveira, violin and Sa nd ra Robbins, viola – 3:00 p.m. – Anderson Center Cham ber Hall $25 general public; $20 faculty/staﬀlseniors; $10 students Th ursday, Mar ch 1 5 – MidDay Concert – 1 :20 p.m. – Casadesus Recital Hall – free Friday, Marc h 16 – Mater ’s Recital : Akira Maezawa, violin – 8:00 p.m. – Casadesus Recital Hall – free Saturday, M arch 1 7 Master ’s Recital : Miriam W right, sopran o – 3:00 p.m. – Casadesus Recital Hall – free Saturday, M arch 1 7 – H a rpu r Chorale an d Women ’s Chorus – 8 :00 p.m. – Anderson Center Chamber Hall – Free Th ursday, March 22 – MidDay Concert – 1:20 p.m. – Casadesus Recital Hall free F riday, Marc h 23 – Neil Berg ’s 100 Years of Broadway – 8:00 p.m. ~ Osterhout Concert Theater $30 general public; $25 faculty/staﬀ/seniors/alumni, $10 students (A Beneﬁt for the Music Theater and Athletic Departments) � 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 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 31:38 45:36 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196762">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196762</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 La Saxophone Family and Friends, February 17, 2007 Recital Tape 2-17b-2007 Description An account of the resource Held at 8:00 p.m., Feb. 17, 2006, Casadesus Recital Hall. Works of Marcello, Galante, Kechley, Green, Rogers, Green and Raskin. Creator An entity primarily responsible for making the resource Borton, Bruce Burgess, Mary Maiolo, Georgetta Lucas, April Perry, Timothy Aldridge, Benjamin Tayga-Hromek, Hakan Fabricius, Daniel Mauk, Steven Miller, Dan Alduino, Anthony Stout, Gordon LeFebvre, Timothy Reitz, Margaret Smith, Robert 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 2007-02-17 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 441682e3-d159-424f-ae52-7132e1d81980 https://omeka.binghamton.edu/omeka/files/original/b165daf7a48a17b118ddefe0da3c4214.pdf 700083ae86c9c2e7026d93de6913f685 PDF Text Text BINGHAMTON U N I V E R S I T Y State University of Ne w York I I l J B E t bi \ LOOT . I E C D E P A R T M E N a l ya oft F A C U L T Y R E C I T A L J A N E Y C H O I , V IO L I N w it h M icha el Salmirs, p ia no Saturd ay, Feb rua ry 24, 2007 8:00 p.m. Casadesus Reci tal Hall T �ABOUT THE PERFOR MERS Canadianborn violinist, JAN EY CHOI, gave her Carnegie PROGRAM Sonata for Violin and Piano in D major 1. Adagio molto maestoso 2. Allegro 3. Tambourin: Allegro vivace Hall recital debut in 1997 as a winner of the Artists International Auditions and continues an active performin g Jean Leclair (1697 1764) Sonata for Piano and Violin .................weveeen.. L v . B eethoven G major, op. 30 no.3 (1770 1827) 1. Allegro assai 2. Tempo di Minuetto ma molto moderato e grazioso 3. Allegro vivace w w INTERMISSION «3 Solo Sonata No.2 “Obsession”, op27 1. Prélude: Poco vivace 2. Malinconia: Poco Lento 3. Danse des Ombres: Saraba nde (lento) 4. Les Furies: Allegro Furioso E. Ysaye (1858 1931) Sonata for Violin and Piano 1. Allegro vivo 2. Intermede : Fantasque et léger C. Debussy (1862 1918) 3. Finale: Tree animé career as a recitalist, chamber, and orchestral musician throughout the country and abroad. The recipient of numerous awards including the Ontario Arts Council’s Chalmers Performing Arts Training Grant and First Prize in the National Finals of the Canadian Music Competition, she has participated in such festivals as Juilliard’s Focus Festival, 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, a partnership recognized by the American Music Center with a Live Music for Dance Grant, and has performed numerous times with the Parsons Dance Co., most notably at the Kennedy Center in Washington, D.C., and at the New Victory Theater in Times Square. She has recorded and appeared with such mainstream performers as Bono and Quincy Jones, Enya, Elton John, Sarah McLachla n, Lisa Loeb, Kanye West, Ja y Z and Beyoncé, on MTV, Saturday Night Live, at Live 8 Philadelphia, Radio City Music Hall and Royal Albert Hall in London, England. Dr. Choi attained her Doctor of Musical Arts degree at Rutgers University, studying with Arnold Steinhardt as the recipient of the Graduate Fellowship Award. She holds bot h Bachelor and Masters degrees from The Juilliard School where her major teachers were Joseph Fuchs and Joel Smirnoﬀ. Also a Teaching