tag:binghamtonphilharmonic.org,2005:/blogs/the-latest?p=3
The Latest
2024-02-28T13:36:38-05:00
Binghamton Philharmonic Orchestra
false
tag:binghamtonphilharmonic.org,2005:Post/7358779
2024-02-28T13:36:38-05:00
2024-02-28T13:36:38-05:00
The Binghamton Philharmonic Orchestra Shakes Off the Winter Blues with "Pops at the Forum"
<img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/991b149fac501df3743145919ccdaa16b363c5fb/original/percussionists-steve-mathiesen-elaina-smales-sam-lazzara-and-joel-smales.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_l justify_center border_" height="4000" width="6000" /><p><a class="no-pjax" href="https://nysmusic.com/" target="_blank" data-link-type="url"><span style="color:hsl(270, 75%, 60%);"><u>NYSMusic</u></span></a> has published a stellar review of the Philharmonic's February 24, 2024 concert, Pops at the Forum:</p><p><span style="color:rgb(34,34,34);"><i>On February 24, the Binghamton Philharmonic performed a crowd-pleasing pops concert – with a twist. In “Pops at the Forum,” rather than sticking to the timeworn pops formula of show tunes and light classics, Maestro Daniel Hege led the orchestra in a satisfyingly dynamic mix of opera excerpts, overtures, film music, and even rock. </i></span></p><p><span style="color:rgb(34,34,34);"><i>The show spotlighted the talents of several of the Philharmonic’s world-class musicians. Principal cellist Hakan Tayga, along with percussionists Julie Licata, Steve Matthiesen, Sam Lazzara, and the father-daughter team of Joel and Elaina Smales, provided dramatic solos in Tan Dun’s atmospheric “Crouching Tiger” Concerto. Principal flutist Karen Bogardus and oboist Evan Ocheret phrased their solo lines sinuously in Fauré’s delicate Pavane in F-sharp minor. The orchestra’s trumpet section – Frank Campos, Ben Aldridge, and Jud Spena – brought the heat in Leroy Anderson’s toe-tapping “Bugler’s Holiday.” And the whole audience whistled along enthusiastically to the “Colonel Bogey” March (known to some as the “Comet” song!). </i></span></p><p><a class="no-pjax" href="https://nysmusic.com/2024/02/28/the-binghamton-philharmonic-orchestra-shakes-off-the-winter-blues-with-pops-at-the-forum/" target="_blank" data-link-type="url"><span style="color:hsl(270, 75%, 60%);"><u>Read the full review here.</u></span></a></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7346836
2024-02-06T12:32:50-05:00
2024-02-06T12:32:51-05:00
Music and the American Experience: WSKG's Bill Snyder Talks to Castalia String Quartet Violinist Uli Speth
<p><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/c7813a55809bda11013eda36f689a7ff5ae8c5bd/original/screenshot-2024-02-05-11-16-14-am.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_l justify_center border_" /></p><p>WSKG's Bill Snyder had a wonderful chat with Uli Speth, the Binghamton Philharmonic's concertmaster and first violinist in the Castalia String Quartet, about the Castalia's upcoming performance on February 11, 2024, in the Garufi Law P.C. Phelps Mansion Museum Series. To watch the interview, <a class="no-pjax" href="https://youtu.be/hD9B21FFcNY?si=lK0TZfSozUADcI63" target="_blank" data-link-type="url">go here.</a><a data-link-type="url"> </a></p><p>For information about the Castalia's concert of music about the American experience, or to purchase tickets, <a class="no-pjax" href="https://binghamtonphilharmonic.org/event/5048550/635026707/castalia-string-quartet" target="_blank" data-link-type="url">go here.</a></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7344622
2024-02-02T09:10:49-05:00
2024-02-02T09:10:49-05:00
The Binghamton Philharmonic Commemorates Black History Month
<p><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/48cab324217fe9dbd1d0e2abc83d9918bf91ec3a/original/black-composers.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_l justify_center border_" />Top row, left to right: Joseph de Bologne, Chevalier de Saint-Georges; Samuel Coleridge-Taylor; Florence Price; William Grant Still. Bottom row, left to right: George Walker; Ulysses Kay; William Dawson; Wynton Marsalis. </p><p style="text-align:center;"><strong>Classical music is for everyone.</strong></p><p><span>Recognizing this, American orchestras, including the Binghamton Philharmonic, are working to diversify not only the music presented on the concert stage, but also the orchestras themselves. An orchestra in any American city should reflect the vibrant diversity of its citizens.</span></p><p><span>But it's not enough to change the makeup of the musicians on the platform or the identities of the music's creators. </span><strong>Music listenership</strong><span> has for too long been segregated by race, age, social and economic class, education and income level. Social media aids in creating the </span><strong>perception</strong><span> that certain music is for certain people, but not others. At the Philharmonic, we push back against this </span><strong>false notion</strong><span> every day. Our mission is to bring awareness to the </span><strong>truth that</strong><span> </span><strong>great music is for everyone</strong><span>.</span></p><p><span>In the past several seasons, we've showcased the genius of classical composers of African ancestry across a variety of platforms and venues. In 2022 and 2023, the Philharmonic performed works by Samuel Coleridge-Taylor, Jessie Montgomery, and Valerie Coleman. In 2024 and 2025, our concerts will feature music by Adolphus Hailstork, Florence Price, Quinn Mason, and Duke Ellington, among others. In our new </span><strong>Phelps Mansion Museum Series</strong><span>, </span><a class="no-pjax" href="https://binghamtonphilharmonic.org/event/5048550/635026707/castalia-string-quartet" target="_blank" data-link-type="web"><strong><u>the Castalia String Quartet plays a concert on February 11</u></strong></a> <span>of chamber works by Black composers and composers inspired by Black music, including George Walker and Rhiannon Giddens.</span></p><p style="text-align:center;"><span><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/c055cb0f9f1c00a000c5ff9554b20f9e219ce827/original/chamber-music-iv-photos-together.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_l justify_center border_" />Left to right: Melissa White, violin; Pallavi Mahidhara, piano.</span></p><p><span>Also in the Phelps Mansion Museum Series, on </span><a class="no-pjax" href="https://binghamtonphilharmonic.org/event/5048570/635026729/violinist-melissa-white-pianist-pallavi-mahidhara" target="_blank" data-link-type="web"><strong><u>Sunday, March 10, violinist Melissa White and pianist Pallavi Mahidhara perform</u></strong></a><span> the Suite for Violin and Piano by William Grant Still, called the Dean of African American Composers.</span></p><p><span>And in a recent recital at Binghamton University's Casadesus Hall, Executive Director Dr. Paul Cienniwa and Assistant Concertmaster Noemi Miloradevic highlighted the music of 18th-century composer Joseph Bologne, Chevalier de Saint-Georges.</span></p><p><span>More importantly, however, we at the Philharmonic are committed to </span><strong>the highest standard of excellence in the music we present to you</strong><span>. The legacy of great Black composers and musicians working in classical music is a long and rich one, and it is our joy and our privilege to bring its awareness to the public. And our concert programming is </span><strong>just one of the ways that we showcase Black musical excellence.</strong><span> We have pioneered a robust music education program that introduces schoolchildren to great classical music by composers across races, ethnicities, and national origins, and teaches them that </span><strong>classical music is for everyone: it is part of our unique shared heritage as Americans.</strong></p><p><span>During this Black History Month, you can experience Black musical excellence live on February 11, when</span><a class="no-pjax" href="https://binghamtonphilharmonic.org/event/5048550/635026707/castalia-string-quartet" target="_blank" data-link-type="web"><u> </u><strong><u>the Castalia String Quartet brings its innovative programming to the Phelps Mansion Museum</u></strong></a><strong>, </strong><span>and on February 24, when Maestro Hege leads the full orchestra in </span><a class="no-pjax" href="https://binghamtonphilharmonic.org/event/5048720/635026915/pops-at-the-forum" target="_blank" data-link-type="web"><strong><u>Pops at the Forum</u></strong></a><a class="no-pjax" href="https://binghamtonphilharmonic.org/event/5048550/635026707/castalia-string-quartet" target="_blank" data-link-type="web"><strong><u>,</u></strong></a><span> featuring Adolphus Hailstork's "Fanfare on Amazing Grace," among other popular works.</span></p><p><span>We hope that you will join us as we celebrate the remarkable contributions of composers and musicians of African ancestry to classical music this Black History Month, and the truth that </span><strong>the great music of the classical tradition is for all people, everywhere.</strong></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7343487
