97 10 1775 https://omeka.binghamton.edu/omeka/files/original/d968924e9bf404c5a42877761e9ac462.pdf 71186227d9e048effa14f5fb2988b3e2 PDF Text Text U N I V  i at  ; i , X E ff : 1 \    BU INNI GV HE V " 1 0257: 2 ­ R S I T Y State University of  New York .\  $ . .  . Binghamton University Department of Music TH U RS DAY  MID ­DAY CO NC E RT \ id March 1, 2007 – 1 :20 p.m. ­ Casadesus Recital Hall Ici­bas!a dc sare. B   .............Gabriel Faure (1845­1924) Les berceau x Jessica Bar kley, soprano Jod y Schum, piano Gabriel Faure was an influential french composer, organist, pianist and teacher. Often considered to be the master of the French a rt song,  Faure’s graceful melodic lines, simple strophic forms and masterful accompaniments influenced many composers. His style embodied the French style of music. His text painting ability and affinity for choosing meaningful poetry was second to none. These three early Faure pieces include poetry from Nobel Prize winner Sully Prudhomme, a French poet and essayist. lei­has! ­ H e re Below Here below all the lilacs die, All the songs of the birds are short, l dream of summers that remain Forever! Here below lips touch lightly Without leaving any o f their velvet behind, I dream of kisses that remain Forever! A u Bord de I’eau ­ At the water ’s edge To sit together beside the passing stream and watch it pass ; i f cloud glides by in the sky,   together to watch it glide; but, having no deep passion except adoration for one another, without concern for the world’s quarrels, to ignore them; and alone together, in the face of all wearying things, unwearyingly, to feel love (unlike all things that pass away) not passing away Les berceau x ­ The C radles Along the quay, the great ships, that ride the swell in silence, take no notice of the cradles. that the hands o f the women rock. But the day of farewells will come, if a thatched house sends up smoke on the horizon, to watch it smoke; i f flower spreads fragrance nearby,   when the women must weep, and curious men are tempted towards the horizons that lure them! under the willow where the water murmurs, And that day the great ships, sailing away from the diminishing  port, feel their bulk held back by the spirits of the distant cradles. to ta ke o n  its fragra nce ; to listen to it m u rm u ri ng ; for the time that this d ream endures, not to fee l its d urat ion ; �Chanson d’Avril Apres I’hiver Ouvre ton coeur ..Georges Bizet (1838­1875) Ma ry Aimoniotis, soprano Margaret Reitz, piano George Bizet, best known for his opera Carmen, also wrote many wonderful French art songs.  These three mélodies represent my admiration for springtime.  “Chanson d‘Avril” sets the mood of this set with its wonderful, clear and bright accompaniment, which represents the buzz of the earth before all the flowers and animals awaken.  The second piece,  “Apres I’hiver” describes how all the earth’s creatures awaken, and with them, love.  The set ends with “Ouvre ton coeur", a rhythmical explosive piece describing the chase of love. Chanson d’Avril (Song of April) Wake up! Wake up! Spring has just been bo rn! Over those valleys a rosy mist is floating! Everything in the garden trembles and sings ; your window is full of sunshine, like a joyful gaze. Around the bunches of purple­flowering lilac butterflies and bees flutter and hum togethe r, and the little shaking bells of lily­of­the­val ley have woken up Eros who was sleeping in the woods. Now that April has scattered its white daisies, go without your heavy cloak and cold­weather muff! The birds are already calling you, and the periwinkles (your sisters) will smile in the grass when they see your blue eyes. Let’s get going! The stream is clearer in early mo rning. Get up! Let’s not wait for the day’s burning heat. I want to wet m y feet in the moist de w and talk to you of love under the blossoming pear­trees. Apres L ’hiver (After winter) All awaken, my dear friends, The grey sky is loosing her paleness. When the earth gives o ff  her fragrance the hear of men is best. Come, come an invisible flute sighs its song in the groves. The most tranquil song is the song of the shepherds The air intoxicates me, it wraps its arms aro und my neck victorious! It blows through the blooming rose trees, that awaken the sighs in our hearts Come, come the wind rides the somber mirror of the water under the oak tree. The song the most joyous is the song of the birds. With clarity and perfume we happily bathe out hearts. In the supreme emanations. Elements in love. Come, come we love always  there is not torment. The song the most charming is the song of love. Come, come we love always! Ouvre ton coeur (Open yo u r hea rt ) The daisy has closed its petals, The shadow has closed its eyes for the day. Beauty, will you speak with me? Open your heart to my love. Open your heart, oh young angel, to my flame So that a dream may enchant your sleep. I wish to reclaim my soul, As a flower t urns to the sun! �Sonata in E flat, Op. 120, No. 2 » cere ssssnmsrsesinnicrsinonnssssessonisemmnssnnissd Brahms (1833­1897) Andante Con Moto  Melissa Lee, viola Michael Salmirs, piano The Sonata in E flat is one of the last pieces by Brahms.  It was a time of despair in which Brahms had decided to stop composing entirely, noting in his will that all his music be “left behind in manuscript [and] burnt”. Through the support  of clarinetist  Richard  Mfihlfeld,  Brahms  began composing again,  dedicating to  him  the  E  flat  Sonata. Although this piece was originally written for the clarinet, the viola sonata is not a transcription but an actual piece that Brahms himself adapted for the viola. The viola sonata may also have been inspired by another friend of his, violinist Joseph Joachim, who Brahms confessed to, saying that “. . .both pieces are perhaps still a litle awkward and unsatisfactory  as viola  sonatas”.  This third  movement, a  theme and  variation  form, is the  last  movement  of the sonata.  ° Selections from Wesendonk Lieder ........  Im Treibhaus  Traume Elizabeth Du hr, mezzo­soprano Margaret Reitz, piano Richard Wagner (1813­1883) These two songs from Wagner’s set of five “Wesendonk Lieder” were written between 1857 and 1858.  The poetry is that of Mathilde Wesendonk, said to be Wagner’s lover at the time.  Both “1m Treibhaus” and “Traume” were written as studies for Wagner’s later operatic composition, “Tristan und Isolde.”  Wagner initially wrote the songs for female voice and piano alone, but produced a fully orchestrated version of “Tridume", to be performed by chamber orchestra under Mathilde’s window on the occasion of her birthday on December 23, 1857. The cycle was first performed in public near Mainz on July 30, 1862 under the title “Five Songs for a Female Voice.” Im Treibha us (In the Hothouse)  High­vaulted crowns of leaves,  Canopies of emerald,  You children of distant zones,  Tell me, why do you lament?  Tra ume (Dreams) Tell me, what kind of wondrous dreams are embracing my senses, that have not, like sea­foam, vanished into desolate Nothingness? Silently you bend your branches,  Draw signs in the air,  And the mute witness to your anguish ­  A sweet fragrance ­ rises.  Dreams, that with each passing hour, each passing day, bloom fairer, and with their heavenly tidings roam blissfully through my heart! In desirous longing, wide  You open your arms,  And embrace through insane predilection  The desolate, empty, horrible void.  Dreams which, like holy rays of light sink into the soul, there to paint an eternal image: forgiving all, thinking of only One. A I know well, poor plants,  A fate that we share,  Though we bathe in light and radiance,  Our homeland is not here!  Dreams which, when the Spring sun kisses the blossoms from the snow, so that into unsuspected bliss they greet the new day, And how gladly the sun departs  From the empty gleam of the day,  He veils himself, he who suffers truly,  In the darkness of silence.  so that they grow, so that they bloom, and dreaming, bestow their fragrance, these dreams gently glow and fade on your breast, and then sink into the grave. It becomes quiet, a whispered stirring Fills uneasily the dark room: Heavy drops I see hovering On the green edge of the leaves. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 33:39:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196769">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196769</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 Thursday mid-day concert, March 1, 2007 Recital Tape 3-1-2007 Description An account of the resource Held at 1:20 p.m., March 1, 2007, Casadesus Recital Hall. Program includes translations for songs. Works of Fauré, Bizet, Brahms, Wagner. Creator An entity primarily responsible for making the resource Barkley, Jessica Schum, Jody Aimoniotis, Mary Reitz, Margaret Lee, Melissa Salmirs, Michael Duhr, Elizabeth 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 2007-03-01 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 92d4c40c-bf94-42ed-9d35-13a92bc7e425 https://omeka.binghamton.edu/omeka/files/original/db6bed19e50d14caecd4779e3b71b4c3.pdf 10c10449c5ae884801cfe8bb068aaaad PDF Text Text BINGHAMTON U N I V E R S I T Y State University of  New York i l l   1  .’  R E o t I  vwdec ,  ,.  s 1  D  E  P  A  R  T  M  E  N  T 2­4 _ — N ( A B S O LU T ( E ) R U S S I A N Janey Chol, violin Roberta Craw ford, viola Stephen Stal ker, cello Michael Salmi rs, piano with guest artists El mar Oliveira, violin Patricia Sunwoo, violin Sand ra Robbins, viola H a k an Tayga­ H romek, cello Sunday, March 4, 2007 3:00 p.m. Anderson Center Ch amber Hall �PROGRAM Five ‘Melodies, O g  33besvvn..........  Andante  Lento, m a non troppo Animato, ma non allegro Allegretto leggiero e scherzando Andante non troppo Ms. Choi, Mr. Salmirs PROGRAM NOTES Sergei Prokofiev (1891 ­1953) As  its  nam e  suggests,  it  is  a  piece  o f utmost  lyricism  and Piano Quintet, Op.  ...........cccorii nsi ri ron i n ii nn i ns Shostikovich Prelude  Fugue Scherzo Intermezzo Finale Prokofiev Five Melodies for Violin and Piano, Opus 3 5 bis  (1925) Composed  in  California  in1925,  Prokofiev’s  Five  Melodies were somewhat  of an  anomaly  in  the composer ’s  more  radical early period, before his move back to his native Russia, where his music seemed to become more settled. (1906­1975) Ms. Sunwoo, Ms. Choi, Ms. Crawford Mr. Stalker, Mr. Salmirs WINTERMISSION Souvenir de Florence, Op. 70.................... Pyotr Ilyich Tchaikovsky (1840­1893) Allegro con spirito  Adagio cantabile e con moto Allegretto moderato Allegro vivace Mr. Oliveira, Ms. Choi, Ms. Robbins, Ms. Crawford Mr. Stalker, Mr. Tayga­Hromek accessibility.  Originally  published  as  a  wordless  vocalise  for soprano and piano, op.35, the work has gained more popularity in its  instrumental  form,  where  its  highly  figured  virtuosity  is perfectly idiomatic to the violin. Shostakovich Piano Quintet, op.57 (1940) Dmitri Shostakovich was born on September 25th, 1906 in St. Petersburg into an affluent family.  He took his first piano lessons from his mother, a concert pianist, and eventually studied at the Petrograd  Conservatory.  Despite  early successes, his  fortunes soon turned as the political heads began to notice and criticize his music.  His monumental Fifth Symphony, subtitled “the creative reply  of  a  Soviet  artist  to  justified  criticism”  reestablished  a favorable  reputation  with  his  officials,  but  one  can  detect  an ironical tone.  Along with Symphony No. 7, a wartime patriotic work called “Leningrad", he won the Stalin Prizes for his famous Piano  Quintet  in  g,  op.57  in  1940.  After  composing these pieces, Shostakovich grew tired of being held back by Stalin and his officials, so he turned to the quieter arena of chamber music to more honestly express himself. One of Shostakovich ’s best­known chamber works, the Piano Quintet was composed for the Beethoven String Quartet, as were most  of  his  string  quartets,  and  premiered  by  them  with Shostakovich himself at the piano on November 23 that same year at the Moscow Conservatory, to great success. The quintet is in  five movements, each with accessible forms and styles referencing past masters, and characterized by clearly etched  and  powerful  melodies.  The  Prelude  acts  almost  as  an operatic ove rtu re, foreshadowi ng melodic motives, counterpoint, basso  continuo  and  dance  forms  to  be  readdressed  in  later �movements.  The  opening statements  also  call  to  mind  Bach ’s Prelude  movements,  both  in  gesture  and  symmetrical  phrase divisions.  The five­voiced Fugue in G minor, the most substantial movement, follows, opening with  muted strings.  Largely tonal and conservative in form, Shostakovich later takes short motives from the subject to gradually distort the counterpoint, becoming increasingly dissonant.  Following a brief general pause, Prelude material is  restated in the piano and then the cello, in an almost heroic role, breaking free from the structured conformity of the fugal structure.  When the fugue subjects return, the atmosphere has  changed.  This  time,  there  are  pedal  tones,  harmonies  in remote  keys,  and  brief  reprises  of  just  the  fugue  fragments. Although the movement closes on a G major chord, the resolution is  dark,  sounding  in  the  lowest  register  of the  piano.  A  brief scherzo and interrnezzo (which takes the place of the conventional slow  movement)  follow  before  the  work  ends  with  a  brilliant finale. Virtuoso scoring and a particularly technical and soloistic piano part continue to make the piano quintet Shostakovich ’s most frequently played chamber work, perhaps overtaken in popularity only by his String Quartet No. 8. Tchaikovsky Souvenir de Florence, op.70 (1890) Tchaikovsky’s  final  chamber  work  was  composed  i n dedication  to  the  St.  Petersburg  Chamber  Music  Society  in response to his being awarded honorary membership.  Though his earliest  sketches  of  this  work  date  back  to  June  of  1887,  he seemed plagued with  inertia or dissatisfaction, and there were a series  of  starts  and  stops  before  the  first  draft  was  finally completed three years later.  Among his greatest challenges was to  write  for  this  unusual  grouping,  creating  what  he  called  an orchestral  work,  scored  for  only  six  (independent  yet hom ogen eous)  string  i nstrum ents.  E v e n  a fter  com pl eting  t he parts,  Tchaikovsky  was  anxious  about  the  piece  (performance tempi, bowing and articulation markings).  He took an active role with  the  performers,  going  through  several  revisions  over  the following  two  years  before  finally allowing  it  to  be  published. The full score appeared in print in June 1892 with a 4 hand piano arrangement in October of the same year. The first performance was  by  the  St  Petersburg  Chamber  Music  Society  on  25 November 1892, in the presence of the composer. The  title  of the  work  reflects  his  adored  visits  to  Florence, though  in  the time  surrounding the composition,  he  was going through a dark period in his life,  In letters to his composer friend Alexander  Glazunov,  he  complained  of  his  fatigue  and disillusionment from life.  Perhaps seeking refuge in his work, his compositional triumphs here certainly alleviated his despair. T he sextet  opens with  a  frenzy o f energetic  accompaniment over which the first violin attacks a descending three­note motive that will be the movement’s building block. Eventually the music eases to a gentle rocking motion over which the first violin spins a soothing  lyrical  melody.  The  descending  three­note  motive germinates  in  his  development  section  with  the  counterpoint, equally distributed  in  all  six  voices,  being carefully controlled, texturally.  The  Adagio  cantabile  second  movement  is Tchaikovsky at his best.  The first violin leads, singing the titular “Souvenir  de  Florence”  melody  over  a  guitar­like  pizzicato accompaniment.  Soon the first cello enters to create a  romantic pas  de  deux  reminiscent  of a beloved  sequence  between  these instruments in his earlier ballet masterpiece, Swan Lake.  All six instruments  eventually  join  in  the  amorous  celebration.  The movement’s  middle  section  is  a  flurry  of  eager  whispers  and palpitations  before the  cello  and  violin  resume their  love  duet. The  intermezzo­like  third  movement  is  full  of  nationalistic nostalgia,  with  the  first  violin  singing a  poignant  little  Russian folksong­inspired  melody.  Passed  among the  instruments, this melody gradually grows intense and passionate. The middle trio section  is  a scampering, feather­light scherzo.  The sonata­form finale also harkens back to the Russian countryside with a lively principal theme in Russian folk­dance spirit.  Tchaikovsky flexes his  contrapuntal  muscles  here,  and  soon  a  lively,  almost­fugal canon breaks out among the instruments.  The true fugue begins after  the development  and  recapitulation  of the  dancing theme. Then using that theme as a  fugue subject  presented  by the two violins,  he  adds  further  complexity  by  layering  on  his  earlier canon theme as a second subject.  The piece comes to a vibrant, full­bodied conclusion that seems to summon the orchestral forces of this chamber ensemble. ­­Janey C h o i �ABOUT T H E  P E R F O R M E R S Canadian­born violinist, JA NEY C H O I  gave her Carnegie Hall recital  debut  in  1 997  as  a  winner  o f the  Artists  International Auditions  and  continues  an  active  performing  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 partic ipated 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. presented  by the  ensemble since  its  formation  in  1990.  She  has performed with the Catskill  Chamber Players, appeared  frequently on the Cayuga Chamber Orc hestra ’s Sunday Chamber Music Series ’ : .) An avid inter­arts and cross­genre collaborator, she is t he Music Director of Thomas/Ortiz Dance, a partnership  recognized by the American Music Center wit h a Live Music for Dance G rant, and has performed numerous tim es with the Parsons Dance Co., most notably at the Kennedy Center in  Washington, D.C., and at t he New  Victory Theater  in  Times  Square.  She  has  recorded  and appeared with such mainstream performers as Bono an d Quincy Jones,  Enya,  Elton  John,  Sarah  McLachlan,  Lisa  Loeb,  Kanye West, Jay­Z and Beyoncé, o n MTV, Saturday Night Live, at Live 8 Philadelphia, Radio City  Music Hall  and Royal Albert Hall  in London, England. Dr. Choi attained her Docto r of Musical  Arts degree at Rutgers University, studying with A rnold Steinhardt as the recipient of the Graduate  Fellowship  Award.  She  holds  both  Bachelor  and Masters  degrees  from  The  Juilliard  School  where  her  major teachers were Joseph Fuchs and Joel Smirnoff. She is a Teaching Artist for the New York Ph ilharmonic, 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 Fall ’06. R O B E R T A   C R A W F O R D ,   violist,  performs  extensively  as  a recitalist  and  chamber  musician.  As  Associate  Director  and  a founding member of the Fin ger Lake Chamber Ensembl e, Crawford has participated in one­hund red solo, chamber, and lectu re­recitals and  has been a  guest performer with the A riadne String Quartet. Crawford has played with t he Portland and Syracuse s ymphonies and  is  Associate  Principal  Violist  for  the  Cayuga  Chamber Orchestra.  An  advocate  of  new  music,  Crawford  has  premiered numerous  works  featuring  viola  and  has  had  several  works dedicated to her. She has pa rticipated in music festivals throughout the  United  States and  in  the Caribbean and  has appeared  in  live performance broadcasts for public radio and television. A dedicated teacher, Crawford  has served as clinician, coach, and adjudicator for numerous music organizations and is Director of ViolaFest at Binghamton.  