Artist for the New York Philharmonic, Lincoln Center Institute, Chamber Music Society of Lincoln Center and the Bloomingdale School of Music in New York City, she joined the faculty of Binghamton University in Fa ll ‘06. �MICHA EL SALMI RS, a founding member and artistic director of the Finger Lakes Chamber Ensemble, is well known as a recitalist and chambe r musicia n perform ing extensively throughout the region. He has appeared as soloist with the Corning Philharmonic, Bingha mton University Orchestra, Cayuga Chamber Orchestra, and has been a featured pianist on their Sunday cha mber se ries. As a performer of contempo rary m usic, he has participated in such series as Bingha mton University’s Musica Nova, Cornell University’s Ensemble X, and has toured and recorded for the Syracuse Society for New Music. Salmirs studied at the New England Conserv atory and Eastma n School of Music ; his tea chers h ave inc luded p ianists 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 fac ulty me mber at Binghamton University and an Aﬀiliat e Artist at Cornell University. He mainta ins a private piano studio in Ithaca and e njoys te aching students of all ages and levels. This season, Salmirs will perform Poulenc’s Aubade with the Ca yuga Ch amber O rchestra . * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * Comin g Even ts S und a y , Fe b r u a ry 25 – U nive rsity W i n d Ense m b le : A Wor ld T our – 3:00 p.m . – Anderson Center Cham ber Hall – free S und a y , Fe b r u a ry 25 – B ach A gain! Jonat ha n Bi g gers, or ganist – 4:00 p.m . – First Presbyte rian Church, Bing hamton $15 gene ral public ; $13 faculty/staﬀ/seniors; $7 students Th urs d a y , M a r c h 1 – Mi d Da y Co n ce r t 1:20 p.m. – Casadesus Recital Hall – free Saturd a y , M a rch 3 – Univers ity S y mp hony Or chestra – 8:00 p.m. – Osterhou t Concer t Theate r –$9 general pub lics; $7 faculty/staﬀ/seniors; free for students � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&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.) 01:02:57 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196895">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196895</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 Faculty recital, Janey Choi, violin, February 24, 2007 Recital Tape 2-24-2007 Description An account of the resource Held at 8:00 p.m., Feb. 24, 2007, Casadesus Recital Hall. Works of Leclair, Beethoven, Ysaye, Debussy. Creator An entity primarily responsible for making the resource Salmirs, Michael Choi, Janey 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 2007-02-24 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID d5877dee-d12f-4419-96e7-02f91ef7f2f9 https://omeka.binghamton.edu/omeka/files/original/3bb0f8c4464ee9604424a4e1d258918a.pdf a7c17fc73ff5badf3fc2d6640584c3ad PDF Text Text BINGHAMTON U N I V E R S I T Y St ate University of N e w York U N I V (BR l, B E F A R z e d e c E N T T M “ “A W O R L D TOUR ” Thre t Universiy Win d COndemble Daniel Brisk Associate Conductor Robert Smith Music Director and Conductor with William Gilchrest, tru m pet Sunday, February 25, 2007 3 :00 p.m. A nderson Center Cha mber Hall �PROGRAM 7¥ g i Conducted by Daniel Brisk / antasy On Osaka Folk Tunes.................................... Hiroshi Ohguri (19181982) / : o [ ; .......... ¥ Concerto for Trumpet . . . . . . . . . . . . . . . . . . . c o e e e e eAlexander Arutuman I,‘ William Gilchrest, trumpet ) \ (b.1920) Danse Final from Est ancia..................................... Ginastera L s [ ecliacal O ) l sttles (19161983) Mannin Veen(“Dear Isle o fMan ”) ..............................Haydn Wood (18821959) IN T E R M I S S I O N Conducted by Robert Smith Australian Up Country Tune(1928) .............Percy Aldridge Grainger (18821961) Arr. Glenn Cliﬀe Bainum Symphony No. 3 “Slavyanskaya”(1958) ............. Boris Kozhevnikov (19061985) I. Allegro ed. John R. Bourgeois II. Slow Waltz III. Vivace IV. Moderato I I Ik i. �ABOUT THE M USIC . Hiroshi Oh gu ri (19181982) . Fantasy on Osaka Fol k T u n es. As a musician, Osakan born Ohguri thrived with curiosity and fervor. After entering Ten noji Commercial H igh School, the 13 year old Ohguri learned to play French horn. With his musical thirst being unquenched by merely playing an instrument, he taught himself composition by the