2024-01-31T11:39:31-05:00
2024-01-31T11:39:32-05:00
"A Moving Musical Afternoon with the Binghamton Philharmonic"
<p><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/d605cf1f47a5a8a3143ed89ca2b17f80a6b9165e/original/house-orchestra-chorus.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_l justify_center border_" /></p><p>NYS Music has written a glowing review of our January 28, 2024 concert, <i>Mozart Requiem</i>. An excerpt:</p><p><span style="color:rgb(34,34,34);"><i>Maestro Daniel Hege led a tight, seamless ensemble through the wildly contrasting emotions of the Requiem; as usual with this group, the woodwinds were particularly strong. Hege’s tempos seemed to grow organically from one movement to the next, giving the work a living, breathing pulse and a satisfying sense of wholeness.</i></span></p><p>To read the whole review, visit:</p><p><a class="no-pjax" href="https://nysmusic.com/2024/01/30/a-moving-musical-afternoon-with-the-binghamton-philharmonic-orchestra/" target="_blank" data-link-type="url">https://nysmusic.com/2024/01/30/a-moving-musical-afternoon-with-the-binghamton-philharmonic-orchestra/</a></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7339304
2024-01-24T10:15:05-05:00
2024-01-24T10:18:04-05:00
Maestro Daniel Hege Explores Mozart's Requiem with WSKG's Bill Snyder
<p><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/d2e271355c21eaf39b7c2b91ffaac70ee5537339/original/screenshot-2024-01-24-10-16-24-am.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_l justify_center border_" />On January 23, 2024, Maestro Daniel Hege sat down with WSKG's Arts in Depth host Bill Snyder to talk about Mozart's Requiem. <a class="no-pjax" href="https://youtu.be/e98DXBsPg9A?si=DNInk4brL9RBT068" target="_blank" data-link-type="url">View the full interview here</a>: </p><div class="video-container size_xl justify_center" style=""><iframe data-video-type="youtube" data-video-id="e98DXBsPg9A" data-video-thumb-url="" type="text/html" src="https://www.youtube.com/embed/e98DXBsPg9A?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" allowfullscreen="true"></iframe></div>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7336888
2024-01-19T15:47:13-05:00
2024-01-19T16:03:48-05:00
Requiescat in pace: Ruth Covelli
<p><i><strong>We were very sorry to learn of the death of Ruth Covelli, wife of former Binghamton Philharmonic Music Director John Covelli.</strong></i></p><p><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/83ad14c1ad13676d2a48983d242e60a4b02f0772/original/ruth-covelli.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_left border_" />RUTH CECILIA HAYES COVELLI, 86, passed away on January 16, 2024, at Good Shepherd Fairview Home with her beloved husband, John, at her side. She is survived by her sister Bonnie Yohe (John), brothers Stanley (Bud) I. Hayes, Jr. (and friend Karen Scott), Karl Hayes (Jeanne), Philip Hayes (Kathy), sisters Alice McMillian and Larraine Hayes, many nieces, nephews, and cousins including Larry Hayes (Liz), and the Knapp family. Ruth is predeceased by her father, Stanley I. Hayes, Sr., mother, Verna Knapp, and her sister-in-law, Jewel Marie Fenne. Special thanks to Mark (Kara) and Craig (Christine) Fenne.</p><p>Ruth was a vivacious spirit, a devoted artist, and a cultural pillar of the Binghamton community throughout her life. She was trained at Roberson Ballet before going on to study at the renowned Balanchine School of American Ballet in NYC (the Press & Sun described her as the first person from the area to be admitted and gave her a full page send off in 1954). She met her husband in an anthropology class at Columbia University and traveled with him throughout Europe in the late 1950s as he conducted the Seventh Army Symphony’s final tour. After a stint in NYC running her own shop on Broadway, Ruth returned to Binghamton where she helped produce the many concerts, dinners, and parties that enriched Binghamton society throughout the 1970s and 80s. Ruth was known for her glamorous outfits, acerbic wit, and a lifelong fascination with astrology. To Ruth, life was a 'grand jete' and now she has taken the next leap in her light’s journey. She will be sorely missed by all who loved her.</p><div class="MuiBox-root css-1yjvs5a" style='-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:inherit;color:rgb(48, 48, 48);font-family:Georgia, "Times New Roman", serif;font-size:14px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;margin-bottom:32px;orphans:2;text-align:start;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;'><div class="MuiGrid-root MuiGrid-container css-1waw91g" style="-webkit-box-align:center;align-items:center;box-sizing:border-box;display:flex;flex-flow:row;width:736px;"><div class="MuiGrid-root MuiGrid-item MuiGrid-grid-xs-12 css-1nq6xvs" style="-webkit-box-flex:0;box-sizing:border-box;flex-basis:100%;flex-direction:row;flex-grow:0;margin:0px;max-width:100%;text-align:left;">
<p>Posted online on January 19, 2024</p>
<p>Published in Press & Sun-Bulletin</p>
</div></div></div>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7334741
2024-01-16T10:10:00-05:00
2024-01-16T10:10:00-05:00
The Philharmonic Honors a Great American on His 95th Birthday
<p><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/08236cdfb4594fed33612ed8736f5ea895657ff5/original/king-and-heschel.webp/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_l justify_center border_" /></p><figure class="table"><table data-cpeid="w-1697220398190-084" width="100%" border="0" cellpadding="0" cellspacing="0"><tbody><tr><td style="text-align:center;vertical-align:top;width:598.472px;" data-cpeid="w-1697220398254-711"><figure class="table"><table data-cpeid="w-1697220398318-853" width="100%" border="0" cellpadding="0" cellspacing="0"><tbody><tr><td style="padding:10px 20px;vertical-align:top;" align="left">
<p><span style="color:rgb(51,51,51);"><i>Now, I say to you today my friends, even though we face the difficulties of today and tomorrow, I still have a dream. It is a dream deeply rooted in the American dream. I have a dream that one day this nation will rise up and live out the true meaning of its creed: we hold these truths to be self-evident, that all men are created equal.</i></span></p>
<p><span style="color:rgb(51,51,51);"><i>--</i> Dr. Martin Luther King, Jr., March on Washington, August 28, 1963</span></p>
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<p><span>It's well known that Dr. Martin Luther King, Jr. was an aficionado of gospel music. Less well known is that he also was a lover of the great works of the symphonic and operatic traditions. His wife, Coretta Scott King, was a classically-trained soprano, who was studying opera at the New England Conservatory when the two met. Dr. King said that listening to Wagner was like "standing in the presence of the divine," and in his memoir of the Montgomery Bus Boycotts, </span><i>Stride Toward Freedom</i><span>, he wrote:</span></p>
<p><i>On a cool Saturday afternoon in January 1954, I set out to drive from Atlanta, Georgia, to Montgomery, Alabama . . . . The Metropolitan Opera [Live Broadcast] was on the radio with a performance of one of my favorite operas -- Donizetti's </i><span>Lucia di Lammermoor. </span><i>So with the beauty of the countryside [and] the inspiration of Donizetti's inimitable music . . . the usual monotony that accompanies a relatively long drive . . . was dispelled in pleasant diversions.</i></p>
<p><span>Dr. King knew that the great works of the classical tradition were for </span><i>everyone</i><span>: uplifting and unifying, they help all Americans remember what is beautiful and good about our shared heritage. Great music helps us to understand not just the past, but also ourselves. As we strive to create a better world, classical music is bread for the journey, comforting and inspiring us, awakening us to the great truths that we hold in common.</span></p>
<p><span>On this Dr. Martin Luther King, Jr. Day, the Philharmonic thanks all of you who strive to make our community a more peaceful, just, and beautiful place. Eleanor Roosevelt, who died the year before Dr. King, said, "The future belongs to those who believe in the beauty of their dreams." May we all hold fast and continue to believe in and work for Dr. King's beautiful dream for all Americans.</span></p>