She  has  been  a  guest  faculty  member  at  Phillips Academy, the Quartet  Program, Ithaca  College, and  the  Eastman School  of  Music  and  is  currently  Coordinator  of  Strings  at Binghamton University. ST E P H E N  ST ALKER, cellist, teaches at Binghamton University. He  formerly  taught  at  Colgate  University,  Mansfield  University, Ithaca College and the Binghamton City School  District. He  was the  principal  cellist  of the Cayuga Chamber Orchestra  in  Ithaca, NY,  and  has  performed  extensively  with  the  Catskill  Chamber Players of Oneonta, NY, and in concerts at Binghamton U niversity. Performing  with  the  Catskill  Chamber  Players  he  has  presented Meet the Composer concerts with prominent American  composers including John  Cage, Virgil  Thomson,  Lou  Harrison  and George Crumb.  The  Chamber  Players  appeared  at  Weill  Recital  Hall, premiering  a  set  o f  four  string  quartets  by  H en ry  Brant.  With l 2 violinist, Janet Brady, and pianist, Walter Ponce, he performed the complete  Beethoven  Trio  cycle  at  SUNY­Binghamton.  He performed  with  Solisti  New  York  on  their  Alaskan  cruise  of the Inner  Passage  from  Vancouver  to  Juneau.  As  a  member  of  the Madison  String  Quartet,  he  was  a  finalist  in  the  Naumberg Chamber  Music  Competition  in  New  York  City  and  the  Evian International String Quartet  Competition in  Evian, France. He has performed  in  many  recital  appearances  with  pianist,  Michael Salmirs.  He  performs  regularly  with  the  Trio  Amici,  Trilogy, Baroque‘n  Blue,  Early  On  and  in  concerts  at  Binghamton University.  He is a past president of the New York State Chapter , �of the American String Teachers Association and was Strings Chair for the New York State School Music Association.  He is a founder of  the  Southern  Tier  Music  Teachers  Association  and  the Binghamton  Cello  Festival.  He  is  a  graduate  of the  Manhattan School of Music in New York City. Pianist  M I C H A E L   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.  He  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  a  faculty  member  at  Binghamton  University  and  an Affiliate Artist at Cornell  University. He maintains a  private piano studio in  Ithaca and enjoys teaching students of all ages and levels. This  season,  Salmirs  will  perform  Poulenc ’s  Aubade  with  the Cayuga Chamber Orchestra. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * GUEST ARTISTS E L M A R  OLIVEIRA  has  taken  his  place  as  one  of the  most commanding  violinists  of  our  time.  with  his  unsurpassed combination of impeccable artistry and old­world  elegance.  Mr. Oliveira 1s  on e o f  t h e fe w major artists com m itt ed t o t he entire spectrum  of the  violin  world.  constantly  expanding  traditional repertoire boundaries as a champion of contemporary music and rarely­heard  works  of  the  past.  devoting  energy  to  the developm ent  o f  t he  young  artists  o f   tom orrow,  a n d enthusiastically  supporting  the  art  of  modern  violin  and  bow makers. Among  his  generation’s  most  honored  artists,  Elmar  Oliveira remains  the  first and  only American  violinist  to  win  the  Gold ? ) Medal at Moscow ’s Tchaikovsky International Competition. He is also the first violinist to receive the coveted Avery F isher Prize, in addition to capturing First Prizes at the Naumburg international Competition and the G.B. Dealey Competition. Mr. Oliveira has become a familiar and much­adm ired figure at the  world ’s  foremost  concert venues. His  rigorous international itinerary  includes  appearances  in  recital  and  with  many  of the world’s  greatest  orchestras,  including  the  Zurich  Tonhalle, Cleveland,  Philadelphia,  Leipzig,  Gewandhaus  Orchestras;  the New  York,  Helsinki,  Los  Angeles  and  London  Philharmonic Orchestras;  and  the  San  Francisco,  Saint  Louis,  Boston,  and Chicago  Symphony Orchestras.  He  has also  extensively toured the  Far  East, South  America, Australia  and  New Zealand.  Mr. Oliveira’s upcoming engagements include performances with the Philadelphia  Orchestra,  the  San  Francisco  Symphony,  the Montréal  Symphony,  the  Royal  Liverpool  Philharmonic,  the Hong  Kong  Philharmonic,  the  Moscow  State  Academic Symphony, and many more. Recent and upcoming recitals include National  Gallery  in  Washington  DC, Alice  Tully  Hall  in  New York, Sanibel (Florida), Kansas City, Johns Hopkins University and Caramoor. Mr.  Oliveira’s  repertoire  is  among the  most  diverse  of any  of today’s  preeminent  artists.  While  he  has  been  hailed  for  his performances of the standard violin literature, he is also a much sought­after  interpreter  o f  the  music  o f  our  time.  H e  has premiered  works  by  such  distinguished  composers  as  Morton Gould, Ezra Laderman, Charles Wuorinen, Joan Tower, Andrzej Panufnik, Benjamin Lees, Nicholas Flagello, Leona rd Rosenman, Hugh  Aitken, and Richard  Yardumian.  He has also  performed seldom­heard  concerti  by  Alberto  Ginastera,  Einoujuhani Rautavaara, Joseph Achron, Joseph Joachim, and many others. He recently  gave  the  Spanish  premiere  of  Krzysztof  Penderecki ’s Second Violin Concerto, conducted by the celebrated composer. A  prodigious  recording  artist,  Elmar  Oliveira  is  a  two­time Grammy  nominee  for  his  CD  of  the  Barber  Concerto  with Leonard Slatkin and the Saint Louis Symphony. His discography �on Artek, Angel, SONY Masterworks, Vox, Delos, IMP, Ondine, and Melodiya ranges widely from works by Bach and Vivaldi to the Present. His best­selling recording of the  Rautavaara  Violin Concerto with the Helsi nki Philharmonic (Ondi ne) recently won a Cannes  Classical  Award  and  has  appeared  on  Gramophone ’s “Editor ’s  Choice”  and  other  Best  Recordings  lists  around  the world.  Other recordings include the Brahms and Saint­Saens B minor Concerti with Ge rard Schwarz and the Seattle Symphony (Artek), the Respighi B minor and Pizzeti A Major Violin Sonatas (Artek),  “Favorite Encores” with pianist  Robert Koenig (Artek), the Three Brahms Sonatas with pianist Jorge Osorio (Artek), the Joachim Concerto  “in the Hungarian  Manner” with the  London Philharmonic (IMP) and  the Tower Concerto (written  for  him) with the  Louisville Orchestra (daNote), the Chausson  Concerto for  Violin,  Piano,  and  String  Quartet,  and  the  Lekeu  Sonata (Biddulph).  Of  great  historical  significance  are  two  unique projects: a CD released  by  Bein & Fushi  of Chicago, featuring Mr. Oliveira performing on some of the world ’s greatest violins (fifteen  Stradivaris  and  fifteen  Guarneri  del  Gesus),  and  a recording of short pieces  highlighting the  rare violins  from the collection of the Library of Congress. Artur  Balsam,  Sascha  Jacobsen,  Lillian  Fuchs,  and  Raphael Bronstein at the Kneisel Hall Chamber Music School in Blue Hill, Maine. v 1 Ms.  Robbins  has  been  a  member  of  the  Ysaye  Quartet,  the Paganini Trio, and the Bronx Arts Ensemble, and has performed in  chamber  music  concerts  with  such  prominent  artists  as Nathaniel  Rosen,  Julius  Baker,  Elmar  Oliveira,  Zara  Nelsova, Laszlo  Varga,  Carol  Wincenc  and  Paul  Doktor.  She  has participated  in  the  festivals  of Aspen, Caramoor, G rand  Teton, Vermont Mozart, Seattl e Chamber Music, Bard Festival, Festival Musicades  in  Lyon,  France,  Kneisel  Hall  and  Bowdoin  and Amelia  Island.  Ms. Robbins is currentl y principle violist of the Atlantic  Classical  Orchestra,  Florida  and  a  member  of  the American Composers O rchestra, The Westchester Philharmonic, and  freelances  in  New  York  City.  She  has  taught  viola  and chamber music on the  faculties of Cornell, SUNY Geneseo and Syracuse University. on the juries o f some o f the most prestigious v iolin competitions, Ms.  Robbins  has  recorded  for  Newport  Classics,  New  World Records, and  can  be heard on the  world  premiere  recording of Max Bruch ’s recently published viola quintet in  A minor (1919) on Premier Recordings with the Bronx Arts Ensemble, as well as on  the  Elan  label  in  a  performance  of  the  Martinu  Three Madrigals for Violin and Viola with violinist Elmar Oliveira. She also  plays  on  the  recently  released  recording  of  Chausson’s Concerto  for  Violin,  Piano,  and  String  Quartet  with  violinist Elmar  Oliveira  and  pianist  Robert  Koenig  on  Biddulph Recordings. SANDRA ROBBINS graduated  from the  Manhattan  School  of Music  after studying  viola  in  both  the  preparatory and  college divisions with Lillian Fuchs. At an early age, he r love and special interest  in  chamber  music  was  fostered  by  studies  with  the Budapest  String Quartet  and  with  such  renowned  musicians  as PATRICIA  S UNWOO  made  her  New  York  debut  in  1995, performing Alban Berg’s Violin Concerto at Alice Tully Hall with the  Juilliard  Orchestra.  As  a  member  of  the  Whitman  String Quartet,  winner  of the  1998  Naumburg  Award,  she  performed across the United States and Europe to critical acclaim, including appearances at Carnegie Hall, the Kennedy Cent er, Kravis Center, and  Spoleto  Festival  USA.  With  the  quartet  and  new  music ensembles Sequitur and Continuum, she worked  frequently with composers  in  presenting  world  premieres.  She’s  recorded  the works  of  Michael  Whalen  for  Arabesque,  and  the  premiere The son of Portuguese immigrants, Mr. Olivei ra was nine when he  began  studying  the  violin  with  his  brother  John.  He  later continued his studies with Ariana Bronne and  Raphael Bronstein at the Hartt College of Music and the Manhattan School of Music, where  Mr. Oliveira  also  received  an  honorary doctorate.  Other honors include the Portu guese Order of Santiago.  He has served including  the  ones  in  Montréal,  Indianapolis,  Naumburg,  and Vianna  da  Motta.  Elmar  Oliveira  performs  exclusively  on  an instrument  known  as  the  “Stretton ",  made  ca.  1 729­31  by Giuseppe Guarneri del  Gesu, and on an exact copy of that violin made by Curtin and A l f 1  993. �recording of Artur  Schnabel’s String Q uartet No.  1  for  Musical Observations. Ms.  