98
10
1775
-
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3574a8464be1914c623647509e68b77a
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BINGHAMTON
U N I V E R S I T Y
S T A TE U N I V E R S I T Y O F N E W Y O R K
D E P A R T M E N T
SENIOR R ECITAL
D A N I VIALINOVSKY, P I A N O
Bits and Pieces
Saturday, May 2, 201 5
12 p.m.
Casadesus Recital Hall
�# PROGRAM 3
Fantasiestilicke
Op. 12, No. 2 “Aufschwung”
3% About the Performer #
Robert Schumann
(1810 1856)
Da n Malinovsky was born in Jerusalem, Israel in 1993. He
sta rted studyin g classical piano at the age of 5 and couldn ’t stop ever
since. Since moving to the U.S in 2006, Dan has expanded his repertoire
Sonata in E Major, K531 .
Domenico Scarlatti
(1685 1757)
4
Sonata in B Minor, K27 ..
..Domenico Scarlatti
(1685175 7)
Piano Sonata No. 17
Op. 31, No. 2, Mvt. lll
. Ludwig van Beetho ven
(1770 182 7)
to jazz and po pula r music. During high school, Dan received a perfect
score on the highest level of the NYSSMA exam numerous times. A t
graduation , he was awarded the “Frederic Chopin Awa rd” for
outstanding piano performance, and the “Best Musician Award". He
also performed with numerous orchestras including the NassauSuffolk
Wind Symphony. Before going to Binghamton to study
fina nce, Dan worked on Long Island as a jazz pia nist.
At Binghamton, Dan stud ied piano performance with professors Jinah
Lee and Michael Salmirs, and constantly performed at university
concerts and recitals. Additionally, he was the president of Piano Society,
an organization which h elps studen ts develop piano performance skills
and give back to the community through fundraising and music
education. D a n plans to continue studying piano performance after
INTERMISSION
Les Adieux
1
graduation.
Franz Strauss
(1822 1 9 0 5 )
with K athryn R. Saturnin o on Frenc h Horn
Fantasie in C major .
Op. 17, Mvt.i
. Robert Schumann
(1810 185 6)
�Binghamton University Music Department’s
Coming Events
$ $ $ $ ¥ $ $ $ $ $ $ $
Sunday, May 3 – University Chorus and Symphony Orchestra:
Mendelssohn’s “Lobgesang” – 3 p.m. – Osterhout Concert Theater
– $7 general public; $5 faculty/staff/ seniors/alumni; free for students
Thursday, May 7 – Student Recognition MidDay Conc ert – 1:20 p.m.
Casadesus Recital Hall – free
Thursday, May 7 – Harpur Chorale and Women’s Chorus Spring
Concert 7:30 p.m. – Anderson Center Chamber Hall – $7 general
public; $5 faculty/staff/seniors/alumni; free for students
Friday, May 8 Nukporfe African Drumming and Dance Ensemble –
7:30 p.m. – Watters Theater – $5 general admission at the door
Sunday, May 3 Senior Recital : Cole Tornberg, tenor – 7:30 p.m. –
Casadesus Recital Hall – free
Saturday, May 9 – Senior Recital: Caitlin Gotimer, soprano – 7:30
p.m. Casadesus Recital Hall free
$ $ $ ¥ $ $ $ $ $ $ $ fi
For ticket s or to be added to our email list, visit anderson.binghamton.edu o r call (607)
777ARTS. For a complete list of our concerts call (607) 7772592, visit
music.binghamton.edu or become a fan on Facebook.
[ = ] = [ = ] If you were inspired by this performance, consider supporting the
Department of Music with a financial gift. Your support helps to
continue the work of students, faculty, and guest artists and their
[ = ]
E
contribut ions to our community. Please make your donation
payable to the Binghamton University M usic Depa rtment, and send
your check to
BU Music Departme nt, P.O. Box 6000, Binghamton, NY 13902.
�
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Binghamton University Music Department Tape Recordings
Subject
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Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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Dan Malinovsky, senior recital, "Bits and Pieces," May 2, 2015
Subject
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Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works by Schumann, Carlatti, Beethoven, Strauss. Held at 12:00 p.m., May 2, 2015, Casadesus Recital Hall.
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Malinovsky, Daniel
Saturnino, Kathryn
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Binghamton University Libraries
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2015-5-2
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sound
-
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
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Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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Piano ensemble from the studios of Jinah Lee and Michael Salmirs, April 30, 2015
Subject
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Concerts
Instrumental music
Live sound recordings
Description
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Works by Schubert, Mozart, Faure, Saint-Saëns, Piazzolla. Held at 7:30 p.m., April 30, 2015, Casadesus Recital Hall.
Creator
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Lee, Jinah
Salmirs, Michael
Chen, Shana
Jung, Yujung
Lee, Yuseong
Kim, Soohyun
Yim, Olivia
Kim, Eunice
Su, Vicky
Bogdanove, Grace
Jae Cho,Hwi
Malinovsky, Daniel
Fan, Christine
Bangug, Samantha
Calhoun, Benjamin
Tao, Annie
Talukdar, Natasha.
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Binghamton University Libraries
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2015-4-30
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sound
-
https://omeka.binghamton.edu/omeka/files/original/c9b9383957ef038d1d7bbd08b37dc9a4.pdf
b0215f5e458982541ec3735b198df4c6
PDF Text
Text
BINGHA MTON
U N I V E R S 1 T Y
STA TE U N I V E R S I Y Y OF NEW Y O R K
D E P A R T M E N T
JUNIOR RECITAL
RACHEL B. YOUNG, SOPRANO
ELEANOR KRASNER, VIOLIN
JOHN ISENBERG, PIANO
Sa tur day , A p r i l 2 5, 2015
7:30 p. m.
Casadesus R ecital Hall
�iaoPROGRAMies
Freschi luoghi, prati aulenti.
O del mio amato ben
Spirate pur, spirate
An die Musik.
Friihlingsglaube
TR AN S L A T IO N S
Stefano Donaudy
(18791925)
II.
Franz Schubert
(17971828)
Clair de lune .
Gabriel Fauré
(l845l924)
Chanson d’amour
lll.
NINTERMISSIOMLK
. Max Bruch
(18381920)
V.
Larghetto
Rondo
Ludwig van Beethoven
(17701827)
O del mio amato ben
Oh lost enchantment of my
dearly beloved,
You are far from my eyes,
Who was my glory pride.
Now through silent rooms
1 always seek and call him with a
hopeful heart.
But I seek in vain, I call in vain.
And the weeping is now dear to
me.
With weeping alone I nourish
my heart.
Also do not be deceived by such
brief prosperity.
It seems to me without him,
there is sadness everywhere.
Day seems like night, fire seems
cold to me.
lf at times I find hope of being
cured,
One thought alone torments me.
But without him, what do l do?
To me, life seems a vain thing
without my beloved.
I want, one day, to be reflected
with him in your clearness.
When at last he will show he
understands my languishing.
And you also, clear brooks,
Spirate pur, spirate
Breathe, still breathe around my
beloved. little breezes.
And find out if he holds me in
his heart.
And you also. clear brooks,
which are already running to the
sea,
Do not be miserly with your
waters in the late season of the
year.
1V.
Violin Concerto in D major, Op. 61
I want one day to roam with him
among such green sweetness.
When at last he will show he
understands my languishing.
Cool places, fragrant meadows,
remain always in flower.
Let not one season take away
from you such magical splendor.
Aria of Despina..
Wolfgang Amadeus Mozart
“ln uomini, in soldati?” from Casi fan tutte
(17561791)
Kol Nidrei, Op. 47
l. Freschi luoghi
Cool places, fragrant meadows,
remain always in flower.
Let not summer till you,
Let not autumn carry you away.
Let not the dead season take
away such magical splendor.
which are already running to the
sea,
Do not be deceived by such brief
prosperity.
Find out, blessed breezes.
Breezes s light and blessed.
�II. An die Musik
You noble art, in these gray
hours,
When life’s wild sphere has
ensnared me,
Have you my heart to warmly
kindle with love?
Have me transported into a
better world.
Often has a sigh flowed from
your harp.
A sweet, heavenly chord from
you.
Better skies have been opened
up for me.
You noble art, I thank you for
that.
You noble art, I thank you.
Frfihlingsglaube
The gentle winds are awakened,
They murmur and waft day and
night,
They create in every corner.
Oh fresh scent, oh new sound!
Now poor heart, fear not!
Now everything, everything must
change.
The world becomes more
beautiful with each day,
One does not know what may
yet happen.
The blooming does not want to
end.
The farthest, deepest valley
blooms.
Now, poor heart, forget the pain!
Now everything, everything must
change.
Clair de lune
Your soul is a chosen landscape
charmed by masks and
bergamasks,
Sad beneath their fanciful
disguises.
While singing in a minor mode,
of love the conqueror and of
favorable life,
They do not seem to believe in
their happiness
and their song mingles with the
moonlight.
Oh calm moonlight, sad and
beautiful,
which makes the birds dream in
the trees.
And makes the fountains sob
with ecstasy,
The tall, slim fountains among
the marble statues.
Chanson d’amour
I love your eyes, I love your
forehead.
Oh my rebellious, oh my fierce
one.
I love your eyes, I love your
mouth
On which my kisses will tire
themselves out.
I love your voice, I love the
strange gracefulness of all that
you say.
Oh my rebel, oh my dear angel,
my hell and my paradise.
1 love your eyes, I love your
forehead.
Oh my rebellious, oh my fierce
one.
[ love your eyes, I love your
mouth
On which my kisses will tire
themselves out.
I love all that makes you
beautiful, from your feet to your
hair.
Oh you to whom my hopeful
pleas ascend, oh my fierce one,
oh my rebel.
1 love your eyes, I love your
forehead.
Oh my rebellious, oh my fierce
one.
1 love your eyes, I love your
mouth
On which my kisses will tire
themselves out.
III. Aria of Despina, “I n
uomini?
7 In soldiers?
7 You hope
In men.
for faithfulness?
Don’t let anyone hear you, for
pity’s sake!
C ut from the same cloth, every
one of them,
The leaves, furniture, and fickle
breezes are more stable than
men!
False tears, deceptive looks,
Misleading voices, charming lies
are their primary qualities!
In that we dislike their pleasure,
Then they despise us, and deny
us affection.
I t is pointless to ask the
barbarians for pity!
Let us females, pay them back
with equal money.
This evil, indiscreet race.
Let us love for convenience, for
vanity!
�ABOUT T HE P E R F O R M E R S
Rachel Young, soprano, is a third year undergraduate voice student
of Professor Mary Burgess in pursuit of her Bachelor’s degree in vocal
performance at Binghamton University. At BU, Ms. Young had
performed the roles of Gretel in Engelbert Humperdinck’s “Hansel
and Gretel” as well as scenes from Verdi’s “Falstaff” as Nannetta,
scenes from Mozart’s “Cosi fan tutte", “Le nozze di Figaro", and
Donizetti’s “L’Elisir d’Amore". Ms. Young recently performed the role
of Kaylee in Michael Ching’s opera “Speed Dating, Tonight!” with Tri
Cities Opera company. Additionally with TCO, she sang in the
chorus of “Carmen” and “Faust". She thanks her friends and family
for their unending support and love.
Ellie Krasner is a junior at Binghamton University pursuing degrees
in both English literature and music. Having played violin for 1 5
years, Ellie previously studied with Dr. Lee Wilkins and Wilfredo
Deglans in Rochester, and is currently studying with Janey
Choi. Before coming to Binghamton, Ellie received her diploma in
advanced studies of violin through the Eastman Community Music
School, and was a member of the Rochester Philharmonic Youth
Orchestra for four years. ln addition, she completed all levels of
NYSSMA auditions and participated in numerous AllCounty and
Area AllState festivals beginning in elementary school. Last summer,
Ellie attended the Eastern Music Festival in North Carolina, a five
week intensive training program for advanced music students. She
frequently performs in more casual settings as well, such as nursing
homes and churches throughout Rochester and Binghamton. Ellie
has taken part in BU’s Chamber Music Program for two years, and
has led the Symphony Orchest as Concertmistress. She is currently
memher of Mu Phi Epsilon, Binghamton’s coed music fraternity.