time he graduated, with some of his works being played by the school’s wind ensemble. After moving to Tokyo in 1941to further his musical career, Ohguri began playing in the Tokyo Philharmonic Symphony Orchestra under the direction of Manfred Gurlitt. Fantasy on Osaka Folk Tunes, originally com posed in 1956, is characterized by a marriage of pentatonic Osakan m elodies with syncopati on to create rhythmic e xcitement. At times, the wind band encompasses a percussive qual ity, further adding to the general energy of the piece. Beginning with the mysterious introduction, the work takes on the shape of an elongated accelerando, gradually becoming quicker and quicker until the last two chord Notes by D. Brisk strikes from the ensem ble. Mannin Veen (“Dear Isle of Man ”) . . . . . . . . . . . . . .Ha ydn Wood (18821959) Haydn Wood was a proliﬁc English composer—having written musical comedies, overtures, suites, songs and other orchestra and vocal works—and violinist. Wood studied at the Royal College of Music when he was 1 5, began touring at age 31, and began serving as director of the Perfo rming Right Society at age 57. Mannin Veen, one of two works Wood composed for wind instrumentation, was founded on four Manx folk tunes. The ﬁrst tune, “The Good Old Way” is an air dating back to the l l late 18” century. “The Manx Fiddler” was a simple, folk dance tune called a “reel,” and introduces a lively section in the work. The tune, “Sweet Water in the Common” spoke of the practice of gathering m en from each parish in a district to settle dispu tes of the common areas such as waterways and boundries. “The Harvest of the Sea (Manx Fisherman ’s Evening Hym)” was sung by ﬁshermen in thanks for a safe return from sea. Wood presents these melodies both onebyon e and played simultaneously. The piece concludes with a dramatic recapitulation of th e Manx Fisherman ’s Evening Hymn. Notes by D. Brisk Concerto for T ru m p e t . . . . . . . . . . . . . . . . . . . Alexan der Aru tun ian (1920) Armenian composer A lexander Grigoriyevich Arutunian graduated from the Conservatory of Yerevan at the age of 2 1 and continued studies in the ﬁeld at the Moscow Conservatory with Litinsky, Peyko and Zuckermann. Arutunian ’s accolades for composition include the State Prize of the USSR for his Motherland Cantata (1949), and the Peoples’ Artist of Armenia (1960). Australian U pCountry Tune . . . . . . . . Percy Aldridge Grain ger (18821961) Born in Brighton, Mel bourne, Australia, (George) Percy Aldridge Grainger became a naturalized American c itizen in 1914. He toured extensively as a con cert pianist and was invited to Norway by Edvard Grieg to do special study of the Concerto in a minor. Along with Holst and VaughnWillams, Grainger extensively collected and notated English folk music and set many of these traditional in a variety of mediums. His Lincolnshire Posey is one of the cornerstones of the wind band literature. Arutunian ’s strong nationalistic feelings are manifest in his compositions through his use of Armenian melodic and rhythmic characteristics. Arutunian projects his patriotic fervor particularly through his Trumpet Concerto by incorporating rhythmic and melodic characteristics of Armenian folk music. He has enriched this composition by creating dynamic contrasts of m ood ranging from the rough, yet festive passages to delicate lyrical sections with jazzy inﬂuence. The work is traditional ly divided into three sections: AndanteAllergro energico, Meno mosso and a return to Tempo Primo. The heroic main “This piece (written for chorus in 1928) is based on a tune I wrote in 1905 entitled “Up Country Song” In that tune I had wished to voice Australian upcoun try feeling as Stephen Foster had with Ameri can countryside feelings in his songs. I have used this same melody in my Australian ‘Colonial Song’ and in my Australian ‘The Gumsuckers March’. P. Grainger Notes by R. Smith theme is juxtaposed wi th contrasting ﬂowing melodies to create a wo rk with tasteful variety. . Boris Kohzevnikov ( 19061985) Symphony No. 3. “Slavyanskaya”. Boris Tikhonovich Kozhevnikov studied composing and conducting at the Kharkov Music– Notes by D. Brisk Danza Final from Estancia . . . . . . . . . . . . . . . A l berto Ginastera (19161983) Though born in Buenos Aires and known as being one of its leading