Sunwoo  earned  her  doctorate  degree  from  the  Juilliard School, studying with  Sally  Thomas.  Ms.  Sunwoo  was  on  the faculty  of  Binghamton  University  until  2006,  has  also  been  a teaching artist for th e Midori Foundation in New York City, and the ASTA String Institute in  Ithaca. She currentl y tours with the Bard  Festival  String  Quartet,  Quartos  in  Rochester,  and  is  a member of the Roc hester Philharmonic Orchestra. This season’s highlights include performances with clarinetist David Krakauer and pianist Peter Serkin, and a reunion c oncert with the Whitman String Quartet. She  is also celebrating her third season with the Finger Lakes Cham ber Ensemble, with  whom she recently gave world  premiere performances of piano quintets by David Liptak and  Marek  Harris. Ms. Sunwoo is now a resident of Rochester, with husband David Brickman and daughter Claire. Cellist  HAKAN H R O M E K  was trained in music performance at Ithaca College, S UNY Purchase, and Binghamton University. His  teachers  include  Peter  Wiley,  Marion  Feldman,  Daniel Phillips, Stephen Sta lker, Einar J eff Holm, and Fritz Wa llenberg. He  has attended  the  International  Congress of Strings,  Round Top lntemational Festival, Chamber Music at the 92nd Street Y­ NYC,  Spoleto  Music  Festival,  Skaneateles  Festival,  and  the Kenai Peninsula Music Festival In Alaska. An active perform er, Mr. Hromek is principal cellist of the Bi nghamton Philharmonic, Tri­Cities Opera Orchestra, and The Orchestra of the Sout hern Finger Lakes. He has also performed with the Cayuga Cham ber Orchestra, Bach  Works in  NYC, and the Syracuse Symphony. During the summer of 2006, Mr. Hrom ek completed his fourth season as cellist in t he DeVere Quartet, which serves as resident quartet for the Kena i Peninsula Festival in Alaska and at present is cellist  for the Novo Quart et. An avid chambe r musician  Mr. Hromek  enjoys collaborating  in  a  cello  and  piano  duo  on  a regular basis with M argaret Reitz and va rious local artists in  the Central New York a rea. — � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 46:27 34:38 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196772">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196772</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 Absolut(e) Russian March 4, 2007 Recital Tape 3-4-2007 Description An account of the resource Held at 3:00 p.m., March 4, 2007, Anderson Center Chamber Hall. Works of Prokofiev, Shostakovich, Tchaikovsky. Creator An entity primarily responsible for making the resource Choi, Janey Crawford, Roberta Stalker, Stephen Salmirs, Michael Oliveira, Elmar Sunwoo, Patricia Robbins, Sandra Tayga-Hromek, Hakan 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 2007-03-04 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 60caac3c-5db9-4821-9171-a5acb9eb51f0 https://omeka.binghamton.edu/omeka/files/original/f1bd7ad0e11dbeb6447baf98a5713791.pdf 10037eeb9b8e23ce5378e7beb9f6f88e PDF Text Text or  . D N I V  R A Recor al Ya 1 L C C p—  o O Ny)  y  As \ © J “ K f\  l  \ R  S11 Y State University of  New York  x  Ln AMT( Binghamton University Department of Music '  THURSDAY MID–DAY CONCERT 5X <C  COL  March 1 5, 2007 – 1 :20 p.m. ­ Casadesus Recital Hall Bel piacere  O bellissimi c a p e l l i A n Vaghe stelle..... .....George Frideric T R (1685 ­ 1 759) d r e aT   E (1 585 ­ 1 656) ..Francesco Cavalli (1602 ­ 1 676) Miria m A. Wright, sopra no; Ma rga ret Reitz, pia no Bel piacere ‘Tis great pleasure to enjoy, to enjoy a faithful love! This makes the heart content. The splendor of beauty has no value if it does not come from a faithful heart. Vaghe stelle Lovely stars, beautiful eyes, do not sleep. Open the serenity of your beautiful eyes. Let the god of love fling his arrows into my bosom. Eyes, oh open your beautiful bright glances. O bellissimi capelli Oh most beatiful hair, My sweetest delights! Lovely little serpents curling into little rings, you fall upon rosy cheeks. Dark tresses where hides the winged archer in ambush: blond locks must yield to your black tresses which playing around your face are night, and your eyes are the day. In Alto Mare (from Sei Melodie)..  Latoya Lewis, soprano; Ma rga ret Reitz, pia no ln alto ma re The sail is torn,  the anger of the waves gives no mercy.  Now the clouds have broken the last antenna,  Lord have mercy!  For the arrows of heaven resound,  splittin here and there; «eee. Ottorino Respighi (1879 ­ 1936) His roaring throat opens the abyss; Lord have mercy! Hope flees from the choruses; Death is here! Not even a shadow of a soul in in the distance; Lord have mercy! Che faro senza Euridice...(Orfeo)  Christoph Willibald von Gluck (1714 ­ 1787) Aria na Zb rzezny,  mezzo­sopra no; Ma rga ret Reitz, piano Orfeo is despondent and desparate, having lost his wife for the second (and final) time. When Euridice first died, Orfeo used his famed power of music to soflen the heart of Pluto, lord of the underworld, and succeeded in freeing her from Hades, on the condition that he not look back at his wife until they reach the outer world once again. Euridice, however, not understanding this c ondition pleads and berates her love to look at her, and Orfeo, distracted, turns to her only to watch her dissolve slow ly into the realms o f death.  In this lament he calls out to her pleadingly but to no avail, for she is lost forever and there is no help or counsel from either heaven or earth. (please turn over) �Two Shakespeare Songs  O Mistress m ine  Blow, blow, thou winter wind IDGET O i l e r (1 877 ­ 1 953 ) Soon Young Pa rk, baritone ; Chai­Kyou Mallinson, piano Malinconia, N infa gentile....  Per pieta, bel l’idol mio  .. Vincenzo Bellini (1801 ­ 1835 ) Ma ry Aimoniot is, soprano; Ma rga ret Reitz, pia no Malinconia, N infa gentile Melancholy, gentle nymph, l devote my life to you. One who despises your pleasures is not born to true pleasures. l asked the gods for fountains and hills; They heard me at last ; I will live satisfied Even though with my desires, I never G o  beyond that fountain or that mountain Per pieta, bell’ idol mio For pity‘s sake, my beautiful idol do not tell me that I am ungrate ful; unhappy and un fortunate enough has heaven made me. That I am faithful to you, that l languish under your bright gaze, Love knows, the gods know, my heart knows, and yours knows. By such faithful affection that makes me languish for you? But pitiless, you do not realize that You scorn a lov ing soul, whom you wish to betray. It doesn’t ma tter  Damaged  Richard Pearson Thomas (b. 1957) Eliza beth Duhr, m ezzo­sopran o; Ma rga ret Reitz, pia no La c i darem la mano...(Don Giovanni)... saasea ries A. Moza rt (1756 ­ 1791 ) Soon Young Pa rk ­ Don Gio vanni; Latoya Lewis – Zerlina ; Dua ne Skra balak ­ pian o In full seductive over­drive, the rake Don Giovanni “proposes” to the young peasant girl, Zerlina, and invites her to accompany him to his mansion.  Zerlina at first rejects him, saying that she feels sorry for her husband­to­be, Masetto. ( I t  is their wedding day after all!)  Worn down by the Don‘s skillful seductive powers, Zerlina finally gives in, and they sing of the joys to come. Card Trio and Aria: “En vain pour eviter...” (Carmen)  G  Bizet (1838 ­ 1875 ) Ma ry Aimoniot is – Frasq uita ; Ariana Zbrzezny – Mer cedes; Eliza beth Du h r ­ Ca rmen Dua ne Skra balak ­ pia no Carmen and her companions are on a smuggling mission in the mountains near Seville.  To pass the time, she and her two friends amuse themselves by reading their fortunes in the cards.  Frasquita is destined to find a great love – a handsome soldier who will carry her away. Mercedes is overjoyed to see a very rich and very old man who marries her and dies, leaving her wealth beyond imagining.  When Carmen turns her cards she sees only one message – death.  For her and for her current love, Don José. in her aria she states that it is futile to avoid the future the cards predict, and every succeeding turn of the cards spells the same message, again and again, always death, inexorable and unavoidable. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 38:40:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196776">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196776</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 Thursday mid-day concert, March 15, 2007 Recital Tape 3-15-2007 Description An account of the resource Held at 1:20 p.m., March 15, 2007, Casadesus Recital Hall. Works of Handel, Falconieri, Cavalli, Respighi, von Gluck, Quilter, Bellini, Thomas, Mozart, Bizet. Creator An entity primarily responsible for making the resource Wright, Miriam Reitz, Margaret Lewis, LaToya Zbrzenzy, Ariana Park, Soon Young Mallinson, Chai-Kyou Aimoniotis, Mary Duhr, Elizabeth 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 2007-03-15 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 330d773e-669c-460c-b411-1e9c822fe108 https://omeka.binghamton.edu/omeka/files/original/543647be4fb5f2f424db43856807f445.pdf 855fc2782a210d3edb6c94870aed5e82 PDF Text Text BINGHAMTON UNIVERSES? State University of New York ’ 1  D 2  E P A R T M W INTER CONCERT \N  L V — with Women ’s C ho rus K ristina R uffo, cond uctor Assisted by Jody Schum. piano and Mary Schappert. harp Harpur Chorale Peter Browne.  cond uctor Saturday, March  17, 2007 8:00 p.m. Anderson Center  ( ‘hamber Hall E N T �PROGRAM TRANSLATIONS I. I. Women ’s Chorus Kristina Ruffo, conductor Jody Schum, piano Oddi  Ol lpe p i m i cmsi nd ia i l is  i :  r i s Odi  Odi “Untold millions of people run  and run. constantly seeking, grow desperate and die looking for the light that is within them.” .. Tamil Song A rr by Stephen Hatfield 1 Herbstlied (Aut u m n Song) Oh. how soon the c ycle ends, Spring turns into wintertime! Oh how soon all happiness Turns to sad silence! .. T raditional Celtic “Am. by  David Fanshawe C H E  D I E The last sounds soon fade! The last songbirds are soon flown! The last green is soon gone! They all want to return home! Felix Mendelssohn Hetbstlicd  (1809­1847) Choral Hymns from the Rig­lula Group l l l :  For Women ’s Voices & Harp Oh. how soon the c ycle ends, Merriness turns to longing sorrow. . Gustav Holst (l874­ l 934) Were you a dream, you thoughts o f love? Sweet as spring and fast disappearing? Only one thing will never wane : l.  