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Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7327802
2024-01-03T15:08:07-05:00
2024-01-03T15:08:07-05:00
Notes on the Program for Mozart Requiem: Mozart and Memory
<p dir="ltr"><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/99a35ad4ce0c4e2a05de73c4e78e184e75274d17/original/7-mozart-requiem.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_l justify_center border_" /></p><p dir="ltr"><span style="color:#000000;">Notes on the Program: Mozart and Memory</span></p><p dir="ltr"><span style="color:#000000;"><i>By Julia Grella O’Connell, D.M.A., Director of Education and Community Engagement</i></span></p><p dir="ltr"><span style="color:#000000;">Any orchestral performance is a shared act of musical remembering, and Mozart’s <i>Requiem</i> is one of the greatest examples. Commissioned by a nobleman hoping to pass off the piece as his own, Mozart was already terminally ill when he began it, and he died at age 35 before it was completed. Finished by his pupil Franz Xaver S</span><span style="color:#202124;">ü</span><span style="color:#000000;">ssmayr in the version performed today, the <i>Requiem</i> was sung at Mozart’s own funeral in January 1792. It is thus not only weighted with biographical significance – the artist weaving his own death-shroud – but also functions on a universal level, as Mozart uses the ancient form of the Mass for the Dead to call us to remembrance.</span></p><p dir="ltr"><span style="color:#000000;">This call is at the very heart of the <i>Requiem</i>. In the Recordare – literally a command to remember – the four solo voices beseech Jesus with the kind of intimacy of child to parent, or lover to beloved, to remember the individual soul and his own life’s mission to save it. As the <i>Requiem</i> shifts between anguish and terror, desperation and resignation, pathos and restraint, the Recordare sits at its calm center, a moment in which time seems both to stand still and to flow forward in the cyclical, contrapuntal motion of intertwining strings and voices. Mozart’s choral writing is virtuosic, demanding that singers careen through a dizzying range of textures, tempos, and emotions. But in the Recordare, the chorus falls silent, and the soloists articulate the individual voice of the soul who, in spite of everything, has unshakeable faith in God. Mozart infuses the familiar words of the Mass with profoundly humanistic vocal writing, reminding the listener that the soul, however sinful, has reason to hope.</span></p><p dir="ltr"><span style="color:#000000;">This call to remember resonates further when we recall that, at the time of Mozart’s death, the world was being plunged into forced forgetfulness. The French Revolution had overturned traditional ways of knowing, including the measuring of time itself; as Mozart was being buried, the Revolutionary government established a new calendar with 1789 as its Year I. The old world was being swept away: first by ideas, and soon by the might of Napoleon’s Grande Armée. </span></p><p><span style="color:#000000;">When Mozart centers the act of remembering at the heart of his <i>Requiem</i>, he is also entreating us, as listeners, to remember the sacred story that tells us who we are. As Patrick Mackie notes in <i>Mozart in Motion: His Work and His World in Pieces</i>, “the past is not abolished by modern freedoms,” and hence Mozart bids us remember the truths of humankind that continue despite all efforts to sweep them away. May participating in today’s act of musical remembrance leave you with the hope he so profoundly expressed in his last work. </span></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7322316
2023-12-21T10:21:36-05:00
2023-12-21T10:23:19-05:00
A Winter Wonderland in Binghamton
<p><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/cdf50d33f0db9b0e80589f9f2327fcf3ecc2fd3e/original/santa-with-the-zachary-woodard-and-cassandra-frost-family.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_l justify_center border_" /></p><p>Online music journal <a class="no-pjax" href="https://nysmusic.com/about/" target="_blank" data-link-type="url">NYS Music</a> wrote an enthusiastic review of our Christmas concert, Winter Wonderland! Read the review <a class="no-pjax" href="https://nysmusic.com/2023/12/20/a-winter-wonderland-in-binghamton/" target="_blank" data-link-type="url">here.</a></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7317581
2023-12-11T11:42:19-05:00
2023-12-11T11:42:19-05:00
The Philharmonic Welcomes Four New Musicians
<p>We are delighted to welcome violinists Youjin Choi, Rowan Harvey, and Fiona Lloyd-Aikman, and horn player Morgan Chalmers, to the Philharmonic family! </p><p>Youjin Choi received her Master's degree at the Manhattan School of Music, and has performed with the Manhattan Symphony Orchestra, the Orchestra of St. Luke's, and the Bergen Symphony Orchestra. </p><p><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/ca294c4df4c8deab114dd8c6c7713de5b20ae573/original/screenshot-2023-12-11-11-04-57-am.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_s justify_center border_" /></p><p style="text-align:center;">Youjin Choi, violin</p><p>Rowan Harvey is a regular member of the Albany Symphony, and has performed with the Civic Orchestra of Chicago, the Australian Chamber Orchestra, and the Australian Opera and Ballet Orchestra.<img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/51febfa5140ddd4e7c70ad67078ba4ba9c8cd125/original/rowanharvey.jpeg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_s justify_center border_" /></p><p style="text-align:center;">Rowan Harvey, violin</p><p>Fiona Lloyd-Aikman has played with the American Symphony Orchestra, the Orchestra of the American Ballet Theater, and the City Chamber Orchestra of Hong Kong.</p><p><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/acdf2e856815c0985b66053e966fb3591e9b92c9/original/fiona-lloyd-6914-color-small.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_s justify_center border_" /></p><p style="text-align:center;">Fiona Lloyd-Aikman, violin</p><p>Hornist Morgan Chalmers, a native of Buffalo, has played with the Buffalo Philharmonic Orchestra and the Rochester Philharmonic Orchestra. She is currently a student at the Eastman School of Music and expects to graduate in 2025.</p><p><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/ce5b02eba1e3d272954f1da105e5712bc37bcafd/original/screenshot-2023-12-11-10-56-12-am.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_s justify_center border_" /></p><p style="text-align:center;">Morgan Chalmers, french horn</p><p>We wish a warm welcome to Youjin, Rowan, Fiona, and Morgan, and look foward to many seasons of beautiful music together!</p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7304068
2023-11-15T11:47:39-05:00
2023-12-06T09:00:11-05:00
Bill Snyder Chats with Maestro Daniel Hege about "Faces of Joy"
<p>WSKG Arts in Depth host Bill Snyder conducts a video interview with Maestro Hege.</p><p> </p><div class="video-container size_xl justify_center" style=""><iframe data-video-type="youtube" data-video-id="mPWfUVSUvMI" data-video-thumb-url="" type="text/html" src="https://www.youtube.com/embed/mPWfUVSUvMI?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" allowfullscreen="true"></iframe></div>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7304067
2023-11-15T11:46:17-05:00
2023-11-15T11:46:18-05:00
Karen Davis Levene 1937-2023
<p>We are saddened to announce the passing of Karen Davis Levene, former board president of the Binghamton Philharmonic.</p><p><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/a5e782c709dc8b2a15a9ec93562e280aa231bebe/original/ezgif-com-webp-to-jpg-37.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_l justify_center border_" /></p><p>Karen passed away peacefully on November 13 at the age of 86. Karen is survived by sons: Marc, John and Ron; two daughters-in-laws: Linda and Meg; and 5 grandchildren: Ben, Alex, Peyton, Caitlin and Charlie. Karen grew up in Binghamton with her younger sister Judith. She enjoyed music and ballet, graduated from Central High School, and continued her studies at Connecticut College. This pursuit was interrupted when she met Edward, married, and raised their four boys. After the boys grew up, she went back to school at Binghamton University, studying various topics of interest including Russian literature and philosophy, and graduating with a high honors degree in English literature. She subsequently she put her prodigious life skills to use as President of the Binghamton Philharmonic Board of Directors. Karen also served on the board of the Glimmerglass Festival in Cooperstown, and was a strong supporter of Temple Concord and WSKG. In lieu of flowers, the family asks for donations to be made in Karen's memory to Temple Concord, WSKG, the Binghamton Philharmonic Orchestra, or the Alzheimer's Association. For more information, visit <a class="no-pjax" href="https://www.pressconnects.com/obituaries/pnys0627099" target="_blank" data-link-type="url">Karen's obituary in the <i>Press and Sun-Bulletin.</i></a></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7303661