Ellie attributes much of her vitality and happiness to her passion for
violin.
John Isenberg, a native of Endicott, NY, holds Bachelor of Arts
degrees in Music and Italian, as well as a Master’s Degree in Italian
Literature from Binghamton University. He performs many different
musical genres ranging from Opera and Musical Theater to
traditional Scottish and various styles of sacred music. From 2001
20 1 2, John worked for the TriCities Opera in Binghamton, NY. first
as Accompanist, then additionally as Education Outreach
Coordinator and Chorus Master. During that time, he accompanied
over 500 outreach performances in schools throughout New York
State and northern Pennsylvania. He has performed for WSKG
public radio broadcasts of opera preview performances including
Puccini’s Madama Butterfly, Verdi s La traviata and Mozart’s The Magic
Flute. An active church musician since childhood, John is currently
the Organist/Pianist and Choir Director at Sarah Jane Johnson
Methodist Church in Johnson City. He has served as Pianist/Choir
Director for the high holy days of Rosh Hashanah at Temple
Concord in Binghamton. For the past two summers, John has also
participated in the Songe d’été Music Festival in Lambton, Quebec
(Canada).
�B i ngba
m t o n Un ivers i ty M us i c D e pa r t m e nt ’s
Co m i n g Eve n ts
6 b 6 b 6 b 6 6 ‘ 6 6 ’ 6 é ’ 6 é ’ 6 é ’ 6 6 ‘
Sunday, Ap ril 2 6 – U niversity W ind Sym phony: On ce U pon a Time 3
p.m. Anderson Center Chamber Hall $7 general public ; $5
faculty/staff/seniors/alumni ; free for students
Tuesday, A pril 28 – Pe rc ussion Ensemble 7:30 p.m. Anderson
Center Chamber Hall $7 general public ; $5 aculty/staff/seniors/alumni;
free for students
Th ursday, Ap ril 30 – Mi dDay Con cert 1:20 p.m. Casadesus Recital
Hall free
Th ursday, Ap ril 30 – Pia no Ensemble 7:30 p.m. Casadesus Recital
Hall free
Friday, Ma y 1 Flute Studio and Flute Chamber Concert 10: I5 a.m.
Casadesus Recital Hall free
Friday, May 1 – Brass Recital 4 p.m. Casadesus Recital Hall free
Saturday, M ay 2 – Senior Recital: Daniel Ma linovsky, p iano – 12 n oon –
Casadesus Recital Hall free
Sunday, May 3 – U niversity Chorus and Sym phony Orchestra :
Mendelssoh n’s “Lobgesang” 3:00 p.m . Osterhout Concert Thea ter $7
general public ; $5 faculty/staff/seniors/alumni ; free for students
fiééflfibfiéflfiéflééflééflefiwmwwb
For tickets or to be added to our email list. visit anderson.binghamton.edu or call (60 7) 7 7 7ARTS.
For a complete list ofour concerts call (607) 7772592, visit music.binghamton.edu or become a fan
on Facebook.
I f you were inspired by this pt’rforniance. consider supporti ng the
—
M
Department of Music u’i(h a financial gift. Your support helps to
=
continue the work ofs tuderits, faculty , and guest artists and their
contrilmtions to our community. Please make your donation payable
to the Binghamton University Music Department, and send your
[ = ]
check to B U M us ic Department, P.O. Box 6000sss, Binghamt on,
NY 13902***
�
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1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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54:12
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Title
A name given to the resource
Junior recital with Rachel B. Young, Eleanor Krasner, and John Isenberg, April 25, 2015
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works by Donauy, Schubert, Frure, Mozart, Bruch, Beethoven. Held at 7:30 p.m., April 25, 2015, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Young, Rachel B.
Krasner, Eleanor
Isenberg, John
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
2015-4-25
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https://omeka.binghamton.edu/omeka/files/original/f75d9db0ffcf58ceb616a74aa26389f5.pdf
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BING HAMTON
U N E N E R S I T Y
S T A T E UN
IVERSlTY O
F N
EW Y
O R K
D E P A R
z ede c
T M E N T
MASTER’S RECITAL
Kevi n Truax , tenor
Joh n Isenber g, piano
Saturday. April 2 5, 20 1 5
3:00 p.m.
Casadesus Recital Hall
�A Young Man’s Exhortation
89 PROG RAM C98
L
I attem pt from love’s sickness.
lf music be the food of love
Not all my torments
Die Schfine Mullerin Op. 2 5
Henry Purcell
(16591695)
Plens
11.
.
Das Wandern
Franz Schubert
(17971828)
Wohin.’
Halt!
Danksagung an den Bach
Am Feierahend
In 182 1 Wilhelm Muller published a volume of seventyseven poems that
included a cycle entitled, Die Schbne Millierin. Within two years Franz Schubert
( 1 797 1828) would go on to discover this poetry and publish his own musical setting
of the text in 1824. Sch u bert did not however set all twentyfive pieces; he left out
the lengthy prologue and epilogue and a few poems throughout to make a final set
of twenty songs. I have included parts of Muller’s prologue and epilogue in these
program notes because I find that they not only serve the drama of Die Schbne
Mallerin, but they also provide an appropriate setting and conclusion to the entirety
of this “Musical Exhortation.”
IIL
.W. A. Mozart
(17561791)
Per pieta, non ricercate.
~In remission—
Poéme d’un jour Op. 2 1........
Rencontrc
The newborn spring cascades over rugged rocks and flows down the valley, now a silvery
brook. The millwheel roars, the machinery whirs, ane can hardly hear the birds in the nearby
grove. So, should a song sound rough and plain, consider it due tn the natural setting.
However, my leading man will let you know what is most attractive about these wheels. l f 1
gave that away , it would spoil his play. 1 wish you farewell, enjoy yourselves, do!
From Die Schbne Mallenn. “The Poet as the Prologue,” W ilhelm Miiller
IV.
.
.
.
Gabriel Fauré
(18451924)
Toujours
Adieu
1.
The first exhortation will be through three pieces by Hen ry Purcell. (1659
1695) Purcell’s career is marked by a great range of successes in such areas as
anthems, songs, and music for early English opera and for the theatre. As a
composer during the English Restoration, he took part in the return of royal
patronage from the English Court towards musicians, and th e return of theatre to
London stages. During the latter pa rt of his life, Purcell wrote the incidental music
for over fifty plays and composed five operas, or Semioperas. “l attempt from love’s
sickness” comes from one these operas, Purcell’s last semi–opera, The Indian Queen,
li bretto by Joh n D ryden. It is a la ment of Queen Zem poalla for having t o give u p
her love for the General Montezuma. It is set scrophically into a french rondeau,
V.
O del mio amato hen
Amorosi miei gitrrni
VL
A Young Man’s Exhortation.. . .
Ditty
.
Stefano Donaudy
(1879192 5)
(or AABACAA)) and incorporates a simple melody with rhyming schemes and
matching cadences. In contrast. both “l f music be the food of love” and “Not all
my torments” are independent declamatory songs that are throughcomposed,
without repeating stanzas or verses. Both pieces have flowing melismatic vocal lines
and have more serious subject matters that would otherwise not be found in
individual strophic songs by Purcell.
II.
A
......Gerald Finzi
(19011956)
Her Temple
A Young Man’s Exhortation
Thu program u offered in partial fulfillment of the requirements for the
degree of Masters of Music in Opera.
In t he first five pieces of Die Schone Miillerin one is introd uced t o a you ng
miller who longs to wander the countryside. He will go on to discover a brook,
follow it downstream to a mill. and seek along with work, the affection of the
beautiful mill maid that lives there. The cycle begins with th e strophic song, “Das
Wandern,” and quickly moves to more throughcom posed settings that move the
drama forward. 1 would encourage you to listen to the “voice” of the piano
throughout these five pieces. The piano not only gives settings and backgrounds for
the overlying text, but provides its own characters that seem to converse with the
speaker, pushing him ever onward into his un requited love.
�111.
“Per pieta, non ricercate” is an aria written by Wolfgang Ama deus Mo za rt
(1 7561 791) for a Vienna performance of t he Italian opera. ll Cunnso Indisereto, (by
tenor,
Pasquale Anfossi) in 1 783. It was to serve as a substitute aria for the German
German
cepting a
c into ac
ese publi
he Vienn
ase t
e
o
johann Valentin Ada m betger, t
his
singer performing in an lralian Opera. (Mo zart also composed two arias for
not to
isterinlaw for the same production) Unfortunately, Adamberger chose
we
perform the replacement a ria, and in the reason provided by Mozart himself,
In a
Salieri.
get a glim pse into the infa mous rivalry between Mo zart and Antonio
was
letter to his fathe r, Mora rt expressed, “At a private rehearsal, before the rondo
atre
rg [the the
written out, Salieri wok Adamberger asde and said to him, t hat Count Rosenbe
not to
ised him
manager] was averse to his introducing an aria , so as his good friend he adv
; he
do so.” The performance seems to have not gone well for Mr. Adamherger
. He
rt refused
ut Moza
e aria, b
returned to Mozart to beg him to give him back th
continues in his l etter. “What was the result! ~ that he had no success; which, indeed, was
give
sure to be the case. Now he repents, but it is too late; for if he were to ask me now to
operas.”
my own
ne of
for it in o
d a place
asily fin
him the rondo I would not do to. I can very e
can
The aria, however, was not used in any of Mozart’s subsequent operas. and we
concert.
r in later
amberge
ed by Ad
perform
ve been
it may ha
only suspect that
IV.
W e arrive now at an exhortat ion by Gabriel Fa uré (184 51924) through
rles
his threepiece cycle, Poeme d’un jour (1878). The poetry is by the poet Cha
ent
a movem
France;
ement in
ian mov
Pamass
rt of the
o was pa
Grandmougin wh
social
which emphasi zed form over emotion, and transcendent imagery over
d up
commentary. Faure’s mus ic shares this sentiment; though emotions may en
rm and
to the fo
being the byproduct of such music and text, Faure shows devotion
ree
language, keeping the m usic void of overt passion and text painting. The th
creates a
ure
hem, Fa
linking t
poems were not originally w ritten as a cycle; by
urse
narrative of a young man’s hopeless and unsuccessful love affair through the co
own
t Faure’s
agine tha
e can im
day. On
of, what we can only conclude, is one single
tion
short engagement in 1877 to Marianne Via rdot played some role in t he forma
of this cycle.
V.
Th e re are several similarit ies betw een t h e tw o following pieces in this
i”
‘Italian Exhorcitinn'. Firstly, “O del mio amato ben” and “Amorosi miei giorn
naudy.
fano Do
both come from the 36 Arie di Stile Antico by the Italian com poser Ste
that
(187919 2 5) Donaudy published the group in 1918. containing songs
songs
of these
the style
encompa. his most wellknown musical outp ut. Though
are henromantic in nature, they incorporate popular forms found in older styles
dating back to the Renaissance. They also share a librettist in Stefano’s brother,
Alberto, who is credited for all 36 texts in the collec tion. Lastly, they share the same
llad
musical form and subject matter; a strophic setting of two verses each, and a ba
re the
ach whe
nts in e
y mome
are man
. There
e found)
of love (One lost and on
performe rs are perm itted to stretch t he timing, bringi ng our key words and phrases.
the
Through flord vocal lines, thick textures, and these moments of suspension,
ression.
its of exp
sh the lim
performers are encouraged to pu
VL
W e end the recital similarly to as we began it: in London, with yet another
d A
short~lived but prolific compose r, Gerald Finzi. (1 90 11956) Finzi compose
Young M an ’s Exharta rion betw een 1 9 2 6 a nd 1 92 9, creati ng a n intende d cycle o
ft e n
songs (though without narrative) using the texts from English poet, Thomas Hardy.
posed,
Hardy’s poetry was a favorite of Finzi; of the over sixty art songs F inzi com
“Her
“Ditty",
over half used his poetry. You will hear three selections from this set:
is set
about (h
Temple", and finally “A Young Man’s Exhortation” What is unique
is the lyric vocal lines juxtaposed by declamatory and sometimes recitativelike
sections. Finzi also utilizes subtle rhythmic diversions and word stress against the
meter to emphasize certain text and passages. The poetry is also uniquely thick and
h
full of imagery tha t seems to be filled wi th new meaning after each reading. Thoug
love
love or
cused on
been fo
day have
most of the Exhortations you have heard to
and
lost, we finally co me to a young m an who has endured these hours w ith love
has come to some conclusions about life. l n this moment h e reflects on whe re he
has been, where h e is going, and how he, and even we, should progress.