Hymn to the Dawn 2.  Hymn to the Waters 3.  Hymn to the Vena (The Sun Rising Through the Mist) 4.  Hymn to the Travellers Las Amallllas The longing that never goes. Ah, how soon the c ycle ends! Oh how soon all happiness Turns to sad silence! Las Amarillas The yellow calandras fly from the cactus No longer w ill the cardinals sing happily To the song na na To the song na no Traditional Mexican Stephen Hatfield WINTERMISSIONOS } Because the tress on the hillside have not come back to li fe For that the calandras will either sing or crush their nests. You are small and beautiful and l love you just the way you are You are like a little rose from the coast of Guerrero Everybody has their own farewell, but there’s non like this one F our t imes fi v e  i s t went y, three t imes se v en 1s t went y ­one. �11. H a rp u r Chorale Peter Browne. conductor Now é  T e m p o . . .  aiviinelaitaie  a Fugitiva Mia Speranza  Translations i i . Marco C   orl (d.c. 1530) Non 6 Tempo There’s no time for  idle waiting. Sixth Evening Service  l.  Magnificat  Thomas Weelkes (1576­1623) Jaclyn Hochreiter, Lynsey Zuar. A llison Metcal fe; sopranos Sophie Nusinov, Corinne l’aull and Jennifer Paull; altos Alexander Blitstein. tenor; Adam Hess, bass ll.  Nunc Dimittis Rachel Newby, Emily Creo, Sophie Nusinov; altos The BIuebird...........cowiviiamessisinse  n i a : Charles Villiers Stanford   ( l852­ 1924) . A rthur Sullivan (1842­ l 900) Echoes Cantique de Jean Racine........................ecccosureeeunnene... Gabriel Fauré (1845­1924) DUMCIUE  i s riniprvsssrasirmionsisssiersiissastpasisasessnasseserarty Fauré from Requiem Eliazabeth Sterling, violin Hamba LuLu.  Oh What a Beautiful City  ZuL u Wedding Song arr. by Mike Brewer Spiritual arr. by Jeffrey Webb Whether calm or stormy weather, See the moment as it happens B e  l l  rising or abating. Fugiti va M ia Spera nza Hope, you cannot escape me ever. Though you may think you are leaving ; You’ll remain with me with no more grieving, Feters so strong you cannot sever. I know full well all your displeasure In my unhappy condition. Secking a far richer treasure Is your heart ’s ultimate mission; I shall not heed your petition. Cantique de J ea n Racine Word equal to the most high, our sole hope, eternal day of the earth and heavens, o f the peaceful night. we break the silence. Divine Saviour, cast your eyes on us!  Shed on us the fire o f your powerful grace, so that all hell flees at the sound of your voice, disperse the sleep o f languishing soul that drives it to forget your   laws! O Christ be favorable to this faithful people now gathered together to bless you.  Receive the songs that they offer to your immortal glory that they may ret urn in total joy. Sanctus Holy, Holy, Holy Lord God of Hosts. Heaven and earth are full of thy glory. Hosanna in the highest. Hamba L ulu Go Lulu, listen to all the things they are telling you. �Woman ’s Chorus ABOUT T H E  PERFORMERS ? Women ’s Chorus Sop rano I K R I S T IN A  RUFFO  1s  a  graduate  choral  conducting  student  at Binghamton Universit y.  She received her BA  from Ithaca College in Music  Education.  This  is  her  second  semester  conducting  the Women’s Chorus and is very proud of their success as an ensemble. She is a member of the University Chorus, and also teaches a sight singing class to help students improve in their reading abilities and confidence in singing. She is also involved in an African Drumming class  with  Professor  James  Burns.  She  was  awarded  the  Keeler Scholarship  this  year  that  has  helped  her  continue  with  her education.  During  the  day,  she  teaches  full­time  at  the  Maine­ Endwell High School and is director of the Mixed Chorus, Madrigal Choir,  and  Quartet,  as  well  as teaching  a  theory  course.  Kristina resides in Binghamton, NY with her husband and is looking forward to a successful semester with the Women ’s Chorus. > Sop rano II Boccuzzi, Dina Bose, Anjuli Choi, Esther Espinosa­Thomas, Eliza Haigney, Stephanie Hassfurter, Katherine Havener, Crista Indovino, Shaina Manukian, Denise J O D Y  S C H U M   is  a  versatile  pianist,  organist  and  vocal  coach originally  from  Windsor,  NY.  Currently  on  faculty  at  SUN Y Cortland and Binghamton University, he also is resident pianist with Tri­ Cities Opera in  Binghamton, NY.  Mr. Schum  has performed with  the  Binghamton  University  Symphony  Orchestra,  Tri­Cities Opera  and  on  numerous  solo  and  collaborative  recitals  at Bi ngha m ton  Uni versit y.  Murphy, Maria Pouchic, Priscilla Press, Amanda Wallach, Jaclyn Welby, Kate H is  most  recent  engagement  was performing  and  studying  on  fellowship  with  the  International Institute  of  Vocal  A rts  in  Chiari,  Italy  last  summer.  Upcoming engagements  include  a  sacred  music  concert  with  soprano  Julia Ebner  and  a  recital  with  baritone  Timothy  LeFebvre  at  Elebash Recital Hall in New York City.  Mr. Schum is Music Director at the First United Methodist Church of Endicott, N Y. Cheng, Hiu Nam Wien Cohen, Rebecca Epstein, Jodi Haines, Alex Karp, Jillian Kucera, Jana Liebowitz, Liann Rabideau, Erin Sones, Melissa Winnett, Desiree ­ q­ Alto I Bass, Desiree Colah, Perin Groteke, Laura Maughan, Carly Navarette, Katherine Weiss, Elisa Alto l l Barbanell, Danielle Blake, Daron Caruso, Alicia Courage, Katherine Golden, Sarah Wong, Randall �Translatio ns Non é Tempo There’s no time for idle waiting, Whether calm or stormy weather, See the moment as it happens Be it rising or abating. Fugitiva Mia S pera nza Hope, you cannot escape me e ver, Though you may think you are leaving; You’ll remain with me with no more grieving, Feters so strong you cannot se ver. I know full wel l all your displeasure p ln my unhappy condition.  Seeking a far richer treasure I s  your heart ’s ultimate miss ion; l shall not heed your petition. Cantique de J ea n Racine Word equal to the most high, our sole hope, cternal day of the earth and heavens, of the peaceful night, we break the silence. Divine Saviour, cast your eyes on us!  Shed on us the fire of your powerful grace, so that all hel l flees at the so und of your vo ice, disperse the sleep of a languishing soul that d rives it to forget your laws! O Christ be favorable to this faithful people now gathe red together to bless you.  Receive the so ngs that they offer to your i m mortal glory th at t hey ma y ret urn in total joy . Sanctus Holy, Holy, Holy Lord God of Hosts. Heaven and carth are full ot ’thy glory. Hosanna in the highest. Halnba Lulu Go Lulu, listen to all the thing s they are telling you. 1 l � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 57:42:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196779">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196779</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 Winter concert, March 17, 2007 Recital Tape 3-17b-2007 Description An account of the resource Held at 8:00 p.m., March 17, 2007, Anderson Center Chamber Hall. Program includes translations of songs. Creator An entity primarily responsible for making the resource Ruffo, Kristina Schum, Jody Schappert, Mary Browne, Peter 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 2007-03-17 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 1bed6357-120f-4679-8d17-771a59780940 https://omeka.binghamton.edu/omeka/files/original/c741dfb27810351e65922b69bb58db5c.pdf 055660c7c887e3ae54beeeb78636f82f PDF Text Text U N I V  A R C vo Ke Q  Binghamton University De partment of Musi c THURS DAY M ID­DA Y CON CERT “lo t il , 20077 ~  2­ — ~ 1 :20 p.m.  Casadesus Recital Hall ~ CEC  C — March 22, 2007  SCHE NKER­ RAMA :  THE C URE T O  MUSIC  THEO RY PH OBIA s  rnhans odannne H ssvsvsss sess  Salamander, Op. 107 No. 2....c.ce osi sii scsssses io rssa n nsssassn (1833­1897) Jessica Barkley, soprano; Nicole H su, piano There sat a salamander upon a cold stone, when an e vil girl threw him into the fire. — She thought he should burn up, but he began to be of good ch eer, just as on me, a cold devil, hot love does. ee......  humann Ich kann ’s nicht fassen. nicht glauben.................ccccceeeveev eeieeneeRobert Sc (1 81 0­1 856) (Frauenliebe und Leben, Op. 42 No. 3)  Danielle McCo rmick, so prano; Danielle Sofer, pia no I can’t grasp it, nor believe it, a dream has bewitched me, how should he, among all the others, li ft up and make happy poor me? lt seemed to me, as if he spoke, “ l  am thine eternally", It seemed ­ I dream on and on, It could never be so. O let me d ie in this dream, cradled on his breast, let the most blessed death drink me up in tears ofi n fi n i t e  bliss. nnnn  ndelssoh n Songs without Words, Op. 53 No. 4.......cccceeevrverreecrnesesiescessessesseeneeF€liX Me (1809­1847) Danielle Sofer, piano Am leuc htenden SOMME rMOrge n.......... .cccee ve ve vieee r iesese reeie Sc humann (1810­1856) (Dichterliebe, Op. 48 No.  12)  A ria na Z b rzezny, m ezzo­sop ra no; Nico le Hsu, p ia no On a shining summer morning I wander around m y garden. (please turn over) �The flowers are whispering and speaking; I,  however, wander silently. The flowers are whispering and speaking And look at me sym pathet ically. “Do not be angry with our sister, You sad, pale man.” Gigue ...  ..  (Suite No. 2 in D minor,  B W V  1 008)  Johann SERMMIRRAE  Bach (1685­1750) Emily C reo, cello Nur wer die Sehnsucht k e n (Lied der Mignon, Op. 62 No . 4)  n t F r a n z Schub   ert (1 797­1 828) LaToya Lewis, sopran o; Nicole H su, piano Only he who know s what yearning is Know how I suffer! Alone and cut o ff From all happiness. I look up into the sky Towards yonder side. Alas! he who loves and knows me Is far away. I grow dizzy . My insides are burning, Only he who know s what yearning is Know s how I suffer! Songs without Words, Op. 30 No. 6.........ccccccvverrennrnrnssnssnssnsceecnsnn eneen.  