composers, Ginestera was no stranger to Am erican collaboration. For two years in the mid 1940s, Ginestera studied with the great A merican composer Aaron Copland in Tanglewood. Fans of the progressive rock group Emerson, Lake and Palmer are most likely familiar with the work, “Toccata” which was an adaptation of the fou rth movement from Ginestera’s Piano Concerto # 1. Keith Emerson also rel eased an adaptation of Ginestera ’s Suite de Danzas Criollas (“Suite of Creole Dances”). Estancia, composed in 1948 during a period Ginestera himself identiﬁed as his “Objective Nationalism” period, is the second of two operas attributed to the composer. Ginestera ’s “Objective Nationalistic“ period is typiﬁed by settings of Argentinean folk motives in straightforward fashion, opposed to the abstract forms he would use in his later compositional periods. Danza Final is divided into two primary sections: an Allegro dance section and a Te mpo di Malambo. Malambo is an Argentinian competition style Each dancer would compete to see who dance for men with ori gins in the 1 7 Century. could perform the widest variety, the most complex and the most diﬀicult mudanzas, or Notes by D. Brisk series of foot movemen ts in a very small area. Dramatic Institute. Following his graduation in 1933 he attended the Military School of Music in Moscow. Kozhevnikov became a member of the faculty of the Moscow Conservatory in 1940 and also held conducting posts at various theaters. A proliﬁc composer, Kozhevnikov’s works are well known in Russia but are rarely performed in the USA. Among them are Dance Suite on Ukrainian Themes, Sinfonietta, Joyful Overture, Trumpet Concerto, Intermezzo (for four trombones), songs, and dance pieces. He wrote over 70 pieces for band including marches, overtures, poems, rhapsodies, suites and 5 symphonies. Completed in 1958. the four movements of “Slavyanskaya” reﬂect th e folk music of Novgorod. Russia. the composer’s birthplace. The ﬁrst movement is based on two folksongs, one rhythmic and furious, the other lyrically melodic. The graceful slow waltz o f the second movement i s in contrast to the “Vi vace” third movement with its technical challenges. The themes of the ﬁnal movement are reminiscent of the ﬁrst but are actually quite diﬀerent. Notes by R. Smith �Members of The Universitv Wind Ensemble ABOUT THE P ERFORM ERS ROBERT G . S M I T H is Music Director and Conductor o f the Binghamton University Wind Ensemble. Professor Smith holds degrees from Hartwick College, Binghamton University and is a candidate for the Doctor of Musical Arts in Music Education from Boston University. His career includes 3 2 years as a public school music educator. He conducts the annual Triple Cities TubaChristmas and is former conductor of the Maine Community Band, the oldest band of its kind in the United States. He has guest conducted allcounty and community bands throughout central New York as well as the Goshen College(IND) Wind Ensemble and Orchestra. In March, 2007 he will guest conduct the Ulster County(NY) AllCounty High School Band. An active performer, he currently plays principal euphonium with the Southern Tier Concert Band and tuba with the Brass Nickel quintet and the Crown City Brass sextet. Smith is the immediate past president of the Broome Coun ty Music Educators Association and recipient of the 2005 BCMEA Distinguished Service Award. Professional memberships include The Broome County Music Educators Association, the New York State School Music Association, the Music Educators National Conference, The National Band Association, The Association of Concert Bands, The Conductors Guild, The World Association of Symphonic Bands and Ensembles, The College Band Directors National Association and the International Tuba and E uphonium Association. DANIEL BRISK graduated from Wilkes University in Pennsylvania with a degree in Music Education. Mr. Brisk is currently I nstrumental Music Educator at Chenango Valley High School where he has conducted the Symphonic Band, Jazz Band, Pep Band and been heavily involved in the Theatre Guild. Under Mr. Brisk ’s direction, the Symphonic Band has consistently taken top honors at NYSSMA Majors adjudication festivals. A Tubist, Mr. Brisk has performed as a member of the Southern Tier Concert Band, European Brass and is a freelance musician. He