We are going to blow out our sun and stars – Now may you find your way home
ming
safely, and should you wish to dream a dainty dream, then think of millavheels and foa
water when you close your eyes and the long night begins, until your head begins to spin with
thinking of it; And he who holds a maiden by the hand, let him ask as he leaves [in a love
stancy.
tolten, and if she gives today what she has often refined, so think of the miller’s con
m an
esture fro
buming g
every
with
With every touch of your hands, with every kiss,
in
bliss with
nglasting
somow lo
his brief
return for
in
overflowing heart: may love give him
your hearu.’
From Die Schoner Mullerin, “The Poet’s Epilogue”, W ilhelm Muller
�Translations
I.
If music he the food of love
Text by : Hen ry Heavlngh nm
If music be the food of love,
Sing on till I am fill’d withjoy;
For then my list ’ning soul you
moveTo pleasures that can never
cloy.
Your eyes, your mien, your tongue
declare,
That you are music ev ’rywhere.
Pleasures invade both eye and ear,
So fierce the transports are, they
wound,
'
And all my senses feasted are;
Tho‘ yet the treat is only sound.
Sure I must perish by your charms,
Unless you save me in your arms.
I attempt from Love ’s sickness
Text by : John Dryden
I attempt from Love’s sickness to
fly in vain,
Since I am myselfmy own fever
and pain.
No more now fond heart, with
pride no more swell,
Thou canst not raise forces enough
to rebel.
For Love has more power and less
mercy than fate.
To make us seek ruin and love
those that hate.
11.
Die Schone Mllllerin, op. 2 5
(The Beautiful Miller Mold)
Das Wandern
(Wandering)
Wandering is the miller‘sjoy.
wandering!
He must be a bad miller,
that never thinks to wander,
wandering.
From water we have learned, from
water!
It does not have rest by day and
Down and always farther
And always the brook follows,
And always freshly rushing,
And always brighter the brook.
Is this then my path?
Oh brook, speak. where to?
You have with your rushing
Entirely intoxicated my mind.
7
What can I say ofthe rushing'.
That cannot be rushing:
It is singing perhaps of the
mermaids
deep below your water.
night,
Oet them sing, my friend, let it
journey, the water.
We see also from the wheels, the
wheels!
They do not like standing still.
All day they do not tire from
turning, the wheels!
And wander joyously onward!
They are going, yes, the mill
wheels
it is al ways concerned about the
The stones themselves, so heavy
they are, the stones!
They move with the merry dance
And want to go even faster, the
stones!
Oh wandering, my joy, oh
wandering!
Dear Master and Mistress,
let me go my way in peace and
wander.
Wohln?
(Where to?)
rush,
In every clear brook.
Halt!
(Stop!)
A mill I see looking
From the tree outward,
Through roaring and singing
To the miller maid!
Has she sent you?
Or have I gone mad?
I should like to know,
If she sent you.
Now however it might be,
I give my commitment:
what I seek, l have found,
however it may be.
For work I ask,
Now I have enough,
For my hands, for my heart,
Fully enough!
Am Feierabend
(On a Restful Evening)
If I had a thousand arms to move!
I could loudly guide the wheels!
I could glide through the trees!
I could move all the stones!
The the beautiful miller maid
Would realize my true feelings!
Ah, how weak my arm is!
What I ficw, what I ca rry,
What I cut, what I hit,
Breaks the sound of wheels.
E very other boy does as w ell as me.
Hey welcome, Hey welcome.
Sweet millsong!
And the house, how cozy!
And the windows, how clear!
And there I sit in the large group,
In the still, cool, restful hour,
And the sun, how bright
From the heavens it shines!
Hey little brook, dear brook,
Was this what you meant?
And the Master speaks to all:
Your work has pleased me;
And the lovely miller maid says
To all a good night.
III.
Per pieta, non ricercate
(for pity, do not seek)
For pity’s sake, do not seek
Text by: anon.
Not all my torments can your pity
I hear a brook rushing,
Probably from the rock spring,
Down to the valley it rushes
So fresh and wonderfully bright.
Yet to the grave I w ill my sorrows
1 do not know, how I feel this,
Nor, who gave me advice,
Your singing, your ringing,
Was this what you meant?
With my walking stick.
To the miller maid!
So it seems to be.
Yes, I feel such cruelty in me,
That not even I know how to
explain it!
Thinking of you; but then how?
For to go; but what do I gain
By doing this or that test,
I f do not find i
n that hope?
F r i a n d h a v a u n d a r c t a n d ?
A h h u e l m m m » ! a n d h u t h a d i c d a i
Not all m y torments
move,
Your scorn increases with my love.
bear:
I love tho’ I despair
I m ust go down
Danksagu ng an dem Bach
(Giving Thanks to the brook)
Was this what you meant,
my rushing friend?
The source o f m
y torment,
�Of my deadly fate,
I call only, oh God, death,
That comes to console me!
IV.
Poeme d ’un jour Op. 2 1
(Poem of a day)
text by Charles G rand mougin
Rencontre
(Meeting)
1 was sad and thoughtful when I
met you,
I feel less, today my persistent
torment;
Oh tell me, could you be the
woman I hoped for,
And the ideal dream I pursued in
vain?
Oh passing with sweet eyes, could
you be the friend
that brings happiness to the lonely
P031.
And will you shine on my
strengthened soul,
like the native sky on an exiled
heart?
Your wild sadness, is like my own,
It loves to see the sun set on the
sea!
Before its immensrty your ecstasy
is awakened,
And the charm of the evening to
your lovely soul is dear;.
A mysterious and sweet sympathy
Already attaches me to you like a
living bond;
And my soul trembles, by an
invading love,
And my heart cherishes you,
without knowing you well.
Toujours
(Always)
You ask of me to be silent,
To fl y far from you forever.
And for me to go off alone
Without remembering whom I
loved!
Sooner ask the stars
To fall into infin ity,
To the night to lose its veils,
To the day to lose its light!
Ask the immense sea
To dry i ts vast waves,
And when the winds are wild,
Ask it to calm its dark sobbing!
V.
O del miu a mato ben
(oh, of m y dea r beloved)
Oh, of my dear beloved, lost
enchantment!
You are far from my eyes
Who was to me glory and pride!
Now in the silent rooms
1 al ways seek and call her
But do not hope that my soul
will tear itself from sorrow,
And shed its flame
As the spring to its flowers.
With a full heart ofhope...
But I seek in vain, I call in vain!
And the weeping is dear to me,
the the weeping alone nourishes my
heart.
Adieu
(Goodbye)
How everything dies quickly, the
surrounding roses,
It seems to me that without her
sadness is everywhere.
Night seems to be the day;
To me the fire is cold.
meadow.
One sees, in this weak world,
to give myselfanother cure,
only one thought torments me:
But without her, what can I do?
To me life seems a vain thing
without my love.
flowers, Our hearts!
Lovcly were my days,
Who could ever forget,
Or that of all the things adorned,
That gave peace to my heart
And the fresh coats speckled in the
The long sighs, the loved ones, Go
up in smoke!
Change
More quickly than the crashing
waves, Our dreams,
More quickly than the frost on
To you, one believed in
faithfulness, Cruel one,
But alas! the longest loves are
short!
And I say on quitting your charms,
without tears,
Almost at the moment ofmy
confession, Goodbye!
If still sometimes I hope
And perfume to my thoughts?
To be able, as life advances,
No longer fear the anxieties
O fa life of deception,
Only with this hope:
That one of her looks is all my
spender.
And one of her smiles may be all
my treasure.
VL
A Young Man ’s Exhortation. Op.
1 4, Text by : Thomas H a rdy
Ditty
Beneath a knap where flown
Nestlings play,
Within walls of weathered stone
Far away From the files o f formal
houses,
By the bough the firstling browses,
Lives a Sweet: no merchants meet,
No man barters, no man sells
Where she dwells.
Upon that fabric fair ‘Here is shel’
Seems written everywhere Unto
me.
But to friends and nodding
neighbours,
Fellow wights in lot and labours,
Who descry the times as I,
No such lucid legend tells Where
she dwells.
Should I lapse to what I was Ere we
met;
(Such will not be, but because
Some forget
Let me feign it) none would
notice
That where she I know by rote i s
Spread a strange and withering
change,
Like a drying of the wells Where
she dwells.
Her Temple
Dear, think not that they will forget
you
If craftsmanly art should be mine
i will build up a temple, and set
you
Therein as its shrine.
They may say : ‘Why a woman such
honour?”
Be told, “O, so sweet was her
fame,
That a man heaped this splendour
upon her;
None now knows his name.
A Young Man ’s Exhortation
Call off your eyes from care
By some determined deftness; put
forth joys
Dear as excess without the core that
cloys,
�And charm Life’s lourings fair.
Exalt and crown the hour
That girdles us, and fill it with glee,
Blind glee, excelling aught could
ever be,
Were heedfulness in power.
Send up such touching strains
That limitless recruits from Fancy’s
pack
Shall rush upon your tongue, and
tender back
All that your soul contains.
For what do we know best?
That a fresh loveleaf crumpled
soon will dry,
And that men moment after
moment die,
Of all scope dispossest.
If I have seen one thing
It is the passing preciousness of
dreams;
That aspects are within us;
and who seems Most kingly is the
King.
ABOUT T H E PERFORMERS
Tenor Kevin Truax. a narive of Pennsylvania, is currently completing his Master of
Music in Opera degree at Binghamton University and received his Bachelors of
Music in Vocal Performanc at Susquehanna University. He has appeared on stage
with TriCities Opera in the roles of El Remendado in Carmen, Don Ottnvio in Don
Giovanni, and Alfred in Die Flederma us. As pa rt of the Bingha mton University
Opera Studio, he has performed the roles of the Witch in Hansel and Gretel,
Bardolfo in Falstaff, Ferrando in Cosi fan tune, and Giles Corey/Judge Danforth in
. The Crucible. Kevin has served locally as a soloist with the SUNY Broome Chorus
and Orchestra in their performance of Handel’s Ode for St. Cecilia’s Day. He has
also been featured as a soloist with the Binghamton University Chorus and
Orchestra in their performances of Bach’s Christmas Oratorio, Haydn’s Mass in Time
. of War, and in their upcoming performance of Mendelssohn’s Lobgesang. He is a
student of Professor Thomas Goodheart.
John Isenberg, a native of Endicott, NY. holds Bachelor of Arts degrees in Music
and Italian, as well as a Master’s Degree in Italian Literature from Binghamton
University. He performs many different musical genres ranging from Opera and
Musical Theater to traditional Scottish and various styles of sacred music. From
20012012, John worked for the TriCities Opera in Binghamton, NY. first as
Accompanist, then additionally as Education Outreach Coordinator and Chorus
Master. During that time, he accompanied over 500 outreach performances in
schools throughout New York State and northern Pennsylvania. He has performed
for WSKG public radio broadcasts of opera preview performances including
Puccini ’s Madama Butterfly, Verdi’s L a tmvmra and Mozart’s The Magic Flute. A n
active church musician since childhood, John is currently the Organist/Pianist and
Choir Director at Sarah Jane Johnson Methodist Church in Johnson City. He has
served as Pianist/Choir Director for the high holy days of Rosh Hashanah at
Temple Concord in Binghamton. For the past two summers, John has also
participated in the Songe d'été Music Festival in Lamhron, Quebec (Canada).