FElIX Mendelssohn Nicole Hsu, pian o lch grolle n icht...  (Dichterliebe, Op. 48 No. 7) Soon You ng Pa rk, ba ritone ; Dan ielle Sofer, piano I bear no grudge, e ven when my heart is breaking! Love lost forever! I bear no grud ge. Although you shine in diamond splendor, No beam falls into the night of your heart. I will know that for a long time. I bear no grudge, and when my heart is breaking! I truly saw you in  my dreams And saw the night in the room of your heart, And saw the snake that bites your heart; I saw, my dear, how truly miserable you are. I bear no grudge. Robert Schu mann � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 19:11 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196782">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196782</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 Thursday mid-day concert, March 22, 2007 Recital Tape 3-22-2007 Description An account of the resource Held at 1:20 p.m., March 22, 2007, Casadesus Recital Hall. Works of Brahms, Schumann, Mendelssohn, Bach, Schubert. Creator An entity primarily responsible for making the resource Barkley, Jessica Hsu, Nicole McCormick, Danielle Sofer, Danielle Zbrzezny, Ariana Creo, Emily Lewis, LaToya Park, Soon Young 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 2007-03-22 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 295da44e-aec8-4105-a402-a2fc10ede2bd https://omeka.binghamton.edu/omeka/files/original/d62d666be001bb7d071044607fe7df06.pdf 2267dd7fc8596dd1c92466f81bd1fdf2 PDF Text Text BINGHAMTON U N I V E R S I T Y State University of N e w  Yo r k L T V F Jr    " i :  Yop  o w [4 D E P A R T M E N T s g MILLE NNIA Too! with Alison Luedecke, organ and Susan Ba rrett, oboe Sunday, March 25, 2007 4:00 p.m. First Presbyterian Church �ABOUT THE PERFORMERS PROGRAM Partita in C e ........Johann Hertel EW   o (1727­1789) Sonata in E­flat major.. ...J.S. Bach (1685­1750) oboe, organ t s y Chant m u q i Veni Creator Spiritus..... e Mary Beth Bennett (b. 1954) John Karl Hirten oboe d’amore, organ Variations on Veni Creator (b. 1956) ..Maurice Duruflé (1 902­1 986) F i.  il.  iii.  iv.  .J.S. Bach (1685­1750) h g r N o Sprung Ate Fell Went l t i o s a n g Susan Barrett  (oboe/oboe d’amore/English horn) is a native of East Hartford, Connecticut.  She has performed extensively  as a solo and chamber musician in the United States and Europe, recording for radios in France, Israel, Austria and Yugoslavia.  She is principal oboe of the San  Diego  Chamber  Orchestra and  is  a  member  of  the  San  Diego chamber group Camarada.  She  freelances  in  San Diego, performing with such venues as the San Diego Symphony/Opera Orchestra, Classics 4 Kids Philharmonic,  Cabrillo Orchestra and  various musicals at  the Civic Theatre, Old Globe, and La Jolla Playhouse.  She has toured the U.S. with guitarist Randy Pile in the ensemble Duo Cantilena. ®  IN TERMISSION 3 Piece d’ Orgue. Millennia Too! is the small  ensemble of Millennia Consort, one of the country’s  premiere  organ  plus  ensembles.  This  intimate  recital  duo performs  repertoire  from  Renaissance  to  Modem,  including  several premieres by contemporary  American composers.  Their performances explore the varied timbres of oboe, oboe d’amore and English horn with the broad range o f pipe organ colors.  Susan and Alison have a musical rapport  born  of  over  a  decade  of  close  collaboration,  creating spontaneous and highly nuanced musical performances.  The ensemble can be heard on two compact discs recorded in churches in San Diego: Paradise Found: Reflections for Oboes and Organ (A ll Souls Episcopal and St. Brigid’s Catholic), and in works by  Copland and Koetsier on Transformations: 20” Century Music for Organ and Other Instruments (St.Paul’s Cathedral).  www.millenniaconsort.com g .........Craig Phillips (b. 1961) e ............Jon Naples (b. 1954) Alison J. Luedecke (organ and harpsichord) is a native of Galveston, Texas.  She is active across the United States as a solo concert organist and has played in Canada, Mexico and Germany.  She has been heard numerous times on the nationally syndicated radio show Pipedreams.  As an  ensemble  musician  Dr.  Luedecke  has  performed  with  the  Mainly Mozart  Festival  Orchestra,  San  Diego  Chamber  Orchestra, and  with other  chamber  ensembles.  She  is  a  founding  member  of Millennia Consort, a brass quintet. percussion and organ ensemble.  She received the Doctor of Musical Arts degree in Organ Performance at the Eastman School of Music as a student of David Craighead. Discography oboe, organ Paradise Found: Reflections for Oboes and Organ Millennia Too! with Susan Barrett and A lison Luedecke �Coming  ‘Crents Thursda y, March 29 – Mid­Day Concert ­  1 :20 p.m. – Casadesus Recita l Hall ­ free Thu rsda y. April  1 2 –  Mid­Day Con cert –  1:20 p.m. – Casadesus Recital  Hall  ­ free Friday, April  1 3 –  Master’s Rec ital:  M a ry Aimon iot is, sopra no – 8:00 p.m . ­ Casadesus Rec ital Hall ­ free Saturday, April 1 4 –  Master’s Recital:  Jessica  Barkley, soprano – 4:00 p.m.  Casadesus Rec ital Hall ­ free 7 Sa t u rda y, April  1 4 –  Joint  Junior  Voice  Recital: Ja na  K ucera, sopra no a nd A lex ander Blitstein, tenor – 8 :00 p.m. – Casadesus Recital Hall – free Sunday, April  15 –  University Ch orus and Orc hest ra : Bach  B Minor  Mass – 3:00  p.m.  –  Osterhout  Concert  Theater  ­  $9  general  public;  $7 faculty/staff/seniors; free for students Tuesday, April 1 7 – Student Recital:  Melissa Lee, v iola ­ 7:30 p.m. ­ Casadesus Recital Hall ­ free Thursda y, A pril 19 – Mid­Day Concert ­  1 :20 p.m. – Casadesus Recital Hall ­ free Sa t u rda y, April  2 1 –  Master’s  Recital:  Katrina  Cox, sopra no –  4 :00  p.m. – Casadesus Rec ital Hall ­ free Sunday, April  22 –  Master‘s  Recital:  Elizabeth  Duh r, mezzo­soprano –  3:00 p.m. ­ Casadesus Recital Hall ­  free Sunday, April 22 – Master ’s Recital: Soon Young Pa rk, baritone – 8:00 p.m. – Casadesus Rec ital Hall ­  free Thu rsda y. April  26 –  Jazz  Mid­Day  Concert –  1:20  p.m. – Osterh out  Concert Theater ­ free Thu rsda y. April 26 –  Jazz  Ensemble wit h guest a rt ist – 8:00 p.m. – Osterhout Concert Theater ­ $9 general public; $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&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 40:30 26:55 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196785">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196785</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 Millennia Too!, March 25, 2007 Recital Tape 3-25-2007 Description An account of the resource Held at 4:00 p.m., March 25, 2007, First Presbyterian Church. Discography (1 work) included in program.Works of Brahms, Schumann, Mendelssohn, Bach, Schubert. Creator An entity primarily responsible for making the resource Luedecke, Alison Barrett, Susan 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 2007-03-25 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 c2f3574d-3964-4c8f-a1ac-e1d5967d9914 https://omeka.binghamton.edu/omeka/files/original/44bb397ab4f7bd4cbe767f0359bb4768.pdf 8112c159d26908d2edae80256e9c7fe8 PDF Text Text uv ­~ BINGHAMT( ,\ U N I V E R S T T Y State University of New York Binghamton University Department of Music ­ THURSDAY MID­DAY CONCERT March 29, 2007 – 1 :20 p.m. ­ Casadesus Recital Hall Sonata V, Op. 2, No. 5 Larghetto Allegro Adagio ceeeenenneennenn.  GeOTgE  Frederick Handel (1685­ 1759) Allegro Allegro Alexan der Ba ron, recorder Micah Banner­Baine, violin Emily Creo, cello Peter Browne, harpsichord Sonata for Timpani ............John Beck (b. 1971) Caleb R. DeG roote, timpan i Sonata in B—T1at;  op. 12 0  Allegro Amabile pies Appassionato, ma non troppo Allegro Melissa Lee, viola Micha el Salm irs, pia no Johannes Bra hms (1833­1897) � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 37:53:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196789">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196789</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Thursday mid-day concert, March 29, 2007 Recital Tape 3-29-2007 Description An account of the resource Held at 1:20 p.m., March 29, 2007, Casadesus Recital Hall. Works of Brahms, Handel, Beck. Creator An entity primarily responsible for making the resource Baron, Alexander Banner-Baine, Micah Creo, Emily Browne, Peter DeGroote, Caleb Lee, Melissa Salmirs, Michael Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2007-03-29 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 b01abbb2-b7e3-4fb4-a9ed-a75ee6e331bc https://omeka.binghamton.edu/omeka/files/original/ad5a007a2c7b61e9998085f7cb2d843b.pdf a6e8f2077c2e8d80f4dc6c5c66c3fd80 PDF Text Text UwIv  R R C R e c i  ­ I BINGHA ‘ t s  p e 9 U N I V   200 5 State University of  New York = e Binghamton University Department of Music SYEC C o THURSDAY M ID­DAY CONCERT   April 12. 