2023-11-14T13:57:28-05:00
2023-11-14T13:59:11-05:00
Bill Snyder and the Philharmonic's Director of Education Julia Grella O'Connell Chat About the Kilmer Lecture Series
<div class="video-container size_xl justify_center" style=""><iframe data-video-type="youtube" data-video-id="fiDVSTFrXCk" data-video-thumb-url="" type="text/html" src="https://www.youtube.com/embed/fiDVSTFrXCk?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" allowfullscreen="true"></iframe></div>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7303530
2023-11-14T10:02:28-05:00
2023-11-14T10:06:11-05:00
Notes on the Program for "Faces of Joy": Music and Freedom
<p style="text-align:right;" dir="ltr"><span style="color:#000000;"><i>By Julia Grella O’Connell, D.M.A., Director of Education and Community Engagement</i></span></p><p dir="ltr"><a class="no-pjax" href="https://binghamtonphilharmonic.org/event/5048606/635026776/faces-of-joy" target="_blank" data-link-type="url"><span style="color:hsl(240, 75%, 60%);"><strong><u>Tonight’s concert</u></strong></span></a><span style="color:#000000;"> takes us on a journey through time and space in reverse chronology. The first piece on the program, Wang Jie’s <i>Five Faces of Joy</i>, was composed fully 200 years after the last piece, Beethoven’s “Emperor” Concerto. Wang lives and writes in twenty-first century America; Beethoven worked in Vienna, the cultural capital of nineteenth-century Europe. And to the side and yet somehow at the center of this time-space continuum is Prokofiev’s Russia, long a cultural bridge between East and West.</span></p><p dir="ltr"><span style="color:#000000;">Across space and time, Wang, Prokofiev, and Beethoven each challenge our assumptions about classical music as a staid emblem of the status quo. Each of tonight’s composers wants us to hear his or her music instead as a force for belonging and community, and ultimately as a pathway to freedom.</span></p><p dir="ltr"><span style="color:#000000;">Wang Jie has written about “the </span><span style="color:#222222;">feeling of belonging” she experiences when she hears her music performed: “I [don’t] write . . . for myself. I want classical music audiences to feel . . . that sense of kinship, [of] feeling at home with my music . . . [and] its truthfulness.” Truthfulness for Wang is the recognition that “there </span><span style="color:#333333;">is no creation without a tradition and a community that supports it,” and that even “the composers who are no longer with us continue to mentor [us] . . . I hear their voices welcoming me: ‘You are one of us.’”</span></p><p dir="ltr"><span style="color:#333333;">Indeed, Wang — a woman and an immigrant, born in 1980 in Shanghai — <i>is</i> one of them. She grew up in a country just emerging from the Cultural Revolution, when classical music was banned as “the bourgeois music of the exploiting classes.” Her father was also a composer, employed by the Chinese government to produce patriotic choral works for propaganda purposes. At night, however, he shared with his young daughter what he called “sacred time with pure music,” teaching her to transcend time and space by copying out the scores of Bach, Tchaikovsky, and Debussy. Wang calls </span><span style="color:#000000;">Prokofiev’s Symphony No. 1 a “companion piece” to her <i>Five Faces of Joy.</i> The symphony was deeply important to her as a child, and to this day she says, “it always makes me think of joy.” </span></p><p dir="ltr"><span style="color:#333333;">Prokofiev wrote his joyful “Classical” Symphony in 1917 during a period of world-historical upheaval. The February Revolution that year had deposed Tsar Nicholas II and established a temporary Provisional Government in Russia; by October, the Bolshevik Revolution would sweep that government away, execute the Tsar, and lay the foundations for the Soviet Union. During the summer between these two revolutions, Prokofiev retreated to a house in the countryside and began to experiment with </span><span style="color:#000000;">the musical techniques of an earlier age, explaining that he wanted to write a symphony “in the style of Haydn.” But he slyly interjects the sounds of modernism into his “Classical” symphony, infusing the old style with unlikely key modulations and aggressive speed. Prokofiev’s Symphony No. 1 elevates classical formalism during a time of modern chaos, drawing an artistic boundary within which both composer and listener can play with musical and historical time.</span></p><p dir="ltr"><span style="color:#333333;">The style of Haydn, however, is also the style of Beethoven, classicism’s greatest exemplar. When Beethoven wrote his Piano Concerto No. 5 in 1809, the formal aesthetic of his former teacher Haydn was beginning to give way to a heightened emotional sensibility in his work, a privileging of the life of the inner man over the fading Enlightenment values of order and restraint. In this concerto, Beethoven</span><span style="color:#000000;"> grapples with ways he can bend music to convey extra-musical meaning, making it expressive of the struggles and triumphs of the human spirit. </span></p><p dir="ltr"><span style="color:#000000;">During his compositional process, Vienna was under siege from Napoleon’s army. Beethoven wrote to his publisher that all around was </span><span style="color:#202122;">"nothing but drums, cannons, men, misery of all sorts." It’s unclear why the concerto was nicknamed “The Emperor,” a title that Beethoven would surely have scorned considering his disdain (after his earlier hero-worship) for the Emperor Napoleon. While he employs the bold, militaristic themes common to his heroic period, in the “Emperor” he integrates the piano in a new way, blending the soloist and the ensemble into a seamless whole, with the piano offering a deeply touching lyricism against the striding, ballistic rhythms of the orchestra. The piano takes Beethoven’s aggressive themes and transforms them </span><span style="color:#333333;">—</span><span style="color:#202122;"> ruminating on them, dreaming over them, and fashioning a rhapsodic, quasi-improvisatory meditation on the depths of resignation and hope. Beethoven breathes life into the orchestra with his solo piano writing in the Concerto No. 5, animating his formal articulation of rhythm with a profoundly humane vision of the capacity for longing and joy.</span></p><p dir="ltr"><span style="color:#333333;">Thus, when Wang Jie asserts that </span><span style="color:#222222;">“there </span><span style="color:#333333;">is no creation without a tradition and a community that supports it,” she is declaring her place in the living, breathing fellowship of classical music and its practitioners, from Beethoven to Prokofiev and beyond. And we, as listeners, are a crucial part of this fellowship: when we bear witness to this great music, we acknowledge the freedom of the human spirit unencumbered by boundaries of any kind. From the Chinese Cultural Revolution to the totalizing reach of Soviet culture to the deprivations of war-torn Vienna, Wang, Prokofiev, and Beethoven assure us that true freedom exists apart from, and counts more than, any transitory liberties that history may grant or revoke. As you listen tonight, you are taking your place in that invisible community created by music, one that transcends time and space and has the ability to convey joy on all who hear. </span></p><p dir="ltr"><span style="color:rgb(0,0,0);">© 2023 Julia Grella O'Connell</span></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7297693
2023-11-02T10:54:55-04:00
2023-11-02T10:54:56-04:00
"Phantom of the Philharmonic" Garners an Enthusiastic Review from NYS Music