�B i ng ham to n Un ivers i t y M us ic D e part men t ’s
vents
Com i ng E
6 & M 6 M b fi fi é fl fi i w é fl 6 é fl fi é fl
Saturday, Apri l 2 5 J unior Recital: Rachel Young – 7:30 p.m. – " asadesus Recital Hall
free
Sunday, April 2 6 University Win d Symphony: Once U pon a Time 3 p.m.
Anderson Center Chamber Hall $7 general public; $5 flaculty/stati/scniors/alumni; free
for students
. Tuesday, April 28 – Percussion Ensemble 7:30 p.m. Anderson Center Chamber Hall
$7 general public; $5 aculty/staff/seniors/alumni; free for students
Thursday, Apr il 30 MidDay Concert 1 :20 p.m. Casadesus Rec ital Hall free
Thursday, Apr il 30 Piano Ensemble 7 :30 p.m. Casadesus Rec ital Hall free
Friday, May 1 Fl ute Studio and Fl ute Cha m ber Concert 10:1 5 a.m. Ca desus Recital
Hall free
Friday. May 1 Brass Recital 4 p.m. Casadesus Rec ital Hall free
Saturday, May 2 Senior R ecital : D aniel Malinovsky. piano 12 noon Casadesus Recital
Hall frcc
Saturday, May 2 Master’s Recital : Jenny Gac, soprano 3 p.m. Casadesus Rec ital Hall
frec
Sunday, May 3 U n iversity C horus a nd Sy m phony Orchest ra: Mendelssoh n’s
“Lobgesang” 3 p.m. Ostcrhout Concert Theater $7 general public; $5 faculty
/staff/seniors/alumni; free for students
Sunday, May 3 Joint Recital: J unior Max Rydqvist, baritone and Senior Ricky N a n.
tenor– 7 : 30 p.m. Casadesus Rec ital Hall – free
M
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$
For tickets or to be added to our email list, visit anderson.bmglmmtort edu or call (607) 777AR TS.
For a complete lis t of our concerts call (607 ) 7772592, visit music.binghamton.edu or become a fan
on Facebook.
lfyou were inspired by this performance, consider support ing the
Department of Music with a financial gift. Your support helps to
u
—
continue the work of students, faculty. and guest artists and their
— E
[m u]
contributions to our community. Please make your donation payable
to the Binghamton University Music Department, and send your
check to BU Music Department, P.O. Box 6000 53. Binghamton,
El:
NY 13902***
�
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1960's - present
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Binghamton University Music Department Tape Recordings
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Master's recital with Kevin Truax, tenor, and John Isenberg, piano, April 25, 2015
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Works by Purcell, Schubert, Mozart, Faure, Donaudy, Finzi. Held at 3:00 p.m., April 25, 2015, Casadesus Recital Hall.
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Truax, Kevin
Isenberg, John
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Binghamton University Libraries
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2015-4-25
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Binghamton University Music Department Tape Recordings
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Concerts ; Instrumental music ; Live sound recordings
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Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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Jazz mid-day concert featuring Camille Thurman saxophonist, flutist, vocalist, composer & educator, April 23, 2015
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Works by McCoy Tyner, Camille Thurman, Harry Warren, Al Dublin, Tad Dameron, Fats Waller.Held at 1:20 p.m., April 23, 2015, Osterhout Concer Theater.
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Thurman, Camille
Losito, Dino
Marino, Tony
Green, Darrell
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Binghamton University Libraries
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2015-4-23
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sound
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
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Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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Harpur Jazz Ensemble featuring Camille Thurman, April 23, 2015
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Works by Cahn, Stordahl, Weston, Monk, Byron, Harris, Weiss, Shearing, Corea, Goodwin, McHugh, Ellington, Mantoot. Held at 7:30 p.m., April 23, 2015, Osterhout Concert Theater.
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Harpur Jazz Ensemble
Thurman, Camille
Carbone, Mike.
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Binghamton University Libraries
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2015-4-23
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https://omeka.binghamton.edu/omeka/files/original/7c6278e0d5a4b993b84f136ab547e0e8.pdf
87f7eee3a08ad4be11c519bee067928d
PDF Text
Text
BINGHAMTON
U N 1 V E R s 1 T Y
S T A T E U N I V E R S I T Y O F N E W Y O R K
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D AN IEL F ABR ICI U S & J E R R Y NATOLI, CONDUCTO RS
Sunday, March 8, 20 15
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Jerry Natoli, Conductor
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Daniel Fabricius, Conductor
AMERICAN SALUTE (1943)........................................................Morton Gould
(19131996)
Transcribed by Philip J. Lang
COUNTRY GARDENS (1924).....................................Percy Aldridge Grainger
(18821961)
Arranged by John Philip Sousa
POET AND PEASANT OVERTURE (1922)..............................Franz von Suppé
(18191895)
Arranged by Henry Fillmore
SYMPHONIC HIGHLIGHTS FROM ”FROZEN".....Arranged by Stephen Bulla
“Frozen Heart ” “Let It G o ”– “Do You Want To Build a Snowman?”
“For the First Time in Forever” – “Epilogue”
BUGLER’S HOLIDAY (1954).....comsissstenssissssnssusisusminesassmssrssiens Anderson
(19081975)
Trumpet Trio:
Brandon Young – Brandon Ashley Jason Boniello
...George W Warren
GOD OF OUR FATHERS (1974)......................... ..
Arranged by Claude T. Smith
(19321987)
God of our fathers, whose almighty hand
Leads forth in beauty all the starry band
Of shining worlds in splendor through the skies,
Our grateful songs before Thy throne arise.
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�UNIVERSITY WIND SYMPHONY
Daniel Fabricius, Conductor
PICCOLO
Jennifer Bochicchio
FLUTE
Eleni Florakis
Jacqueline Robins
Cara Natale
Shelby Smith
Lydia Carolan
Devin Kasinki
OBOE
Jenna Graff
Rebecca Marwin
CLARINET
Erin Annis
Allison Battaglia
Alaina Mancini
Jessica Siegal
John Petersen
Steven O’Connor
Brittany Sheridan
Katherine Fottrell
Si Yoon Kwon
BASS CLARINET
Carl Closs
BASSOON
Bailey Thomas
Diana Carter
ALTO SAXOPHONE
Julia Dunnigan
Riley MonckRowley
TENOR SAXOPHONE
Crystal Fisher
BARITONE SAXOPHONE
Daniel Gross
TRUMPET
Brandon Young
Brandon Ashley
Chang Letitia Kar Hoo
Jonathan Terner
Jason Boniello
David DeFazio
Paul Barber
Alice Xue
FRENCH HORN
Daniel Muller
Christopher Patrizzio
Denise Helms
Brian Sternberg
TROMBONE
Christopher Beard
Jacob Solon
Joshua Yamuder
EUPHONIUM
Ryan Shumaker
Michael Sugarman
Austin Hassel
TUBA
Matthew Vegiard
Patrick Jones
Michael Burgner
PERCUSSION
Emily Goetz
William Potts
Alex Rava
Robert Hopkins
Daniel Kim
Annabel Fair
Joey Glowienka
Kasha Pazdar
David Indictor
�CONDUCTORS
Jerry Natoli has been a music educator, clinician, adjudicator, and performer in
New York State since 1970. He has guest conducted bands in almost every New
York county, and also regional and all state groups in Ohio, Pennsylvania, Texas,
and Maryland. Mr. Natoli was the NYSSMA Chairman of Bands while he was
also the Director of Bands at UnionEndicott Schools. He has made his home for
the past 31 years in Endicott, NY, with his wife, Cindy. Currently, Jerry is the
music director and conductor of the Vestal Community Band in Vestal, NY.
When asked to share his greatest successes, Jerry is quick to tell us that for the
last 12 years, even though he has never won, he has been notified by mail that
he was a finalist in the Publisher’s Clearing House $1,000,000 Sweepstakes.
Daniel Fabricius has been a member of the music faculty since 1992, serving as
percussion instructor for twenty years before his appointment as conductor o f
the Wind Symphony. He holds degrees from Mansfield University and Ithaca
College and has studied conducting with Donald Stanley (Mansfield University),
Rodney Winther (Ithaca College), Stephen Peterson (Ithaca College), Col. Arnald
Gabriel (US Air Force), and Mallory Thompson (Northwestern University). In
addition to his duties at BU he also serves as Director of Bands at Owego Free
Academy where he has developed an outstanding instrumental music program.
The bands at OFA have received plenty of praises and the OFA Jazz Band has
been honored to present concert performances at the NYSSMA Winter
Conference in 2008 and 2013.
He is highly regarded in the region as a conductor, as a percussion performer,
and as a music educator. He has been a member of the Binghamton
Philharmonic percussion section since 1982 but is also comfortable performing
in popular, rock, jazz, and other styles. He has played as a freelance
percussionist, accompanying national touring artists such as Michael W. Smith,
Tommy Tune, Jerry Vail, Lorrie Morgan, Ringling Brothers Circus, the Smothers
Brothers, and Ella Fitzgerald. Professor Fabricius has served the New York State
School Music Association as an AllState Percussion adjudicator for many years.
He also serves NYSSMA as the Instrumental Jazz Reviews editor of The School
Music News and is the Jazz Editor for the NYSSMA Manual. In addition to his
collegiate work at BU, he has also served Ithaca College as a consultant, as a
member of the Summer Session faculty, and as a cooperating teacher for over
35 student teachers. He has presented many clinics at music conventions and
conferences and often serves as a guest conductor for honor band festivals.
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C o m in g Events
6 & 6 M é fl fl é b éwé fl u fi r ’ é fl fl é é fl 6 é fl
Sunday, March 8 Sophomore Recital: Ha nnah Watrobski, viola – 5 p.m. – Casadesus Recital
Hall free
Thursday, March 12 Opera Scenes MidDay Concert (Thomas Goodheart) 1:20 p.m.
Anderson Center Chamber Hall free
Thursday, March 12 Opera Scenes 7:30 p.m. Anderson Center Chamber Hall $10 general
public; $7 faculty/staff/seniors/alumni; $5 for students
Saturday, March 14 Master’s Recital: Meroé K halia Adeeb, soprano – 4 p.m. Casadesus Recita’
Hall free
Saturday, March 14 University Symphony Orchestra: Dark Passions 7:30 p.m. = Osterhoui
Concert Theater $7 general public; $5 faculty/staff/seniors/alumni; Free for students
Sunday, March 15 Opera Scenes and Arias 3 p.m. Phelps Mansion, 191 Court Street
Binghamton $10 general public; BU students free with ID For reservations call the Phelps
Mansion at (607) 7224 873. This concert is cosponsored by the Binghamton University Musit
Department and Phelps Mansion Museum.
Thursday, March 19 MidDay Concert 1: 20 p.m. Casadesus Recital Hall free
Thursday, March 19 Lontano Ensemle: Music Now! 7:30 p.m. Casadesus Recital Hall $1
general public; $5 faculty/staff/seniors/alumni; Free for students
Thursday. March 26 MidDay Concert 1:20 p.m. Casadesus Recital Hall free
Friday, March 27 Jun ior Recital: Jessica Biogiotti, flute 7:30 p.m. Casadesus Recital Hall
free
'
Wednesday, April 1 – H armony Club Fundrasier Concert 7:30 p.m. Casadesus Recital Hall
$10 suggested donation
Thursday. April 2 MidDay Concert 1:20 p .m. Casadesus Recital Hall free
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For tickets or to be added to our email list, visit andersonbinghamtortedu or call (607)
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= [ = ] micibinghanuoncduorlxconuafan on Facebook.