2007 – 1:20 p.m. ­ Casadesus Recital Hall Adieux de l’Hotesse Arabe  Habanera, from Carmen  Seguidille. from Carmen ............Georges Bizet (1838­1875) Elizabeth Duhr, mezzo­soprano Margaret Reitz, pian o Suite No. 2 in D minor. BWV 1 0 0 8 . . . i  c i dnssdonann Sebastian  n e   Bach (1685­1750) Melissa Lee, viola O B R Debussy (1862­1918) Gabriel Fauré (1845­1924) d e Debussy   En pnere  M a n d o l i n e C l a u Jana Kucera, soprano Chai­Kyou Mallinson, piano O bellissimi c a p e I I i A n d r e aT   T (c.1585­1656) Jeunes Fillettes .. ............Nicolas Dalayrac (1735­1809) (arr. J.B. Weckerlin) Briana Sakamoto, so prano Chai­Kyou Mallinson, piano La Regata V e n e n Anzoleta avanti la rcgata  Anzoleta co passo la regata Anzoleta dopo la regata Die junge Noone, Op. 43; no. 1  Die Vogel, Op. 172, no. 6  Die Allmacht, Op. 79, no. 2 a n a G i o a c c h m o B E E N (1792­1868) Jessica Barkley, sopr ano Jody Schum, piano S E E  Schubert (1797­1828) Katrina Cox, soprano Chai­Kyou Mallinson, piano � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 46:41:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196792">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196792</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Thursday mid-day concert, April 12, 2007 Recital Tape 2007-4-12 Description An account of the resource Held at 1:20 p.m., April 12, 2007, Casadesus Recital Hall. Works of Bizet, Bach, Debussy, Fauré, Falconieri, Dalayrac, Rossini, Schubert. Creator An entity primarily responsible for making the resource Duhr, Elizabeth Reitz, Margaret Lee, Melissa Kucera, Jana Mallinson, Chai-Kyou Sakamoto, Briana Barkley, Jessica Schum, Jody Cox, Katrina 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 2007-04-12 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 cadbb433-bf76-4964-823c-80994bea0fb4 https://omeka.binghamton.edu/omeka/files/original/32a18446d2ee13cedf3b68e53800a15e.pdf 975620caa2b23d689d058e5943c68501 PDF Text Text BINGHAMTON L»  N  l  \~  i ;  R  S I T Y State University of  New York UNIV  ARS Rect.  tape 1  A S p a» y D E P A R T M E N T X  T d r 4  p J UNIOR R ECITAL J ANA K UCERA , SOPRANO A LEXANDER BLITSTEIN, TENOR with Chai­Kyou Mallinson, P iano Also with The Men of the H arp u r  Chorale i l Saturday, April 14, 2007 8:00 p.m. C asadesus Recital Hall �PROGRAM V. L Jana Kucera an d Alexander Blitstein ( 1 659­1 695) By a Fountainside Fair House of Joy A lexander Blitstein l II. O bellissimi capelli . Andrea Falconieri Lungi dal caro bene ....... Antonio Secchi (1761­1833 Alessandro Scarlatti ( 1659­1725) ( 1 585­1 656) Cara, cara e dolce Se Florindo e fedele Jana Kucera . Franz Schubert ( 1 797­1 828) Das Wandern Wohin? Halt! Danksagung an den Bach Am Feierabend Der Neugierige Ungeduld Claude Debussy (1862­1918) ...Gabriel F auré (1845­1924) Claude Debussy Romance l En  Priére .. Mandolme VI. III. From: Die schohe Mallerin, Op. 25 .. .......Roger Quilter (1877­1953) Weep You No More . The Faithless Shepherdess Henry Purcell Sound the Trumpet... From: The Mikado, or The Town of Titipu A Wand ’ring Minstrel l The sun whose rays are all ablaze Were you not to Ko­Ko plighted ............Sir William Gilbert & J an e  K ucera an d  A lexander Blitstein Alexander Blitstein IV. Schon ist das Fest des Lenzes. Op. 37. No. 7 Wiegenlied, Op. 78, no. 4 Unterm Fenster, Op. 34, No. 3 J ana K ucera an d  A lexander Blitstein INTERMISSION ...Robert Schumann ( 1 81 0­1 856) Sir Arthur Sullivan (1842­1900) �TRANSLATION S IL O Bellissimi Capelli O beautiful tresses, 0 my sweet delights, loving little snakes, twisted in ringlets. that cascade on rosy dewy cheeks. Shady locks, where hides the winged archer (Cupid) in ambush to wound! Fair hair must yield place to your beautiful dark tresses, Which, playing around your face, are the night, And your eyes are the day. Lungi Dal Caro Bene Far from my dear beloved, I cannot live; I am in a sea of pain; Far from my dear beloved, [ feel my heart give way. May a sweet last sleep, If I may not see her, Close my eyes for always. Cara, Cara e Dolce Dear, dear and sweet freedom. dear. sweet freedom, you console my soul. It lives no longer in servitude As my heart. set loose, goes its way. Fly, flee then, then from me, fly, flee then from me, Quivered God of L ove! My heart is already free, As its feet are no longer ensnared. Se F lorindo e fedele If Florindo is faithful., I’ll fall in love with him If he’s faithful, I’ll fall in love with him. Cupid can well draw his bow, But I’ll know how to defend myself from a flattering glance. Please, tears and laments I will not listen to. But if he will be faithful, , I shall fall in love! IIL Die schdne Miillerin (The fair miller­maid) 1.  Das Wandern ( Wandering) Wandering is the miller’s joy, Wandering! He must be a miserable miller. Who never likes to wander. Wandering! We’ve learned this from the water. From the water! It does not rest by day or night, It’s always thinking of its journey, The water. We see this also with the wheels. W ith the wheels! They don’t like to stand still. And turn all day without tiring. The wheels. The stones themselves, heavy though they are, The stones! They join in the cheerful dance, And want to go yet faster. The stones! Oh. wandering. wandering. my joy. Oh, wandering! Oh. Master and Mistress, Let me continue in peace, And wander! 2.  Wohin? ( Where to?) I hear a brooklet rushing Right out of the rock’s spring, Down there to the valley it rushes, So fresh and wondrously bright. l I know not how I felt this, Nor did I know who gave me advice: I must go down With my wanderer’s staff. Down and always farther, And always the brook follows after; And always rushing crisply, And always bright is the brook. ls this then my road? O, brooklet, speak! where to? You have with your rushing Entirely intoxicated my senses. But why do I speak of rushing? That can’t really be rushing: Perhaps the water­nymphs are singing rounds down there in the deep. Let it sing, m y friend, let it rush, And wander joyously after! Mill­wheels turn In each clear brook. 3.  Halt! (Stop!) I see a mill looking Out from the alders; through the roaring and singing Bursts the clatter of wheels. Hey, welcome, welcome! Sweet mill­song! And the house, so comfortable! And the windows, how clean! And the sun, how brightly it shines from Heaven! Hey, brooklet, dear brook, Was this, then, what you meant? 4.  Danksagung an den Bach (Giving t hanks to the brook) Was this, then, what you meant, My rushing friend? Your singing and your ringing? Was this what you meant? To the Millermaid! it seems to say... Have I understood? To the Millermaid! Has she sent you? Or am 1 deluding myself? 1 would like to know, Whether she has sent you. Now, however it may be, I commit myself! What I sought, I have found. However it may be. After work I ask, Now have I enough for my hands and my heart? Completely enough! 5.  Am Feierabend (On the Restful Evening) If only I had a thousand arms to move! I could loudly drive the wheels! I could blow through all the groves! I could turn All the stones! If only the beautiful Millermaid Would notice my faithful thoughts! �Ah. why is my arm so weak? What I lift, what I carry, What I cut, what I beat, Every lad does itjust as well as I do. And there I sit in the great gathering, In the quiet, cool hour of rest, And the master speaks to us all: Your work has pleased me; And the lovely maiden says “Good night” to everyone. 6.  Der Neugierige (Curiosity) [ ask no flower, I ask no star: None of them can tell me. What I so eagerly want to know. [ am surely not a gardener. The stars stand too high; My brooklet will I ask, Whether my heart has lied to me. I would like to sow it upon each fresh flower­bed With water­cress seeds, which it would quickly disclose; Upon each white piece of paper would I write: Yours is my heart and so shall it remain forever. IV. Schon ist das Fest des Lenzes. (Beautiful is the Festival of Spring) Beautiful is the festival of Spring But it lasts only three days: If you have a love, crown it with roses, before the roses wither! I would like to raise a young starling, If you have a glass, present it, O Bartender. and sing along with me: Until he speaks to me in words pure and clear, Until he speaks to me with my mouth’s sound. With my heart’s full, warm urge; Then he would sing brightly through her windowpanes: Yours is my heart and so shall it remain forever! I would like to breathe it into the One little word again and again. morning breezes. I would like to whisper it through the active grove: Oh. if only it would shine from each flower­star! Would it only carry the scent to her The one little word is “Yes"; The other is “No", Both these little words Make up the entire world to me. Yours is my heart. and so shall it remain forever. O brooklet of my love, Why are you so quiet today? I want to kn ow just one thing ­ O brooklet of my love, Why are you so strange? I’ll surely not repeat it; Tell me, o brooklet. does she love me? 7.  Ungeduld (Impatience) I would carve it fondly in the bark of trees. I would chisel it eagerly into each pebble, from near and far! You waves, could you nothing but wheels drive? I thought, it must be visible in my eyes, On my cheeks it must be seen that it burns; It must be readable on my mute lips, Every breath would make it loudly known to her. And yet she notices nothing of all my yearning feelings. Yours is my heart, and so shall it remain forever. Beautiful is the festival of Spring, But it lasts only three days! Wiegenlied (Cradle­song) Sleep, little child, sleep! As you sleep, so good you’ll be. Outside red in the midday sun There glows one of the finest cherries. When you awaken, we shall go. And my finger will pluck it for you. Sleep. little child, sleep! As you sleep, so good you are. Sleep, little child. sleep! As you sleep, so you’ll be good. Ever sweeter the sun ripens Your cherry, for your delight; Sleep, then little child, lightly covered, Until your appetite for it awakens you! Sleep, little child, sleep! As you sleep, you’ll be good. Unterm Fenster (Under the Window) Who is at my bedroom door? It is I, it is I! Go. be o ff  w ith you, what do you want here? Something really sweet! You come in the dark like a thief. So catch me! Do you have a little love for me? With all my heart! And if I opened the door as you wish? O open it! That would be the end of sleep an d peace! Let them be! Are you a dove in a dovecote? With my little dove! Will you coo until dawn? Very possibly! No, I will never let you in! You must nonetheless! You’ll  likely appear here every day? With pleasure! How chee ky you are and how dare you! So may 1? As long as you tell not a soul! Of course not! V. Romance (Romance) The vanishing and suffering soul, The sweet soul, the fragrant soul Of divine lilies that I have picked In the garden of your thoughts, Where, then, have the winds chased It, This charming soul of the lilies? Is there no longer a perfume that remains Of the celestial sweetness Of the days when you enveloped me In a supernatural haze, Made of hope, of faithful love, Of bliss and of peace? �ABOUT THE M USIC En priére (In Prayer) If the voice of a child c an reach You, O my Father, Listen to the prayer of Jesus, on his knees before You! If You have chosen me to teach your laws on earth, I will know how to serve You, noble King of kings, Die schione Miillerin There  are  twenty  songs  in  the  cycle,  written  by  poet  Wilhelm Muller.  