<p style="text-align:center;"><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/1a8727fef54100fb3777777f3a5f52f73d4b44f9/original/amanda-and-mark-green.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_l justify_center border_" /></p><p style="text-align:center;">Amanda and Mark Green at “Phantom of the Philharmonic,” October 28, 2023</p><p>Our Halloween-themed concert, “Phantom of the Philharmonic,” has received glowing praise from the reviewer for <a class="no-pjax" href="https://nysmusic.com/" target="_blank" data-link-type="url">NYS Music!</a></p><p>“The orchestra reveled in the repertoire, demonstrating their exceptional dynamic range and clearly having fun at the same time. Many in the audience – including lots of kids – were impressively costumed, and showed their appreciation for the expert playing and Maestro Cooper’s engaging dialogue with a standing ovation.”</p><p>To read the rest of the review, visit <a class="no-pjax" href="https://nysmusic.com/2023/11/01/binghamton-philharmonic-delivers-chills-and-thrills-with-phantom-of-the-philharmonic/" target="_blank" data-link-type="url">“Binghamton Philharmonic Delivers Chills and Thrills with Phantom of the Philharmonic.”</a></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7290786
2023-10-20T12:54:26-04:00
2023-10-20T12:54:26-04:00
NYS Music Writes Glowing Review of "Beethoven's Fifth"
<p><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/8aa7574a35057c05152379c28095d0829605dde3/original/noel-and-marion-harvey.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_l justify_center border_" /></p><p style="text-align:center;">Noel and Marion Harvey at “Beethoven's Fifth,” September 30, 2023.</p><p><a class="no-pjax" href="https://nysmusic.com/" target="_blank" data-link-type="url">NYS Music</a> has published <a class="no-pjax" href="https://nysmusic.com/2023/10/04/binghamton-philharmonic-kicks-off-the-2023-2024-season-with-beethovens-fifth/" target="_blank" data-link-type="url">a glowing review</a> of the Philharmonic's opening night concert, “Beethoven's Fifth.” </p><p>Excerpt: </p><p><i>The concert started out with the jaunty and uplifting Variations on a Shaker Melody by Aaron Copland, and finished with a rousing performance of Beethoven’s Symphony No. 5 in C minor, which brought the audience to its feet a second time. It was wonderful to see many enthusiastic children in the audience, thanks not only to the free youth tickets provided by the Philharmonic’s sponsors, but also to the “Ties & Tutus” program that invites Binghamton City School students to a sit-down dinner, pre-concert chat, and free tickets to a symphonic performance. One elementary student told this reviewer: “I’m so excited to hear Beethoven! Classical music makes me feel alive.” It was clear that this young girl was speaking for the audience as a whole.</i><br> </p><p>To read more, visit <a class="no-pjax" href="https://nysmusic.com/2023/10/04/binghamton-philharmonic-kicks-off-the-2023-2024-season-with-beethovens-fifth/" target="_blank" data-link-type="url">“Binghamton Philharmonic Kicks Off the 2023-2024 Season with Beethoven's Fifth.”</a></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7287357
2023-10-13T12:37:41-04:00
2023-10-16T11:01:26-04:00
"Ties and Tutus" Brings Binghamton Elementary Students to a Night at the Philharmonic
<p><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/0e170f3558a7c4ee987dc1886500cc3f8f1c8a2c/original/ties-tutus.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_l justify_center border_" /></p><p>On September 30, 2023, 60 students from Binghamton City School District's seven elementary schools attended Ties and Tutus, and were guests of the Philharmonic for our opening night concert, “Beethoven's Fifth.” The students and their building music teachers (all looking very spiffy) enjoyed a pasta dinner at the DoubleTree Hotel, followed by a chat with Maestro Daniel Hege and guest cello soloist Annie Jacobs-Perkins, before taking their seats at the Forum Theatre for a night that none of them would forget.</p><p>Many patrons expressed delight at seeing so many young faces in the hall, and the children were a wonderfully appreciative audience, leaping to their feet at the end of Elgar's Cello Concerto and Beethoven's Sympony no. 5. As one fifth-grader said during intermission, “I can't wait to hear the Beethoven. Classical music makes me feel alive!”</p><p>We totally agree. We loved having these young music lovers and can't wait to do it again! For more photos from this memorable evening, <a class="no-pjax" href="https://www.binghamtonschools.org/article/1269306?fbclid=IwAR21sYU8CwQTqUrL-rBJA9PFLr05Q6wDSlrRs3qygLjcLHdA_JcTZLsJx2M" target="_blank" data-link-type="url">go here</a>.</p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7282661
2023-10-04T11:17:22-04:00
2023-10-04T11:17:22-04:00
Families Learn About the Shakers at First Family Symphony Session
<img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/72338398c952c8ced6ea806f0ead9ac012b0b389/original/20230928-185841.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_l justify_center border_" /><p>On September 28, the Binghamton Philharmonic Orchestra presented its first Family Symphony Session of the 2023-2024 season. The Family Symphony Sessions take place on the Thursday evening before a Saturday evening Symphonic Series concert, are open to families with children of all ages, and are free of charge. In a Family Symphony Session, kids and their grownups get a tour of the beautiful Forum Theatre, listen as the orchestra warms up for rehearsal, and then go into the Forum's Recital Hall for a talk about the music, with fun activities and specially curated children's books.</p><p>Because one of the pieces in our September 30 opening night concert was Aaron Copland's <i>Variations on a Shaker Melody</i>, Director of Education and Community Engagement Dr. Julia Grella O'Connell (above) introduced families and children to the music and culture of the Shakers, who came from England in 1774 and made Albany their headquarters. Attendees learned the famous Shaker song “Simple Gifts” and the dance that traditionally went along with it. A wonderful time was had by all!</p><p><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/ef77d2f3a9e7fc846841bbcd1a3017a074b1847e/original/screenshot-2023-10-04-10-42-12-am.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_l justify_center border_" /> Future Family Symphony Sessions in the 2023-2024 season will take place on:</p><ul>
<li>November 16, 2023 at 6:30pm</li>
<li>April 4, 2023 at 6:30pm</li>
</ul><p>For more information and to register, visit <a class="no-pjax" href="https://binghamtonphilharmonic.org/family-symphony-sessions" target="_blank" data-link-type="url">this link.</a></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7281536
2023-10-02T09:20:25-04:00
2023-10-02T09:20:26-04:00
Notes on the Opening Night Program: Music and Conflict
<p style="text-align:right;" dir="ltr"><span style="color:#000000;"><i>By Julia Grella O’Connell, D.M.A., Director of Education and Community Engagement</i></span></p><p dir="ltr"><span style="color:#000000;">While the pieces in tonight’s program are unified in their importance to the classical music repertoire, they also express divergent responses to conflicts both global and personal. Sir Edward Elgar’s monumental Cello Concerto in E minor had its premiere in 1919, soon after the Great War had decimated an entire generation of English men. Elgar began composing it during the war in his cottage in Sussex, from which he could hear the guns from the killing fields of France across the English channel, and he wrote to a friend that “Everything good & Nice & clean & fresh & sweet is far away – never to return.” His concerto is an elegy not only for his fallen countrymen, but also for all that has been swept away by the war, and we hear in its rocking, lullaby-like rhythms and simple, yearning melodies the sharp ache of nostalgia for a world that is gone.</span></p><p dir="ltr"><span style="color:#000000;">Aaron Copland began writing the score for Martha Graham’s ballet <i>Appalachian Spring</i>, from which <i>Variations on a Shaker Melody</i> is excerpted, during World War II, after being commissioned by music patron Elizabeth Sprague Coolidge to compose a piece for the Martha Graham Dance Company. Copland and Graham decided on an American subject, the narrative of a young pioneer couple starting life together on the western frontier, and Copland began work on the score for <i>Appalachian Spring</i> in 1943. The ballet had its premiere in 1944, when an Allied victory was all but assured, and the critic for the <i>New York Times</i> noted that Copland’s score “</span><span style="color:#202122;">is, on its surface, a piece of early Americana, but in reality it is a celebration of the human spirit."</span><span style="color:#000000;"> Even more, the hope and idealism of both music and choreography were an early salvo in the cultural battles of the looming Cold War, in which the American ethos of confidence and can-do optimism exemplified by Copland and Graham captured the imagination of the entire world.