If you were inspired by this performance, consider supporting the Department of Music
with a financial gift. Your support helps to continue the work of students, faculty, and
guest artists and their contributions to our community. Please make your donation
payable to the Binghamton University Music Department, and send your check to B U
Music Department, P.O. Box 6000, Binghamton, N Y 1 3902.
�
Dublin Core
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Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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41:48
56:16
Streaming Audio
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Title
A name given to the resource
Binghamton University Wind Symphony and the Vestal Community Band presents "Just Like a Concert in the Park," March 8, 2015
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works by Sousa, Swearingen, Mancini, Bagley, Wilson, Gould, Grainger, Suppé, Anderson, Warren, Kahelin. Held at 3:00 p.m., March 8, 2015, Anderson Center Osterhout Concert Theater.
Creator
An entity primarily responsible for making the resource
University Wind Symphony
Fabricius, Daniel
Natoli, Jerry
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
2015-3-8
Rights
Information about rights held in and over the resource
In copyright
Type
The nature or genre of the resource
sound
-
https://omeka.binghamton.edu/omeka/files/original/97ead1a41ccb20314f2f71837bd1ad6e.pdf
c866c261ab8f5200b544c99896c00950
PDF Text
Text
BINGHAMTON
UNIVERSITY
STATE U N I V E R S I T Y OF N E W YORK
wdee
’
D E P A R T M E N T
UNIVERSITY CHORUS
Bruce Borton, conductor
UNIVERSITY SYMPHONY ORCHESTRA
Heather Worden, conductor
SCHUBERT
SYMPHONY N o. 8 IN BMINOR
(“UNFINISHED”)
DURUFLE
REQUIEM
Emily Geller, mezzo soprano
Michael Celentano, baritone
Sunday, May 5, 2013
3:00 p.m.
Osterhout Concert Theater
�PROGRAM NOTES
PROGRAM
F R A N Z SCHUBERT – Symphony No. 8 i n B Minor, D. 759 (Unfinished)
Born: January 31, 1797, Himmelpfortgrund (northwest ofVienna), Austria
Died: Novement I9, l828
Symphony No. 8 in Bminor
Franz Schubert
(17971828)
I Allegro moderato
II Andante con moto
Franz Schubert is considered to be one of the most talented composers
of melody in the history of western music. His music leaves you with a singable
melody line that often is missing, especially in instrumental music. The
composer/conductor Leonard Bernstein was one musician to acknowledge the
memorable nature of Schubert’s melodies. In one of his Young Children’s
concerts, he introduced the melody line in the first movement by singing, “This
is the symphony that Schubert wrote and never finished.”, while the celli played
along with the theme from movement one. Most of Schubert’s compositions
were vocal, further emphasizing his strength in melody writing. He composed
hundreds of arts songs, while he only wrote nine symphonies, with one being
incomplete by the standards of the time.
FoI’NTERMISSION6
Requiem
% I Introit.
1 1: Kyrie. . .
. .
=
III. Domine Jesu Christe..
L IV. Sanctus
I V. Pie Jesu. si
© VI. Agnus Dei
" VII. Lux aeterna
VIII. Libera me .
1 IX. In paradisum
1. Allegro Moderato in B minor
ll. Andante con moto in E Major
.Maurice Duruflé
(19021986)
Chorus
. .
.
Chorus
Chorus and Baritone solo
s a l . Chorus
Mezzo Soprano solo
Chorus
. .
. Chorus
Chorus and Baritone solo
Chorus
The fact that this piece is unfinished has caused lots of debate and
argument among the musical community. Why would a composer as meticulous
about form as Schubert leave a work unfinished? The date on the original
manuscript, October 22, 1822, shows that this piece was written very close to
the end of hrs life. This has caused many musicologists to believe that he
stopped on purpose, that he could not write anything else as grandiose and was
becoming too ill and tired. Others believe that the first two movements were
given in thanks for his entrance into the musical society in Gratz and for the
Diploma of Honor he was awarded. A piano sketch that was found among
Schuben‘s manuscripts shows a plan for a Scherzo and possibly a Trio, which
would have made this a three or four movement symphony. This work was
hidden or lost in Anselm Hittenbrenner‘s (a member of the honor society) home
until 1865, when it found and performed for the first time. This means that
Schubert himself never heard it performed. Many modern composers,
musicologists and pianists have tried to finish the symphony by adding their
own pieces, new original compositions using the Scherzo sketch, or other works
of Schubert‘s to the end. Most professional and collegiate orchestras today
perform it in its original, unfinished state.
�The Requiem actually began as an organ suite based on the the
The first movement is written in traditional sonata form (exposition,
Gregorian chant melodies from the Requiem liturgy. However, Duruflé found
development, recapitulation) and features the famous melody line in the cellos
the texts of the chants to be too closely aligned with the music to separate, and
that was mentioned earlier. While the cellos introduce the melody line, it is
carried throughout the development and recapitulation in other voices as well.
The development, now in G major, takes the two themes from the exposition
and expands/extends them which lead right into the recapitulation. This
subsequently the idea o f a choral Requiem was born. Interestingly, the final
impetus for the composition came through a commission from the Vichy
government soon after the German occupation of France in 1940. The
government, in an attempt to boost morale of the French people, offered modest
movement ends with both heavy, passionate sections and more sofl, lyrical
commissions to composers to keep creating works in the severe economic
conditions during the war. Duruflé was awarded a commission for a
“symphonic poem”. Surprisingly, he ultimately received the commission even
passages, which help carry the tension and turmoil that has been built into the
next movement.
though it was not completed until after the war in 1947, and the “symphonic
poem” had morphed into an extended religious choral work. The first
performance was on French national radio in November of 1947, followed by a
succession of live performances in various concert venues in France and
elsewhere.
Movement two is quite different from the first in both form and mood.
Schubert uses a strict Rondo form (ABABA) that creates memorable, repeated
sections for the listener. The A section features a beautifully written melody that
alternates between the horns, the strings and the clarinet and oboe. In contrast,
the B section is loud, accented and features the full orchestra. In those B
sections, the strings provide a driving bass line that really gives the excitement
to the movement. The end finishes with the same beautiful Andante theme that it
began with, leaving us waiting for more. Who knows what would have
happened had Schubert not died at such a young age.
Heather Worden
Some scholars, critics, and performers have compared Durufle’s
Requiem to that of his earlier compatriot, Gabriel Faure. Indeed, there are
certain similarities in spirit and detail. Most obvious is the absence of the
lengthy Dies irae sequence whose color and dramatic possibilities had so
fascinated and inspired composers such as Mozart, Berlioz, and Verdi among
others. By comparison, the settings of Faure and Duruflé are restrained and
intimate. Faure and Duruflé both include the Pie Jesu (the final verse of the
Dies irae) as a separate solo movement, Faure for soprano and Duruflé for
MAURICE DURUFLE Requiem (0p.9)
mezzo. Yet another similarity is the dark, rich texture of the orchestra] writing
created by the division of the string sections and the emphasis on the lower
string sections, viola in particular.
Maurice Duruflé is regarded as one of the leading organists of his time.
His early appointment as Vieme’s assistant at Notre Dame in Paris was followed
in 1929 by his appointment as organist at St. Etiennedu Mont, a title he held
until his death in 1986. In fact, however, this was a position he shared with his
gifted assistant and later wife, MarieMadeleine Chevalier, with whom he toured
Finally, some have noted the influence of chant in both Faure and
Duruflé. While it is true that Faure’s melodies display the graceful rise and fall
internationally in the middle decades of the twentieth century.
Duruflé’s reputation as a composer is based on a remarkably small
number of works, of which the Requiem is the most wellknown. He was
reputed to be a severe selfcritic and the act of composition was, for him, a long
and tortuous process. Prior to the Requiem (1947) his published compositions
were entirely instrumental, mostly organ works and a few orchestral pieces. Of
his other works, his Quatre Motets sur des themes gregariens (1960) are the best
known – in particular the first of these, Ubi caritas is a special work of genius.
[
}
and some of the modality that is characteristic of Gregorian melodies, they are
not Gregorian in origin. Duruflé’s Requiem setting, and much of his other
music, is completely immersed in the actual Gregorian tunes associated with the
various sections of the Requiem liturgy. The tunes provide the melodic material
and the supple, unmeasured rhythms resonate in the flexible changing meters of
Duruflé’s choral writing.
The Requiem exists in three versions. The original for chorus and large
orchestra is the version we present today. A version accompanied by organ
alone was prepared by Duruflé the year after the work’s premiere, and a
frequentlyperformed version for organ and string orchestra was created by the
composer in 1961.
Bruce Borton
�THE UNIVERSITY CHORUS
THE PERFORMERS
Mezzosoprano EMILY GELLER is currently a Resident Artist with TriCities
Opera where she recently performed lnes in II Trovatore and Lola in Cavalleria
Rusticana. Before coming to Binghamton, she performed with Opera on the
James as a Tyler Young Artist. Ms. Geller covered Giannetta in L Elisir
d’amore and performed Cherubino in The Three Little Pigs and The Wife in The
Music Shop. Ms. Geller has performed lead roles with numerous regional theater
companies, including CR Productions at Cohoes Music Hall, College Light
Opera Company, One World Symphony, Amore Opera, Regina Opera, NY
Lyric Opera Theater and Village Light Opera Group. Originally from Long
Island, Ms. Geller earned her Bachelors of Music in Vocal Performance from
New England Conservatory under the Ruth S. Morse Scholarship. Ms. Geller is
currently getting her Masters of Music in Opera at Binghamton University with
a Full Assistantship where she performed Hansel in Hansel and Gretel.
Bruce Borton, conductor
William Lawson, rehearsal accompanist
Soprano 1
Susan Bachman
Rose Ann C laugh
Lorraine Emmons
Mary Gilda
MayBelle Golis
Beverly Hitchcock
Christina Jarosch
Elizabeth Keyes
Susan MacLennan
Cathie Makowka
Mary Barb Martin
Allison Matey
Rachel Robertson
MICHAEL CELENTANO‘S. baritone past performances in the Manhattan
area have included the cover of Galanthus in the North American premier of
Vaughan William’s The Poisoned Kiss with The Bronx Opera Company and
Papageno in Die Zauberflote with New York Opera Studio. Recent
performances in the Binghamton area have included Alcindoro in Puccini‘s L a
Bohéme, Peter in Humperdinck’s Hansel and Gretel, The Giant/Trouble Man in
the TriCitie‘s OperaGoRound production of Davies‘ Jack and the
Beanstalk. and Faure’s Requiem (baritone soloist) with the Binghamton
University Chorus Chamber Singers. Mr. Celentano is currently completing a
Masters ofMusic in Opera at SUNY Binghamton, IS a Young Artist at TriCities
Opera, and a student of Thomas Goodheart.
Nicolette Roselli
Marilyn Ross
Gloria Salamida
Sadie Schwartz
Barbara Alhart Simon
Stephanie Stahovic
Barbara Thamasett
Soprano 2
Martha Bennett
Joanne Corey
Sarah Evans
Kalie Fiorenza
Sharon Fish
Hailey Gonzalez
Theanna Green
Lois Hearn
Barbara Herne
Nicole Meeker
Inez Nelson
Yvonne Newell
Sioux Petrow
Kelly Pueschel
Susan Sarzynski
N. Eva Wu
Rachel Young
Alto 1
Marion K. Adams
Carolyn E. Blake
Nanette Berton
Susan G. Campbell
Maria Luisa Cook
Carole Dickinson
Sylvia Horowitz
Cheryl Jacobson
Joan Kellam
Pat Labzentis
Arlene Lyon
Margit Mayberry
Greta L. Myers
Archana Susarla
Susan Szczotka
Pam Turrigiano
Mikiko Umeda
Mary Woestman
Katarzyna Zanlro
Alto 2
Kathryn Baine
Anna B. Bitterbaum
Kate Bouman
Phyllis S. Burr
Jeanne Fenzel
Judy James
Maggie Kirkaldy
Leann Lesperance
Ethel F. Molessa
Shirley Rodgers
Jane Shear
Lee Shepherd
Heather Sheridan
Tenor
Brad Bennett
Martin Bidney
Carol Chandler
Ron Clupper
H.B. King
Dennis Leipold
David W. Martin
Kevin Mootoo
Brian Presser
Carlton Sackett Jr.