Each  song tells  a  different  part of a story, with  varying Their short silk coats, Their long dresses with trains, Their elegance, their joy And their soft blue shadows, Whirl around in the ecstasy O fa  pink and grey moon, And the mandolin prattles Among the shivers from the breeze. i O Light! On my lips, Lord. place the salutary truth, In order that he who doubts should with humility revere You! Do not abandon me, give me the necessary gentleness, To ease suffering, to relieve the sorrow, the misery! Reveal Yourself to me, Lord, in whom I believe and hope: For You I wish to suffe r and to die on the cross, at Calvary! Mandoline (Mandolin) The givers of serenades And the lovely women who listen Exchange insipid words Under the singing branches. There is Thyrsis and A myntas And there’s the eternal Clytander, And there’s Damis who, for many a Heartless woman, wrote many a tender verse. 41 emotions. Emotions cycle through optimism to despair and tragedy. A t the  beginning  of  the  cycle,  a  young  man  wanders  happily through the countryside. He comes upon a brook, which he follows to a mill. He falls in love with a beautiful girl, the miller ’s daughter, the “beautiful mill­girl” (Die schone Miillerin) of the title. He tries to impress her, but her response seems quite cool, leading to sadness and frustration on his part. The Mikado Leading  gentlemen of the  Japanese  town of Titipu  gather  for an impending  celebration  A  wandering  musician,  Nanki­Poo,  enters and introduces himself ("A wand’ring minstrel I"). He has come to search for the maiden Yum­Yum, with whom he has fallen in love. Alas, Yum­Yum is to marry her guard ian Ko­Ko, a forme r tailor but now the Lord High Executioner of Titipu. Yum­Yum appears with two of her friends. Nanki­Poo reveals his secret to Yum­Yum: he’s actually the son an d heir of the Mikado, ruler of Japan, b ut has fled the court due to the amorous advances of the Lady Katisha. Ko­Ko arrives  and  introduces  himself  and  rejoices  in  his  upcoming marriage.  His enthusiasm  is cut short  by  receiving  news that the Mikado will soon be arriving for a visit; as Ko­Ko is behind on his quota of executions (never having performed any at all!), this means someone  must  be  executed  at  once.  The  others  look  to  Ko­Ko himself  as  the  perfect  subject.  Ko­Ko  discovers  Nanki­Poo,  in despair over losing Yum­Yum, is preparing to commit suicide. After realizing that he cannot change Nanki­Poo’s mind, Ko­Ko makes a bargain with him: Nanki­Poo may marry Yum­Yum for one month, if at the end of that time he allows  himself to be exec uted. This happy arrangement is  nearly spoiled  by Katisha, who arrives and tries  to  claim  Nanki­Poo.  However,  she  makes  such  a  bad impression on the people of Titipu that her words are drowned out by the shouting of  the crowd. But tho ugh all seems happily settled, Katisha makes it clear that she intends to return. Yum­Y um is being prepared by her friends for her wedd ing, after which she is left to muse on her own beauty ( "The sun whose rays"). �ABOUT T H E  PERFORMERS JANA  NICHOLE  KUCERA  is  a  native  of  Binghamton,  New York where she graduated from Chenango Valley High School in 2004. While at CVHS she was an honor student and participated in Theatre Guild, Chorus, Concert and Jazz Band as well as Odyssey of the  Mind.  Jana is  currently a  BMus candidate studying  vocal performance with Professor Mary Burgess. As a student at BU, she was  recently  named  to  the  Harpur  College  Dean’s  List,  and  is honored  to  be  a  two  time  recipient  of  the  Music  Department’s Neilson Scholarship in honor of Mary Burgess. She is a member of Women’s  Chorus  and  is  a  past  member  of  the  Harpur  Wind Ensemble. She is currently a member of the Tri­Cities Opera Chorus where she has performed more than 15 choral roles over the past 7 years. In addition to TCO, Jana has performed  numerous lead and supporting  roles  in  a  variety  of  local  theater  productions  and recently  performed  the  role  of Elsie  Maynard  in  Yeoman  of the Guard (Summer Savoyards). She would like  to thank her friends, family, and teachers for all of their love and support. ALEXANDER BLITS TEIN was raised in Chappaqua New York, where  he  graduated  from  Horace  Greeley  High  School.  He  is currently  a  BMus  candidate  in  vocal  performance  studying  with Professor Timothy LeFe bvre. As a student at B U, he has served as the President of the student organization Music Groups, as well as a member of the Undergraduate Music Advisory Committee. He has also  participated  in  Harpur  Chorale  under  the  direction  of  Peter Browne.  In  2005  he  was the  recipient  of the  John  and  Marcella Keeler  Scholarship.  He  has  appeared  as  a  soloist  with  the Binghamton University  Chorus and African Drumming Ensemble, and he would like  to  thank all  that  helped  him  get to this  point, specifically including his grandparents. CHAI­KYOU  MALLINSON,  currently  on  the  faculty  of  the Department of Music at  Binghamton University, received a B.M. degree in Piano from Juilliard, Licence d’Enseignement from Ecole Normale  de  Musique  de  Paris,  France  and  a  M.A.  degree  from Binghamton University, where she studied with Jean Casadesus.  A prize  winner in  the Korean National  Music Competition, she was awarded the French Government Scholarship, Tanglewood Summer Music  School  Full  Scholarship  and the  Fontainebleau  American Conservatory Full Scholarship.  She gave a debut recital in Carnegie Recital  Hall and has been active as a recitalist, vocal accompanist and  coach,  and  chamber  music  performer,  as  well  as an active adjudicator of piano auditions and competitions. She appeared in a performance with the Seoul Philharmonic Orchestra, which Eumag Choonchu,  one  of  Korea‘s  most  respected  music  magazines, described as “of rare quality, moving and lyrical. ” T H E  H A R P U R  C H O R A L E .  directed by Adjunct  Lecturer Peter Browne, is a select chamber choir whose mem bers are chosen on the  basis of voice  quality  and sight­reading ability.  The  Chorale performs frequently thro ughout the year, singing outstanding choral works of every historical period and style in several languages.  The group has toured throughout the eastern United States. Particpating Mem bers Bass  John Paap  Adam Hess  David Parisi Tenor Ross Matthei Douglas Schwartz �Coming  ‘Curent Sunday, A pril 1 5 – University C horus and  Orchestra : Bach B Minor Mass – 3 :00  p.m.  –  Osterhout   Concert  Theater  ­  $9  general  public;  $7 faculty/staff/seniors; free for students Tuesday, A pril 1 7 – St udent Rec ital :  Melissa Le e, viola – 7 :30 p.m. – Casadesus Recital Hall – free Th ursday, A pril 19 – M id­Day Co ncert – 1:2 0 p.m. – Casadesus Recital Hall  ­­ free Sat urday, Ap ril 2 1  –  Master ’s Recital :  Katrina C ox, sop rano – 8:00 p.m. – Casadesus Recital Hall ~ free Sunday, A pril 22 –  Master ’s Recital : Elizabet h  D u hr, mezzo­soprano – 3 :00 p.m. – Casadesus Rec ital Hall – free Sunday A pril 22 – M aster ’s Recital : Soon Yo ung Park,  baritone – 8:00 p.m. – Casadesus Recital Hall – free Th ursday, A pril 26 – Jazz Mid­ Day Conc ert – 1 :20 p.m. – Osterhout Concert Theater – Free Th ursday, A pril 26 – J azz Ensem ble with g uest art ist – 8:00  p.m. – Osterhout Concert Theater ­ $9 general public; $7 faculty/staff/seniors; free for students Sat urday,  April  28  –  Master ’s  Recital :  Nicole  Hsu,  piano  –  8:00  p.m.  – Casadesus Recital Hall – free Sunday, A pril 29 – U niversity W ind Ensem ble an d  the So ut hern Tier Concert Band – 7:3 0 p.m. – Osterhout C oncert Theater – free Tuesday,  May  I  –  University  Percussion  Ensemble  –  8:00  p.m. ~  Anderson Center Chamber Hall – free Th ursday, M ay 3 – Mid ­Day Conc ert – 1 :20 p.m. – Casadesus Recital Hall – free Friday, M ay 4 – Flute Studio Recital – 10 :15 a.m. – Casadesus Recital Hall – free Sat urday, Ma y 5 – Flute  E nsem ble Recita l – 10:15 a.m. – Casadesus Recital Hall free —  Sunday, M ay 6 – St udent Rec ital : Rosa  Nam, pian o – 3:00 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&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:01:15 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196795">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196795</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 Junior recital, Jana Kucera, soprano, Alexander Blitstein, tenor, April 14, 2007 Recital Tape 4-14b-2007 Description An account of the resource Held at 8:00 p.m., Apr. 14, 2007, Casadesus Recital Hall. Works of Purcell, Falconieri, Secchi, Scarlatti, Schubert, Schumann, Quilter, Debussy, Fauré, Gilbert & Sullivan. Creator An entity primarily responsible for making the resource Blitstein, Alexander Mallinson, Chai-Kyou Kucera, Jana 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 2007-04-14 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 3adb7e69-5ce4-4a7b-a5b6-4f3152b4a12c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 37:57:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196798">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196798</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Thursday mid-day concert, April 19, 2007 Recital Tape 4-19-2007 Description An account of the resource Held at 1:20 p.m., April 19, 2007, Casadesus Recital Hall. Works of Reade, Rossini, Donaudy, Ravel. Creator An entity primarily responsible for making the resource Perry, Timothy Reitz, Margaret Duhr, Elizabeth Cox, Katrina Mallinson, Chai-Kyou Park, Soon-Young 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 2007-04-19 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 e75d538b-d429-4999-882a-86269e355a68