</span></p><p dir="ltr"><span style="color:#000000;">Beethoven’s towering Fifth Symphony emerges from a very different place and time – early nineteenth-century Vienna – but it, too, is a musical response to dramatic conflict. Beethoven began working on the Fifth Symphony at the same time as the Third, in 1802; the Third Symphony, at first dedicated to Napoleon and later to “the memory of a great man,” is a celebration of the freedom that Beethoven believed would be ushered in throughout Europe by the French Revolution. In 1808, however, when the Fifth Symphony had its premiere, Beethoven had become disillusioned with the Revolution, and was suffering from advancing deafness, which drove him to thoughts of suicide. Nevertheless, as he wrote to his brothers Carl and Johann, “</span><span style="color:#202122;">only <i>Art</i> . . . withheld me, ah it seemed impossible to leave the world until I had produced all that I felt called upon me to produce . . . if [death] comes before I shall have had an opportunity to show all my artistic capacities it will still come too early for me despite my hard fate.”</span></p><p><span style="color:#202122;">While Beethoven’s Third Symphony is in the “heroic” key of E-flat major, his Fifth is in the relative minor key of C minor, which for eighteenth-century music theorists symbolized fear, horror, and despair. But Beethoven makes his C-minor symphony a manifesto of defiance and even joy in the face of tragedy. </span><span style="color:#2d0912;">While the hammering, insistent theme of the first movement is filled with stress and dark fatalism, the second movement, with its yearning call-and-response theme and variations, is transformed, as it shifts from the stolid strings to the elegiac brass to the almost unbearably wistful woodwinds, so like the human voice, into a mournful, resigned sigh. In his novel <i>Howards End, </i>E.M. Forster described the third movement as </span><span style="color:#333333;">“goblins . . . walking quietly over the universe, from end to end,” their tramping sound suggesting “that there was no such thing as splendour or heroism in the world. . . [only] panic and emptiness.” But in the fourth movement, “Beethoven . . . [appears] in person . . . Gusts of splendour, gods and demigods contending with vast swords, colour and fragrance broadcast on the field of battle, magnificent victory.”</span><span style="color:#2d0912;"> In the final, dizzying coda, the piccolo interjects a birdlike trill, introducing a note of sweetness and humanity into the frenzy of victory, and it’s clear that Beethoven does not want to let go of this moment of almost delirious triumph over suffering, repeating a long series of cadential chords before finally allowing the work to end. When he does, we become aware that, just as Copland celebrated the human spirit with a particularly American aesthetic, Beethoven does so with a universal one, emphasizing the shared humanity of all people and signaling to those who struggle that, in the words of E.M. Forster, “</span><span style="color:#333333;">Any fate [is] titanic; any contest desirable; conqueror and conquered would alike be applauded by the angels of the utmost stars.”</span><span style="color:#2d0912;"> </span></p><p><span style="color:rgb(0,0,0);">© 2023 Julia Grella O'Connell</span></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7280710
2023-09-29T16:07:32-04:00
2023-09-29T16:07:32-04:00
Cellist Annie Jacobs-Perkins and Director of Education and Community Engagement Julia Grella O'Connell Inaugurate the Kilmer Lecture Series
<img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/8326dcc59c31f85c6d03d68ee91919bd4da5be38/original/20230928-140809.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_l justify_center border_" /><p>On a glorious autumn afternoon, Director of Education Dr. Julia Grella O'Connell and guest cello soloist <a class="no-pjax" href="https://www.anniejacobs-perkins.com/" target="_blank" data-link-type="url">Annie Jacobs-Perkins</a> inaugurated our new partnership with the <a class="no-pjax" href="https://kilmermansion.org/" target="_blank" data-link-type="url">Kilmer Mansion</a>, the Kilmer Lecture Series, with a lecture-demonstration on Elgar's Cello Concerto in E minor, “Nostalgia, Loss, and the Great War in Elgar's Cello Concerto.” Julia spoke about the ways the composer used music to express the grief of Great Britain after the First World War, while Annie, our featured soloist on <a class="no-pjax" href="https://binghamtonphilharmonic.org/event/5048594/635026761/beethoven-s-fifth" target="_blank" data-link-type="url">opening night September 30</a>, demonstrated with passionately-played excerpts from the work. We were delighted to have a wonderfully engaged audience of music lovers!</p><p>The Kilmer Lecture Series is focused on various aspects of music as it related to culture and history. Future lectures will take place on:</p><ul>
<li>November 30, 2023 at 2pm</li>
<li>January 18, 2024 at 2pm</li>
<li>March 21, 2024 at 2pm</li>
</ul><p>We welcome all community members to come and enjoy these free musical talks!</p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7278862
2023-09-26T11:02:38-04:00
2023-09-26T11:08:29-04:00
Violinist Ubaldo Valli Wins the American Prize—Vytautas Marijosius Memorial Award in Orchestral Programming
<p><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/fc6ea184bf55a80f88406449edda2b113d5e0d21/original/ubaldo-dante-valli.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_l justify_center border_" /></p><p>Binghamton Philharmonic Orchestra violinist Ubaldo Valli has won the <a class="no-pjax" href="https://theamericanprize.blogspot.com/2023/09/national-winners-orchestral-programming.html" target="_blank" data-link-type="url">2023 American Prize – Vytautas Marijosius Memorial Award in Orchestral Programming.</a> The award<span style="color:rgb(51,51,51);"> honors the memory of Lithuanian conductor Vytautas Marijosius, music director of the Lithuanian State Opera and Director of Orchestral Activities at the Hartt School of Music of the University of Hartford. The Prize recognizes and rewards the best achievement in the unique field of orchestral programming, where the selection of repertoire by knowledgeable, creative and courageous music directors builds orchestras and audiences, educates young people and adults, and enriches the community. </span></p><p><span style="color:rgb(51,51,51);">In addition to playing with the Binghamton Philharmonic, Ubaldo is director of the Pierstown Concert Series in Cooperstown. He was Music Director/Conductor of the SUNY Cortland College-Community Orchestra, co-founded and conducted the Northeast String Orchestra in Albany and the Saratoga Springs Youth Symphony, served as Music Director and Conductor of the Hamilton College Orchestra, the Auburn Chamber Orchestra, the Saratoga Springs Youth Orchestra and the Empire State Youth Orchestra String Ensemble and Advanced Chamber Ensemble. As a guest conductor, Valli has performed at festivals, for Music’s Recreation at Ithaca College, and for an interfaith service with His Holiness, the Dalai Lama of Tibet. He studied conducting with Jeffrey Meyer, Pamela Gearhart and Karel Husa. He has also studied and performed theater improvisation internationally and in 2018 and 2021 presented papers linking orchestral conducting and performance with improv and theatrical mask techniques at the Oxford Conducting Institute Conducting Studies Conference, University of Oxford. </span></p><p><span style="color:rgb(51,51,51);">Many congratulations, Ubaldo!</span></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7272745
2023-09-13T09:51:01-04:00
2023-09-13T09:51:01-04:00
Meet Cello Soloist Annie Jacobs-Perkins