Robert Scull
Mark Tyson
Judson Wallis
Bass 1
Eric Bare
Joshua Collins
Michael Jabo, J.D.
Tom Lamphere
Thomas Parker
Myron F. Shlatz
Emmanuel J. Sikora
Joshua Silver
Bokan g Wu
Michael Zick
Bass 2
Blane Bossung
Carl Bugaiski
Jason Cruz
Mark Epstein
J. Scott Hustod
Robert Ludden
Robert Maer
Arlo H. Meeker
Sean E. Moran
Joseph E. Nelson
John Patterson
Daniel Rosenau
Bob Sullivan
�UNIVERSITY SYMPHONY ORCHESTRA
Violin I
*Ella Serrano, Principal
Heather Worden, conductor
Rebecca Sgroi
*Nicholas Thompson
*Sara Sunshine
lfe Samms
Karen Fu
Gabrielle Maire
Olivia Rhines
Christopher Rogers
Emma Lecarie
*Fanny Chu
Violin l l
Nathaniel Christman, Principal
Natalie Bock
Anna Li
Eleanor Krasner
Emily Sui
Joseph Vanderpool
Jiwon Nam
Sara Kohtz
Simon Benarie
Viola
Max Stein, Principal
Lindsay Covington
Mimi Nam
Flute
Jessica Biagiotti
*Lindsay Ralbovsky
Oboe/English Horn
Rebecca Marwin
Kathy Karlsen”
John Lathwell#
Clarinet
Jaclyn Adler
Skylar Buono
Bassoon
Laura Earls
Natalie Spitzer
Horn
Zachary Birnbaum
Matt McAuliffe
Natalie Rivera
Kathryn Saturnino
Trumpet
**Kevin Hannon
Michael Stern
Junbo Yan
Harrison Dulin
Jillian Chen
Ethan Schaber
Kaila Umbach
Trombone
*Billy Marsiglia, Principal
Cello
Tuba
Elliot Bowen
Xander Edwards, Principal
Richard Reitz
*Eric Wuu
Deborah Mariottini
Raeleen Bichler
Ryan Hogan
Paul Watrobski
Emily Mockler
Andrew Card
Alan Wang
Bass
*Gabriel Felix
Robert Durante
Jacob Strohm
Gary Bennett
Percussion
Steve Olson
Benjamin Rothschild
* Andrew Williamson
Harp/Keyboard
Peter Browne#
Organ
Jonathan Biggers#
* Graduating senior /**Grad student
# Binghamton University Faculty
member
A Community player
�
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Binghamton University Music Department Tape Recordings
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Title
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Schubert's Symphony No. 8 in B-minor ("Unfinished") and Duruflé's Requiem, May 5, 2013
Subject
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Concerts
Instrumental music
Live sound recordings
Description
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Works by Schubert, Durufle. Held at 3:00 p.m., Month Day, Year, Casadesus Recital Hall.
Creator
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University Chorus
Borton, Bruce
University Symphony Orchestra
Worden, Heather
Geller, Emily
Celentano, Michael
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Binghamton University Libraries
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2013-5-5
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sound
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https://omeka.binghamton.edu/omeka/files/original/0e4e74c9d85af4b285cb846d67ae3f61.pdf
c1746c4b8c16ef84db862535e1116cb4
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Text
BINGHAMTON
U N I V E R S I T Y
S T A T E U N I V E R S I T V O F N E W Y O R K
W
0
[4
D E P A R T M E N T
MASTER’S REClTAL
Molly AdamsToomey, mezzosoprano
William James Lawson, piano
Saturday. May 4. 2013
8:00 p.m.
Casadesus Recital Hall
�PROGRAM
I. The Mermaid'’s Song
She Never Told Her Love
. . ...Franz Joseph Haydn
(17321809)
Fidelity
lI. Sechs Lieder, Op. 48.. .
I. Gruff
2. Deminst. Gedanke mein
.
. .
..Edvard Grieg
(18431907)
3. Lauf der Welt
4. Die velschwiegene Nachtigall
5. Zur Rosenzeit
6. Ein Traum
wlNTERMlSSlONus
Ill. Aria, “Vorrei vendicarmi,” “from Alcina.
George Frideric Handel
(16851759)
IV. Three Songs from Sestero FiesniMi/ostnych .
Noci Mild
Unter Der Linden
Ballade Des Dames Du Temps Jadis
V. Three Songs.
Vieille Chanson
Adieux de I’Hétesse Arabe
Chanson d ‘A vril
.Petr Eben
(19292007)
. Georges Bizet
(18351875)
�ABOUT THE PERFORMERS
MOLLY ADAMSTOOMEY. mezzosoprano, is currently
completing her Master of Music in Vocal Performance/Choral
Conducting at Binghamton University under the direction of
Professors Mary Burgess and Bruce Borton. Molly most recently
sang the role of Mamma Lucia in TriCities Opera ’s production
of Cavalleria Rusticana/Pagliacci. Molly has also sung the role
of The Witch in Hinsel and Gretel with Binghamton
University, the Third Spirit in Die Zauberflote with TriCities
Opera. and covered the role of The Mother in Binghamton
University’s performance of Amah/ and The Night Visitors. In
addition, Molly has appeared as a chorus member in several
TriCities Opera productions. including l/ Trovatore. La
Bohéme, Les Contes d’Hoffmann, and Cosi fan tufte. She also
sang as a soloist in Vivaldi’s Gloria at Gloucester Cathedral. Due
to her double concentration, Molly has performed often as the
conductor of the Women’s Chorus. During her undergraduate
study at Binghamton University, she was the recipient of the
John M. and Marcella M. Keeler Scholarship in Music. and
graduated Summa cum Laude.
WILLIAM JAMES LAWSON is active as a church musician, voice
coach. and accompanist and frequently performs chamber
music. At Binghamton University he has taught music theory,
lyric diction. and phonetics. He was one of the first graduates of
the New York University Tisch School of the Arts Department of
Performance Studies, an innovative interdisciplinary program in
dance. music, and theater. His extensive background in dance
history led him to employment at the New York City Ballet and
Dance Magazine as well as working as assistant to British dance
writer Richard Buckle. He is presently Organist and Director of
Music at the United Presbyterian Church of Binghamton,
founder and director of the Canterbury Choir, and rehearsal
accompanist for the Binghamton Downtown Singers. with
whom he has performed as harpsichordist and organist.
PROGRAM NOTES
Franz Joseph Haydn (17321809) was an Austrianborn composer who
spent a large amount of his composing life in the service o f the aristocratic
Esterazy family. Under this patronage he produced a multitude of works.
and came to be considered the “Father of the Symphony.” He is perhaps
most well known for both his symphonies and his oratorios, notably the
oratorio entitled “The Creation.” Later in his life. Haydn stayed for a short
time in England. It was there he stayed with the surgeon John Hunter and
his wife Anne Hunter. The latter w as an amateur poet, and the text s to
both “777e Mermaid'’s Song” and “fidelity ” were written by her. The text
to “She Never Told Her Love” is adapted from the Shakespeare play
“Twelfth Night.” It is taken from a speech in which the heroine Viola,
disguised as a man. tells the Duke Orsino about her “sister’s” unrequited
love. though she is really speaking of her own love for the Duke.
Edvard Grieg (18431907) was a Norwegian composer, a promoter of
Norwegian music. and considered one of the greatest Scandinavian
composers. He is mainly known for his lyric pieces. songs and piano
character pieces. He often drew on Norwegian folk idioms in his music.
Grieg’s set of six songs presented here are a wonderful example of Grieg’s
affinity for lyrical beauty. “Gruf” is a setting of a charming short poem by
the renowned German poet Heinrich Heine. “Dereinst, Gedanke Mein"is
a poem by Emmanuel von Geibel. and was originally based on a Spanish
text by Cristobal de Castillejo entitled “Alguna Vez. " “Lauf der Welt ” is a
simple. folksy poem by Johann Ludwig Uhland from his Lieder. “Die
verschwiegene Nachtiga/I” is adapted from a medieval text by the twelfth
century poet Walther von der Vogelweide. The text of “Zur Rosenzeit ”
was taken from one of Erwin‘s songs from the singspiel Erwin und Elm/re.
composed by the Duchess Anna Amalia of BrunswickWolfenbuttel with a
libretto by the famed German poet Johann Wolfgang von Goethe. The
singspiel revolves around Erwin’s despair at thinking Elmire has spurned
him because of social propriety, but the two are reconciled once Elmire
confesses her actual love of Erwin to him whilst he is disguised as a hermit.
“Ein Traum"is one of the most popular songs from the set. and is a setting
of a poem by Friederich Martin von Bodenstedt.
George Frideric Handel (16851759) was born in Germany. but spent a
large portion of his life living and composing in England. and so was and is
often considered an English composer. He composed works in almost
every musical genre. from orchestral to vocal pieces, chamber music to
oratorio. He is perhaps most known today for his oratorio Messiah.
Handel composed several operas on Italian librettos early in his career.
Alcina was one of these. Though Alcina is very rarely performed today. it
contains many excerpts and arias that are noted for their beauty and fine
composition. The plot revolves around the heroine Eradamante. her
husband the knight Ruggiero. and the sorceress Alcina. Bradamante
�disguises herself as her own brother Ricciardo to go in search of and rescue
Ruggiero from the enchantment of Alcina. who is in love with Ruggiero
herself. Bradamante. however. becomes entangled in mishaps on Alcina‘s
enchanted island when the lady Morgana falls in love with her. thinking
she is a knight. and she incites the rage of Morgana’s lover Oront e. When
she at last finds Ruggiero. he believes her to be his rival in love for Alcina.
In response to this, Bradamante sings the angry aria “Vorrei vendicarmi,”
lamenting his coldness to her. and vowing to break Alcina‘s enchantment
so Ruggiero will see her for who she is. At last. the two manage to break
Alcina’s enchantments. and are restored to their married happiness.
Petr Eben (19292007) was a Czech composer from Zamberk in Eastern
Bohemia. He is most well known for his organ music. an instrument he
turned to as a result of his profound Catholic faith. This faith. and
consequently his organ music. became a driving force in his life after his
experiences as a child in the Buchenwald concentration camp under the
Nazi regime, and his experiences later under the Communist regime in
Czechoslovakia. Eben often incorporated elements of Gregorian chant in
his music. not only as a compositional device, but as a way of
communicating and reaching out to other Catholics during the Communist
regime. Gregorian chant is very prominent in his song cycle Sestero Piesn/
Milosrnydi (Six Medieval Love Songs). whose medieval texts are reflected
well in chant melodies. Only three of the six songs are presented here.
“Noci Mile” sets an anonymous medieval Czech folk song. “Unter Der
Linden"sets the same medieval German text by the poet Walther von der
Vogelweide that was adapted for Grieg‘s setting of it in “Die
Verschwiegene Nachtiga/l.” Eben’s setting is quite radically different.
“Ballade Des Dames Du Temps Jadis” is a setting of a poem by the
fifteenthcentury French poet Francois Villon. who was as famed for his
debauchery, thievery, and the murders he committed as he was for his
poetry.
Georges Bizet (18351875) was a French composer who lived much of his
life in Paris, and who wrote orchestral. vocal. and piano works. He was
particularly prolific in vocal music. and wrote several operas. He is most
well known for his famous opera Carmen. His chansons and melodies are
much less well known. but nevertheless exhibit his highly Romantic
compositional flair. “Vieille Chanson ” sets a charming. folkinfluenced
poem by Charles Hubert Millevoye and is taken from his Poésies Légeres.