is currently enrolled at Binghamton University where he is pursuing a Masters Degree with a focus on Instrumental Conducting under Dr. Timothy Perry. He has previously studi ed conducting under Cyril Stratanski, Dr. Alan Baker, Ferdinand Liva, Jerome Campbell and Dr. Richard Brown. Mr. Brisk is member of The Broome County Music Educators Association, The New York State School Music Association, The Music Educators National Conference and was listed twice in Who ’s Who Among America ’s Teachers. Mr. Brisk lives in Clarks Summit, Pennsyl vania with his new bride, Kristen. GUEST ARTIST, WILLIAM GILCHREST, trumpet, completed undergraduate work at Gordon College earning a degree in music education. He is currently the Choral director and general music teacher at Schenevus Central School. * principal @ graduate conductor Piccolo Alto Saxophone I Flute I Jennifer Weintraub * Sarah Harper Jessica Williamson @ Alto Saxophone II Katherine Navarette Amy Sleeper Flute I1 Julie Liao Sarah Shafer Brenda Courtright Laura Dempsey Steven lnganamort Melissa Voldan Oboe I Ephraim Atkinson Oboe II Jin Jongho C l a ri n e t Eb Kristen Weiss CB L A R IN E TI B Daniel Zaccarini* Dong Yoon Shin Margaret Venti Bb Clarinet II Richard Silvagni Kyle Doyle Mitchell Ostrow Bb Clarinet ITI Melissa Klepper Mark Norman Lisa Carpinone Christa Heschke Kristen Sedacca Bb Bass Clarinet Heather O’Gara . l Amy Natiella* Tenor Saxophone Baritone Saxophone Marissa Roe T rumpet I,II,III Cornet I,II,III Andrew Sanfratello Steve Pan Lisa Eppich Harvey Westcott Anne Meyer F H orn I,II,III,I Megan Caruso Robert Muller Alexa Weinberg Trombone I Harris Brenner Trombone II III Thomas Ignacio E uphoni um Matthew Sanders Tuba Katherine Winchell* Paul Meddaugh Steven Kong David Parnes Percussion Christopher Jacobson* Subin Lim Kelly Tufo Paul Payabyab Timpani Caleb DeGroote Piano Hwang Hyunjin �Th ursday, M a rc h 1 – MidDay Con cert 1 :20 p.m. – Casadesus Recital Hall – free Saturday, March 3 – University Symphony O rchestra – 8:00 p.m. – Osterhout Concert Theater –$9 general publics; $7 faculty/staﬀ/seniors; free for students Sunday, M a rch 4 – Absolut(e) Russian with special guests El mar Oliveira, violin and Sand ra Robbins, viola – 3:00 p.m. – Anderson Center Chamber Hall $25 general public; $20 faculty/staﬀ/seniors; $10 students Th ursday, M arch 1 5 – MidDay Concert – 1 :20 p.m. – Casadesus Recital Hall free — F riday, M a rch 1 6 – Master ’s Recital – A kiro Maezawa, violin – 8 :00 p.m. – Casadcsus Recital Hall – free Saturda y, M arch 1 7 – Master ’s Recital : M iriam W right, soprano – 3:00 p.m. – Casadcsus Recital Hall – free Saturda y, M arch 1 7 – Ha rpu r Chorale an d Women ’s Chorus – 8:00 p.m. – Anderson Center Chamber Hall – Free Th ursday, M a rc h 22 – MidDay Con cert – 1 :20 p.m. – Casadesus Recital Hall free — F riday, M arch 23 – Neil Berg’s 1 00 Years of Broadway – 8:00 p.m. – Osterhout Concert Theater $30 general public; $25 faculty/staﬀ/seniors/alumni, $10 students (A Beneﬁt for the Music Theater and Athletic Departments) 3 S u n d a y , M a rch 25 – Millennia Too! Guest O rgan and Oboe Concert : Alison Luedecke, organist and Susan Ba rrett, oboist – 4:00 – p.m. – First Presbyterian, Binghamton $15 general public; $13 faculty/staﬀ/seniors; $7 students Tuesday, M arch 27 – Student Recital : Melissa Lee, viola – 7:30 p.m. – Casadesus Recital Hall free Th ursday, M a rc h 29 – MidDay Con cert – 1 :20 p.m. – Casadesus Recital Hall free — Th ursday, A pril 1 2 – MidDay Con cert – 1 :20 p.m. – Casadesus Recital Hall — free � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. 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.) 56:23:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196766">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196766</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 A World Tour, February 25, 2007 Recital Tape 2-25-2007 Description An account of the resource Held at 3:00 p.m., Feb. 25, 2007, Anderson Center Chamber Hall. Works of Ohguri, Arutunian, Ginastera, Wood, Grainger, Kozhevnikov. Creator An entity primarily responsible for making the resource Brisk, Daniel Smith, Robert Gilchrest, William 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 2007-02-25 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 8acc3e0c-700b-4058-894f-8d57548610d0