<img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/b254e77f884ab8f794c31b9b6c776ecb54219d84/original/annie-jacobs-perkins.jpeg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_left border_" /><p><span style="color:rgb(0,0,0);">Our </span><a class="no-pjax" href="https://binghamtonphilharmonic.org/event/5048594/635026761/beethoven-s-fifth" target="_blank" data-link-type="web"><u>opening night concert on September 30</u></a><span style="color:rgb(0,0,0);"> is right around the corner, and we are thrilled to be presenting rising star </span><a class="no-pjax" href="https://www.anniejacobs-perkins.com/" target="_blank" data-link-type="web"><u>Annie Jacobs-Perkins</u></a><span style="color:rgb(0,0,0);"> (left) as our soloist in the Cello Concerto in E minor by Sir Edward Elgar.</span></p><p><span style="color:rgb(0,0,0);">You may already be familiar with Elgar's deeply moving piece from the film </span><a class="no-pjax" href="https://en.wikipedia.org/wiki/T%C3%A1r" target="_blank"><i>Tár</i></a><i>, o</i><span style="color:rgb(0,0,0);">r you may know it from the iconic recording made by English cellist Jacqueline du Pré with the London Symphony Orchestra in 1965 at the age of 20. </span></p><p><span style="color:rgb(0,0,0);">But Annie Jacobs-Perkins, praised by Alex Ross in <i>The New Yorker</i> for her “hypnotic lyricism, causing listeners to forget where they were for a moment,” makes this towering work her own. And we are so excited to be a part of her journey.</span></p><p><span style="color:rgb(0,0,0);">Annie, a native of Rochester, New York, appeared on the nationally-syndicated NPR program <i>From the Top </i>at the age of 16. She regularly performs at such venues such as Amsterdam's Concertgebouw, London's Wigmore Hall, Carnegie Hall, and the Marlboro Music Festival, and is the winner of the Pierre Fournier Award, the Chamber Orchestra of the Springs Emerging Soloist Competition, and the Father Merlet Award from the Pro Musicis Foundation, among many others.</span></p><p><span style="color:rgb(0,0,0);">But Annie's endeavors go far beyond the walls of the concert hall and practice studio; she sees music as just one of the many ways she "digs her toes into the earth around her." She has worked with painters, poets, dancers, and fashion designers on collaborative performances; is a passionate participant in local, sustainable agriculture; and is in the midst of creating </span><a class="no-pjax" href="https://www.anniejacobs-perkins.com/copy-of-my-tattoo" target="_blank" data-link-type="web"><u>a series of watercolor drawings</u></a><span style="color:rgb(0,0,0);"> to commemorate her travels around the globe with her cello.</span></p><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/ad2d69731258fce852d7eb60c19151ec57e4f2d7/original/ezgif-com-webp-to-jpg-17.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_l justify_center border_" /><p style="text-align:center;">Annie Jacobs-Perkins, Still Life in Leipzig, 2022</p><p><span style="color:rgb(0,0,0);">This multifaceted young artist, delighting audiences all over the world with her vitality and creativity, embodies the spirit of the Binghamton Philharmonic Orchestra. Along with Annie, we strive to </span><a class="no-pjax" href="https://www.anniejacobs-perkins.com/about-1" target="_blank" data-link-type="web"><u>"erase all kinds of boundaries"</u></a><span style="color:rgb(0,0,0);"> between our audiences and musicians, remove all barriers to the enjoyment of the great music of the classical tradition, and partner with creatives in our own community.</span></p><p><a class="no-pjax" href="https://binghamtonphilharmonic.org/event/5048594/635026761/beethoven-s-fifth" target="_blank" data-link-type="web"><u>Come to the Philharmonic on September 30, 2023</u></a><span style="color:rgb(0,0,0);"> to witness the dynamic Annie Jacobs-Perkins, with our orchestra led by Maestro Daniel Hege, make the great Elgar cello concerto her own. We can't wait to see you there!</span></p><p><i><strong>Concert Week Itinerary:</strong></i></p><ul>
<li>
<span style="color:rgb(0,0,0);">September 28 at 2pm: </span><a class="no-pjax" href="https://binghamtonphilharmonic.org/event/5212281/653512585/nostalgia-loss-and-the-great-war-in-elgar-s-cello-concerto" target="_blank" data-link-type="web"><u>Lecture-demonstration with Annie Jacobs-Perkins and Dr. Julia Grella O'Connell, "Nostalgia, Loss, and the Great War in Elgar's Cello Concerto</u></a><span style="color:rgb(40,79,161);">,"</span><span style="color:rgb(0,0,0);"> Kilmer Mansion, 9 Riverside Drive, Binghamton</span>
</li>
<li>
<span style="color:rgb(0,0,0);">September 28, 6:30-7:30pm: </span><a class="no-pjax" href="https://binghamtonphilharmonic.org/family-symphony-sessions" target="_blank" data-link-type="web"><u>Family Symphony Session: Shaker Songs</u></a><span style="color:rgb(0,0,0);">, Forum Theatre, 236 Washington Street, Binghamton</span>
</li>
<li><span style="color:rgb(0,0,0);">September 30, 5pm: Beethoven's Fifth Pre-Concert Dinner, DoubleTree by Hilton, 225 Water Street, Binghamton (Call 607-722-7575 ext. 1610 and ask for Patty to make a reservation)</span></li>
<li><span style="color:rgb(0,0,0);">September 30, 6:30pm, Pre-Concert Chat: What Makes it Folk? What Makes it Classical? with Dr. Julia Grella O'Connell, Forum Theatre, 236 Washington Street, Binghamton</span></li>
<li>
<span style="color:rgb(0,0,0);">September 30, 7:30pm, </span><a class="no-pjax" href="https://binghamtonphilharmonic.org/event/5048594/635026761/beethoven-s-fifth" target="_blank" data-link-type="web"><u>Opening Night Concert: Beethoven's Fifth</u></a><span style="color:rgb(0,0,0);">, Forum Theatre, 236 Washington Street, Binghamton</span>
</li>
</ul>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7245236
2023-07-21T10:14:48-04:00
2023-07-21T10:14:48-04:00
In Memoriam: Conrad Ross, Longtime Binghamton Philharmonic Trumpet Player
<img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/b46b81e97ce30a474cfa5e9f1ba3af02b0b8dfa5/original/image001.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_s justify_left border_" /><p>We are saddened to report the passing of Conrad Ross (June 4, 1935 - July 18, 2023). Conrad played trumpet with the Binghamton Philharmonic for 25 years, also serving as Principal Trumpet of the Tri-Cities Opera Orchestra. In addition, he was a beloved teacher in the Binghamton City School District and at SUNY Broome, and maintained a bustling private studio until age 80. In retirement, Conrad wrote articles for the International Trumpet Guild and program notes for the Binghamton Youth Symphony, as well as composing and arranging his own music. His kind spirit, dry humor, and sharp intellect will be missed by all.<br><br>Conrad is survived by his wife of sixty years, Marilyn, his children and grandchildren, and the hundreds of students to whom he gave the gift of music. Please consider making a donation to the <a class="no-pjax" href="https://www.binghamtonyouthsymphony.org/donate.html" target="_blank" data-link-type="url">Binghamton Youth Symphony</a> in his memory.</p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7243083
2023-07-17T09:24:31-04:00
2023-07-17T09:24:31-04:00
Binghamton Philharmonic Orchestra and AFM Local 380-443 Sign Three-Year Contract
<p dir="ltr"><span style="color:rgb(0,0,0);">The Binghamton Philharmonic Orchestra and American Federation of Musicians Local 380-443 are pleased to announce the ratification of a new three-year contract, effective June 1, 2023 through June 30, 2026. After four days of fruitful negotiations, the Philharmonic and Local 380-443 agreed to: an immediate 12% raise, followed by 4% raises in subsequent years; 4% retirement contributions at the start of the third contract year; improved travel reimbursements and housing arrangements; provisions to address audition procedures and the process of tenuring musicians; health, safety, and OSHA guidelines; and language that encourages the hiring of musicians from underrepresented groups.</span></p><p dir="ltr"><span style="color:rgb(0,0,0);">Executive Director Paul Cienniwa says, “In a recent speech, President Biden said, ‘Show me your budget, and I’ll tell you what you value.’ I have worked hard in my three years at the Philharmonic to focus our efforts, both financially and programmatically, on the outstanding musicians of the orchestra. With this new contract, the Philharmonic comes closer than it’s ever been to an agreement that balances artistic and administrative expenses. This balance is essential to the longevity of the Philharmonic and creates a more equitable environment for its musicians. Above all, the budget shows that we value our musicians.”</span></p><p dir="ltr"><span style="color:rgb(0,0,0);"><strong>About American Federation of Musicians Local 380-443</strong></span></p><p dir="ltr"><span style="color:rgb(0,0,0);">Local 380-443, the United Musicians of the Twin Tiers & Central New York State, is a community of professional musicians and other performers. Three-hundred members strong, its jurisdiction covers a large swath of New York State, from Corning to Cobleskill, Cortland to Montrose (PA) and all points in between. Local 380-443 is a motivated union with initiative to create, protect, and elevate fulfilling work opportunities with and for its members.</span></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7230049
2023-06-21T11:57:25-04:00
2023-06-21T12:03:21-04:00