“Adieux de I’Hbtesse Arabe"sets a text by the famous French poet Victor
Hugo. and is taken from his set of poems entitled Les Orientales. It displays
a nineteenthcentury western love of exoticism. and perhaps could be seen
as a prelude to the kind of musical exoticism Bizet employed in Carmen.
“Chanson d’Avrl/"sets a simple but atmospheric poem by Louis Bouilhet to
lively and graceful musical phrases.
TRANSLATIONS
ll. GRIEG
We have never planned this,
1. GruB8 (Greeting)
Heinrich Heine
Sweet chimes are softly
I don’t know how it happened
Filling m y soul.
Ring, little springtimesong
Ring out far and wide.
Go forward till you reach the
house
Where the violets bloom;
And if you see a rose,
Give her my greetings.
2. Dereinst, Gedanke Mein
(One Day 0My Thoughts)
Emanuel von Geibel
One day, O my thoughts,
You will be at rest.
Love‘s ardour
Will not leave you alone.
In the cool earth,
There you will sleep well.
There without love.
and without pain,
You will be at rest.
What you have not
found in life.
When life has vanished.
Will be given to you.
Then without wounds,
And without pain,
You will be at rest.
3. Lauf Der Welt
(The Way Of The World)
Johann Ludwig Uhland
Each evening I go out.
Over the meadowpath,
She looks out from her
summerhouse
Which stands by the pathway.
It is just the way of the world.
so.
For a long time we have been
kissing.
I don’t ask. she doesn’t say yes,
But. she also never says no.
If lips like to rest on lips,
We forbid them not. we think it
good.
The little breeze plays with the
rose.
It doesn’t ask: do you love me?
The little rose cools itself in the
dew,
It doesn’t ask for more!
I love her, she loves me
But neither says: I love you!
4. Die Verschwiegene Nachtigall
(The Secretive Nightingale)
Walther von der Vogelweide
Under the lindens,
On the heath
On the spot where I sat with my
lover,
You might discover
How he and I
Squashed the flowers and the
grass.
From the woods came a sweet
sound:
“Tandaradei!”
The nightingale singing in the
valley.
I came to the meadow,
My sweetheart had arrived
before me.
He greeted me
�As a noble lady
So that I am still happy.
7
Did he also offer me kisses?
“Tandaradei!”
See how red my lips are!
If anyone found out
(God forbid!)
What happened as I lay there.
I would be deeply ashamed.
May nobody know
How the young man embraced
me.
Except him and me.
And a little bird.
“Tandarade'.”
Who will not say anything.
5. Zur Rosenzeit
(To The Time Ofkamt}
Johann Wolgang von Goethe
You are wilting. sweet roses
My love did not wear you.
O do bloom for the hopeless
one then.
For him whose soul is breaking
from sorrow!
6. Eln Traum (A Dream)
Friedrich Martin von Bodenstedt
I dreamt once a beautiful dream
A fairhaired maiden loved me.
We were in a green forest glade.
It was warm spring weather.
The buds were sprouting, the
brook was running strong,
The sounds of the distant village
bells could be heard.
We were full of joy,
Immersed in bliss.
And even more beautiful than
the dream
Was what happened in reality :
It was in a green forest glade.
It was warm spring weather:
The buds were sprouting, the
brook was running strong.
The sounds of the distant village
bells could be heard.
I held you tight, I held you long.
And nevermore will let you go!
Nevermore! Nevermore!
I think mournfully of those days
When I did cling to you, angel.
When. waiting for the first little
buds,
I went to my garden early:
Oh, springgreen glade.
You live in me for all time!
That is where reality became a
dream,
And the dream became reality!
Every blossom. every fruit
I carried to place at your feet;
When in your presence
Hope throbbed in my heart.
lII. HANDEL
BRADAMANTE:
I would be avenged
Upon that false heart
Love. give me weapons.
Endow me with fury.
You are wilting. sweet roses
My Iove did not wear you.
O bloom for the hopeless one
then.
Whose soul is breaking from
sorrow.
You are cruel and unkind
To one who pines for you;
Then take. pitiless one.
If you want it. my life as well.
Nod Milé (Dear Night)
He went to make us a bed
of flowers of many kinds:
desire.
By the roses, he may well,
tandaradei!
Already my heart dwells in
suffering, in sadness, in longing
God forbid, I would be
ashamed.
How he was with me. no one
IV. EBEN
Anonymous, 14m Century
Dear night. why are you long.
for my dear I am filled with
because it is impossible for me to
speak with her.
who can console me?
grief.
All this is because I am parted
from my dearest.
the dearest of ladies.
Dear God. let not the desire for
my beloved be long!
Dear God.
Unter Der Linden
(Under The LindenTree)
Walter von der Vogelweide
Under the LindenTree. on the
heather.
where the two of us made our
bed.
you may still find, as we both
have.
the flowers, pressed together on
the grass.
By the forest. in the vale.
tandaradei!
sweetly sang the nightingale.
I went to the meadow,
my truelove was already there.
there was I received as a noble
lady.
so that I am constantly glad,
Did he kiss me? A thousand
times: tandaradei!
see. how red my mouth is still.
If anyone passed by, he might
well smile at the sight!
mark where I lay my head.
That I lay there. if any saw,
will ever know,
except he and l. and a little bird,
who will not say anything.
Ballade Des Dames Du Temps
Jadis (Ballad Of The Ladies Of
77mes Past)
Francois Villon
Tell me where or in what
country is Flora, the beautiful
Roman,
Archippa, or Thais, who was her
German cousin,
Echo who speaks when there is
noise on the river. on the pond,
whose beauty was more than
human?
But where are the snows of
yesteryear?
Where is the very wise Hélois,
for whom they castrated and
made a monk
Pierre Esbaillart at Saint Denis?
For his love was this endured.
Likewise. where is the queen
who commanded
that Buridan be thrown in a sack
in the Seine?
But where are the snows of
yesteryear!
�The queen Blanche like a lily
who sang with the voice of a
“Ah!” Said the despairing
shepherd.
Bertha of the large feet. Beatrice.
Alice, Haremburgis who held
Maine.
and Joan the good maid of
Lorraine whom the English
burned at Rouen
where are they, where.
Sovereign Virgin?
But where are the snows of
yesteryear?
Lucette!
All of my hopes flew away
On the wings of the warbler!”
siren.
Prince. do not ask this week
where they are. nor in this year.
nothing but this refrain remains
to you
“But where are the snows of
yesteryear?”
V. BIZET
Vieille Chanson (Old Song)
Charles Hubert Millevoye
The besotted Myrtil
Has caught in the woods the
dainty warbler;
“You, my lovely bird.” he told
it.
“Are meant to be a present for
my shepherdess.
If i offer you for a present.
She will show her gratitude with
kisses.
if my Lucette usually gives me
“Farewell to the kisses of
Sadly, Myrtil returned to the
close wood
Weeping for his loss.
But there. be it luck. be it
destiny.
In the woods he found Lucette.
Well aware of his good
intentions,
She left her hideaway
And said: “Console yourself,
You have lost only the warbler!“
Adieux De L ‘Hdtesse Arabe
(Farewells Of TheArabian
Hostess)
Victor Hugo
Since nothing will keep you in
this happy land.
Neither the shade of the palm
trees, nor the yellow corn.
Nor the restfulness, nor the
abundance.
Nor to see palpitating at the
sound of your voice
The young breasts of our sisters.
Who in a whirling bevy at
evening
She will give me ten for the
warbler.”
Encircle the hillside with their
dancing.
Farewell, handsome traveler!
Alas, adieu!
The warbler, however.
Had left his mate in the valley.
And as soon as possible. broke
free from his prison
And dashed away on flapping
wings.
Oh! You are not of those whose
lazy feet are bounded
By their roof of branches or of
tiles!
Who. dreamers, listen in silence
to stories.
two for a bouquet
And wish at evening, sitting
outside their door,
Chanson D’Avn’l
(Song Of April)
To be o ff to the stars!
Louis Bouilhet
Had you wished it. perhaps one
Yonder over the valleys rosy
of us,
O young man, would have liked
to serve you
Kneeling in our ever open huts.
She would have made.
While rocking you asleep with
her songs.
To drive the troublesome
midges from your brow,
A fan of green leaves.
If you do not return. dream a
little sometimes
Of the daughters of the desert.
Sisters of the sweet voice.
Who dance barefoot on the
dunes,
O handsome, white young man.
Beautiful bird of passage.
Remember, for perhaps, O
swiftly passing stranger.
Your memory remains with
more than one!
Alas! Farewell! Handsome
stranger!
Remember!
Arise! Arise! Spring is just born!
gossamer floats!
Everything thrills in the garden.
Everything sings, and your
window
Like a joyous glance. is full of
sun!
Beside the lilac with its purple
clusters.
Flies and butterflies hum
together.
And the wild lilyofthevalley,
Ringing its tiny bells.
Has awakened love asleep in the
woods!
Since April has sown its white
daisies,
Put off your heavy cloak and
your cozy muff.
Already the bird calls you and
your sisters the periwinkles
Will smile in the grass on seeing
your blue eyes!
Come. let us go! At morn the
springs are more Iimpid!
Let us not wait for the burning
heat of the day,
l would moisten my feet in the
damp dew,
And tell you of my love beneath
the flowering pear trees.
�Binghamton University Music Department ’s
C oming Events
M
M
M
M
M
M
M
M
Sunday, May 5 – University Symphony Orchestra and
Chorus: Schubert’s “Unfinished Symphony ” & Duruflé’s
“Requiem ” – 3:00 p. m. – Osterhout Concert Theater – S 6
general public; $3 faculty/staft/seniors; free for students
Wednesday, May 8 – Nukporfe African Drumming and
Dance Ensemble – 7:00 p.m. – Watter’s Theater – $3 general
admission at the door
Thursday, May 9 – Student Recognition MidDay Concert –
1:20 p. m. – Casadesus Recital Hall – free
Thursday, May 9 – RecitaVMasterc/ass: Guest Artist Victor
Chavez Jr., clarinet 4:30 – 6 p. m. – Casadesus Recital Hall –
free
Thursday, May 9 – Harpur Chorale and Women’s Chorus –
8:00 p.m. – Anderson Center Chamber Hall – $6 general
public; $3 faculty/staft/seniors; free for students
Friday, May 10 – Junior Recital: Kerianna Krebushevski,
soprano – 8:00 p.m. – Casadesus Recital Hall – free
M
m
m
m
fi
w
fi
For tickets or to be added to our email list. visit anderson.binghamton.edu or call
(607) 777ARTS. For a complete list of our concerts call (607) 7772592. visit
music. binghamton. edu or become a fan on Facebook.
If you were inspired by this performance, consider supporting
_ _
= [ = ] the Department of Music with a financial gift. Your support
E
O
helps to continue the work of students. faculty, and guest artists
f
and their contributions to our community. Please make your
donation payable to the Binghamton University Music
Department. and send your check to BU Music Department.
P.O. Box 6000. Binghamfon. NY 13902.
�
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
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Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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1 audio disc
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51: 48
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Title
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Master's recital with Molly Adams-Toomey, May 4, 2013
Subject
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Concerts
Instrumental music
Live sound recordings
Description
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Works by Haydn, Grieg, Handel, Eden, Bizet. Held at 8:00 p.m., May 4, 2013, Casadesus Recital Hall.
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Adams-Toomey, Molly
Lawson, William James
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Binghamton University Libraries
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2013-5-4
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Type
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sound
-
https://omeka.binghamton.edu/omeka/files/original/19d783f20162bbee0bdd5a80241b7595.pdf
742f5c2fff12b37323436d5bd2222b2b
PDF Text
Text
BINGHAMTON
UNIV ERSIT Y
STATE UNIVERSITY OF NEW YORK
MUSIC FROM THE
SEMINAR
Friday, May 3, 2013
7:00 p.m.
Casadesus Recital Hall
�PROGRAM
Sketch for Cello Quartet .......................... Emmanuel Sikora
Xander Edwards, cello
Paul Watrobski, cello
Eric Wuu, cello
Andrew Card, cello
Etude for Solo Cello ............................. ..... Christian Martin
Xander Edwards, cello
Variations on "Lo, How a Rose 'ere Blooming"Mark Summer
Paul Watrobski, cello
"Prelude" first movement from Suite ................. Peter Cody
for Unaccompanied Cello
Stephen Stalker, cello
Human Emotions for Cello and Piano ................ Wan Kim
Stephen Stalker, cello
Sungkyun Ryu, piano
INTERMISSION
�Piano Sonata No. 1............................. ....... Christian Martin
1. Largo Expressivo
2. Eerie, Otherworldly
3. Allegro Vivace
Christian Martin, piano
New River ............................. .................. ........ Peter Cody
Alexander Baron, tenor recorder
Veteran's Day Parade ............................. .......... David Gaita
Daniel Salinas, violin l
Carmen Johnson-Pajard, violin 11
Ben Pochily, viola
Lanra Andrade, cello
Spring Pools ............................. ...................... Peter Cody
Two Miniatures for ....................... ......... Emmanuel Sikora
Unaccompanied Chorus
1. Late Autumn
2. Jenny
The Altoids
�ABOUT THE PERFORMERS
PETER CODY is a graduate student in compositio n at SUNY
Binghamto n and studies with Professor Loy. He did his
undergradu ate work in compositio n at Temple University and
SUNY New Paltz. He worked with the Bucks County Center for
the Performing Arts, where he wrote music for events, scenes for
the actors, and ran a forum for local composers. He currently
teaches piano and compositio n in the Communit y Services program
at Dutchess Communit y College.
DAVID GAITA, a senior at Binghamto n University, began studying
piano at age 7, and composing at age 15. He has performed piano
solos, chamber works, and his own pieces in Manhattan ,
Barcelona, and throughout NY State. His music has been
performed by flutist Georgetta Maiolo, pianist Michael Salmirs, and
various Binghamto n University ensembles. He studies piano with
Michael Salmirs and compositio n with Christophe r M. Loy. He has
recently organized a flashmob-s ymphony for 25 musicians, which
took place on the Binghamto n University quad. He is currently
composing a score for the pilot episode of a television series
entitled "King's County," written by Andoni Elias-Nava. He will be
graduating this May with a Bachelor's degree in biology and music.
He plans to continue composing and playing piano, to begin
working in biomedical research, and to enroll in medical school in
the fall of 2014.
WAN KIM is a graduate student of State University of New York at
Binghamto n, majoring in compositio n, and he has studied with
Professor Christophe r Loy and Professor Paul Goldstaub. He
received a Bachelor of Music degree in Compositio n from KyungHee University, South Korea in 2006. He was awarded prizes at
many compositio n competition s; Contempor ary Music Society
Compositio n Competitio n 1st Prize winner, 36th Nanpa Music
Competitio n, DCMA (Daejeon Contempor ary Music Association)
Young Composer Prize winner, Daegu Internation al Contempo rary
Music Festival Young Composer Prize, and Korea Society of
Woman Composers .
CHRISTOPHER MORGAN LOY, composer-p ianist, has a catalog of
compositio ns which includes works for piano, voice, chamber
ensembles, chamber orchestra, full orchestra, and chorus. He
�earned the Doctor of Musical Arts in compositio n from Cornell
University in Ithaca, New York where he studied compositio n with
Pulitzer Prize-winni ng composers, Karel Husa (1969) and Steven
Stucky (2005). Loy has been a guest composer/p ianist in many
venues and recital series through-ou t the mid-west and New York
State. In 1987, Loy was a founding director of "EPICYCLE: an
ensemble for new music" based in Cleveland. This organizatio n
helped to establish a significant voice for new music in Cleveland.
His works have been heard and premiered in Cleveland, Detroit,
Houston, New York, San Francisco, San Antonio, and Ithaca. He
serves as Professor of Theory and Compositio n at Binghamto n
University and teaches piano and compositio n at the Communit y
School of Music and Art (CSMA) in Ithaca, NY. He is organist/
pianist at the First Baptist Church of Ithaca. Loy is a member of
BMI and the American Composers Alliance (ACA). Helianthus
Music Publishing Company publishes his music.
CHRISTIAN MARTIN received his Bachelors of Music from
Binghamto n University in 2012. He is now finishing his first year in
the compositio n masters program here at SUNY Binghamto n. He
has worked as a teaching assistant in music theory under Dr.
Christophe r Loy and has accepted a teaching assistantship and
tuition scholarship for next year. Upon the completion of his
degree he plans to work towards a OMA in Compositio n. He has
been commission ed as a transcriptio nist and arranger by Dr. Paul
Goldstaub and Schubertiad e Music LLC., and as a composer for
A.A. Michael Production s. He has won prizes in national choral
compositio n competitio ns with his works Walls of Glass, for
accompani ed SATB (2 nd place in Edwin Fissinger Choral
Compositio n Competitio n, 2011); and Purple and Pearl, for
accompani ed SATB (1 st place in the San José Choral Production s
Compositio n Competitio n, 2011). You may visit his webpage for
more information at www.wix.c om/theoryo fmusic/chr istianmarti n.
EMMANUEL SIKORA is currently completing his Masters in Choral
Conducting and Compositio n at Binghamto n University. He earned
his Bachelor's with a Concentrat ion in Compositio n from Queens
College, where his teachers included Edward Smaldone, Joel
Mendelbau m and Bruce Saylor. He is currently studying
compositio n with Prof. Loy.
�THE ALTOIDS
Jibron Harris 82
Daniel Fernandez 82
Joseph Keller Bl
Michael Celentano Bl
Matthew Pedersen T2
Thom Furey T2
Cole Tornberg Tl
Greg Keeler Tl
Denise Aquino A2
Katherine Sherwood A1
Danielle Stoner S2
Katherine Sucha Sl
Christina Santa-Maria S1
PROGRAM NOTES
SPRING POOLS for eight part mixed voices, is based on a melody by
Alexander Scriabin and sets the text of Robert Frost:
"These pools that, though in forests still reflect
The tota I sky almost without defect
And like the flowers beside them chill and shiver
Will like the flowers beside them soon be gone,
And yet not out by any brook or river,
But up by roots to bring dark foliage on.
The trees that have it in their pent-up buds
to darken and be summer woods
Let them think twice before they use their powers
To blot out and drink up and sweep away
These flowery waters and these watery flowers
From snow that melted only yesterday."
VETERAN'S DAY PARADE was performed by a student string quartet at
the Eastman School of Music, this composition is the culmination of David
Gaita's studies with Amazing Grace, having previously composed three
smaller and shorter versions of what might be called variations on the
hymn, for other ensembles.
HUMAN EMOTIONS FOR CELLO AND PIANO is written in A - B - C Cadenza - A' form to express different human emotions that appear in
life. Most people experience a variety of emotions in their daily lives, such
as anger, sorrow, and joy. Each musical section corresponds to a different
emotion. The first describes anger, while the second is sorrowful. The last
section represents joy and pleasure. To express the emotions of each
section, various musical elements are employed; a wide range of dynamics
for anger, a lyrical melody to depict sorrow, and a faster tempo and more
intricate rhythm to describe joy and pleasure.
�PIANO SONA TA NO. 1 expresses some of my deepest emotions. Unlike
my preludes, which express my appreciation and desire for the beauty
and tranquility of nature, this piece explores the two very opposite
human emotions of joy and anger. This sonata follows the traditional
fast, slow, fast three movement form. In the first movement the main
theme, representing anger, is introduced in silent contemplation. After it
is stated it is quickly thrown through a series of developmental variations.
The second theme, representing joy, is stated only once in the entire first
movement. Throughout the second movement, both themes fight back
and forth for the lead. In the third movement the second theme is the
melody, but the first theme comes back for one last time and both
motives, anger and joy. fight back and forth towards a climactic ending.
1WO MIN/A TURES FOR UNACCOMPANIED CHORUS were composed
last semester. I wanted to try my hand at choral writing in my ownlanguage. which I had not done before. After completing the first piece,
to my own somewhat haphazard poem, I had trouble finding the text for
a second. David Gaita, it turns out. had just written a short poem called
"Jenny" that he wanted someone to set to music. This I did, with great
pleasure.
Late Autumn
"Far removed from summers'
radiant warmth.
I beheld late autumn.
Murmuring from emotion.
For to see the wi ldwood so
endless.
Drifting into silence. Into
silence."
Text by Emmanuel Sikora
Jenny
Jenny did nothing but opened
the front door to her porch.
She simply sat down in a chair
and gazed out at the stars.
She sat for a while and the stars
did not change.
She went inside and shut the
door.
Text by David Gaita
SKETCH FOR CELLO QUARTET At about the same time as I was finishing
my Two Miniatures, Professor Loy told me about a cello quartet on
campus that wanted some new music to play. I worked on the Sketch off
and on (mostly off) for several months, completing it in March. I had a
very classical design in mind when I wrote it: that is, I consciously set out
tto write a piece that developed a single motif.
�Binghamton University Music Department's
Coming Events
Saturday, May 4 - Master's Recital: Molly Adams-Toomey,
mezzo-soprano - 8:00 p.m. - Casadesus Recital Hall - free
Sunday, May 5 - University Symphony Orchestra and
Chorus: Schubert's ''Unfinished Symphony" & Durufle's
"Requiem" - 3:00 p.m. - Osterhout Concert Theater- $6
general public; $3 faculty/sta ff/seniors; free for students
Wednesday, May 8 - Nukporfe African Drumming and
Dance Ensemble - 7:00 p.m. - Wafter's Theater- $3 general
admission at the door
Thursday, May 9 - Student Recognition Mid-Day Concert 1:20 p. m. - Casadesus Recital Hall - free
Thursday, May 9 - Redta!/Masterclass: Guest Artist Vidor
Chavez Jr., clarinet- 4:30- 6 p.m. - Casadesus Recital Hall free
Thursday, May 9- Harpur Chorale and Women's Chorus 8:00 p.m. -Anderso n Center Chamber Hall - $6 general
public; $3 faculty/sta ff/seniors; free for students
Friday, May 10 - Junior Redtal: Kerianna Krebushevski,
soprano- 8:00 p.m. - Casadesus Recital Hall- free
For tickets or to be added to our email list, visit anderson.bin ghamton.edu or call
(607) 777-ARTS. For a complete list of our concerts call (607) 777-2592, visit
music.bingha mton.edu or become a fan on Facebook.
If you were inspired by this performance. consider supporting
the Department of Music with a financial gift. Your support
helps to continue the work of students, faculty, and guest artists
and their contributions to our community. Please make your
donation payable to the Binghamton University Music
Department, and send your check to BU Music Department,
P.O. Box 6000, Binghamton, NY 73902.
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF / Rosetta
PDF with Rosetta audio/video link
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
1 audio disc
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
01:01
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE128179">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE128179</a>
Accessibility
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Dublin Core
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Title
A name given to the resource
Music from the seminar, May 3, 2013
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works by Sikora, Martin, Summer, Cody, Kim, Gaita. Held at 7:00 p.m., May 3, 2013, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Edwards, Xander
Watrobski, Paul
Wuu, Eric
Card, Andrew
Stalker, Stephen
Ryu, Sungkyun
Martin, Christian
Baron, Alexander
Salinas I, Daniel
Johnson-Pajàrd II, Carmen
Pochily, Ben
Andrade, Lanra
The Altoids
Publisher
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Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
2013-5-3
Rights
Information about rights held in and over the resource
In copyright
Type
The nature or genre of the resource
sound