Garufi Law, P.C. Phelps Mansion Museum Series: Meet Melissa White and Pallavi Mahidhara
<p><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/8e31b17e3f0f833b99c8a759c847885be61020b8/original/melissa-white-and-pallavi-mahidhara.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_l justify_center border_" /></p><p>The Garufi Law, P.C. Phelps Mansion Museum Series closes with a duo performance by two of the most dynamic young players of our day. </p><p>While violinist <a class="no-pjax" href="https://melissawhiteviolin.com/" target="_blank" data-link-type="url"><strong>Melissa White</strong></a><strong> </strong>and pianist <a class="no-pjax" href="https://www.pallavimahidhara.com/" target="_blank" data-link-type="url"><strong>Pallavi Mahidhara</strong></a><a data-link-type="url"><strong> </strong><span style="color:#000000;">have</span> </a>each enchanted audiences around the world in their extensive solo careers, they are also longtime friends who relish the opportunity to make music together. Both artists have expanded the definition of what it means to be a classical musician today, performing works by living composers as well as the standard masterpieces of the repertoire. <span style="color:#000000;">"We [perform] works by composers who represent a diversity of backgrounds, much like the two of us,” explains Ms. Mahidhara. </span></p><p><span style="color:#000000;">Ms. White and Ms. Mahidhara are also deeply committed to developing the next generation of artists through their teaching. Ms. White is a member of the Music Artist Faculty at New York University’s Steinhardt School of Culture, Education, and Human Development, and Professor of Music at the University at Buffalo. Ms. Mahidhara is Artistic Advisor and Piano Professor for the Young Artists Program at the Reina Sofia School in Madrid, Spain, and is regularly invited to teach in the Curtis Institute's Mentor Alumni Program. </span></p><p><span style="color:#000000;">Both artists are also involved in projects beyond the concert stage. Ms. White is the co-founder of </span><a class="no-pjax" href="https://www.intermissionsessions.com/" target="_blank" data-link-type="url"><span style="color:#bf532c;"><strong>Intermission</strong></span><span style="color:#000000;">,</span></a><span style="color:#000000;"> a groundbreaking program that unites body, mind, breath, and music-making through yoga and meditation; Ms. Mahidhara is the executive producer, writer, and host of the </span><a class="no-pjax" href="https://www.buzzsprout.com/1881074" target="_blank" data-link-type="url"><span style="color:#bf532c;"><strong>The Conscious Artist</strong></span><span style="color:#000000;"><strong>,</strong></span></a><span style="color:#000000;"> a podcast designed to promote mental health awareness for musicians, artists, and all human beings.</span></p><p><span style="color:#000000;">The fourth and final concert in our Garufi Law, P.C. Phelps Mansion Museum Series, this talented duo will be performing Sunday, March 10, 2024 at 3pm. You won't want to miss it! Only season subscribers have early access to tickets, and this series <i>will</i> sell out!</span></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7228974
2023-06-19T13:25:54-04:00
2023-06-21T11:11:10-04:00
Garufi Law, P.C. Phelps Mansion Museum Series: Meet the Castalia String Quartet
<p><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/9379e29ed5af836b77249088a5a4a6413c012b65/original/unnamed-2.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_l justify_center border_" /></p><p><span style="color:rgb(0,0,0);">The Castalia String Quartet of the Catskills was formed in 2019 by Uli Speth (violin I), Debrah Devine (violin II), Amy Tompkins (viola) and Ruth Berry (cello). The string quartet performs in the upper Catskills, Mohawk Valley, Finger Lakes, Central, and Southern Tier regions of New York State. Additionally, their performances include collaborations with musicians for a variety of chamber ensembles; they can also be appreciated as principal strings of the</span><a class="no-pjax" href="https://fenimoreco.org/" target="_blank"> </a><a class="no-pjax" href="https://fenimoreco.org/" target="_blank" data-link-type="web"><u>Fenimore Chamber Orchestra.</u></a></p><p><span style="color:rgb(0,0,0);">The debut performance of the Castalia String Quartet was originally scheduled to take place in the spring of 2020 at the Wilber Mansion/CANO in Oneonta; however, it was cancelled due to the COVID-19 pandemic. It was a long time to wait for a debut, but finally, a year later, the quartet was happy to be included in the well-conceived and carefully organized Hartwick College Music Department 2021 Faculty Showcase concert in celebration of International Women’s Day 2021. More recently, the Castalia String Quartet has performed recitals featuring compositions by Mozart, Dvo</span><span style="color:rgb(32,33,36);">řá</span><span style="color:rgb(0,0,0);">k, Charles Tomlinson Griffes, Amy Beach, and others, and has collaborated with guest artists Cathryn Jones and Richard MacDowell. The quartet has also performed and recorded the string quartet by Amy Beach at Foothills Performing Arts Center.</span></p><p><span>The third concert in our Phelps Mansion Museum Series, this talented ensemble will be performing Sunday, February 11, at 3pm. You won't want to miss it! Only season subscribers have early access to tickets, and this series </span><i>will</i><span> sell out!</span></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7223217
2023-06-08T11:25:56-04:00
2023-06-21T11:11:10-04:00
Musician Spotlight: Jud Spena, Trumpet
<p><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/007851a5595462a1507e99a58929e909a34cb5bb/original/prof-trumpet-photos-022-min.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_left border_" /></p><p><span style="color:rgb(0,0,0);">Veteran Binghamton Philharmonic trumpet player Jud Spena has published a new edition of his book </span><a class="no-pjax" href="https://www.amazon.com/dp/B0C2SDCQ7T?ref_=cm_sw_r_cp_ud_dp_HDWTVBTEPBGM57V3NXCN" data-link-type="url"><span style="color:rgb(0,0,0);"><i>Echoes in the Valley</i></span></a><span style="color:rgb(0,0,0);"><i>,</i> a 50-year history of the drum and bugle corps culture of Watkins Glen, New York. First published in 2004, this revised edition greatly expands the length of the original, including 477 pictures, interviews, and results from drum and bugle corps competitions going back to 1933. </span></p><p><span style="color:rgb(0,0,0);">From the end of World War I until the 1980s, drum and bugle corps dotted the landscape of upstate New York, where virtually every community boasted a corps at one time or another. Watkins Glen’s corps, the Squires, achieved success on the local, state, and national levels from the 1930s to the 1980s, winning four consecutive state and national titles. </span></p><p><span style="color:rgb(0,0,0);">To commemorate the republication of <i>Echoes in the Valley</i>, we took the opportunity to sit down with Jud and talk to him about his forty-year career with the Binghamton Philharmonic Orchestra. </span></p><p><i>How and when did you join the orchestra?</i></p><p><span style="color:#000000;">It was 1983, and I was living near Oneonta. My friend, the trumpet player Ben Aldridge, mentioned to me that the Binghamton Philharmonic Orchestra was holding auditions, so I took the audition, and was fortunate enough to get a chair in the orchestra. A few years later, Ben joined the orchestra, too.</span></p><p><i>Can you tell us a little about how you got your start in music?</i></p><p><span style="color:#000000;">Like many brass players, I was introduced to the trumpet (actually, the cornet) in band in elementary school. But it started well before that. For some reason there was always a bugle hanging from a nail in our garage. I figured out how to make a lot of noise with that musty old thing, and I was the scourge of the neighborhood! Additionally, from our house in Watkins Glen I could hear the local drum and bugle corps, The Watkins Glen Squires, practicing on the weekends. I was enthralled with the parades, the uniforms, the blare of the bugles and the rumble of the drums. I joined the Squires at the age of ten. It’s really why I got involved in music, and it ended up steering the course of my life.</span></p><p><i>Would you share a favorite memory of the Binghamton Philharmonic?</i></p><p><span style="color:#000000;">One of my (many) favorites would have to be our performance of Richard Strauss's <i>Alpine Symphony</i>. That must have been at least twenty years ago, and it was an epic achievement for the orchestra and the musicians.</span></p><p><span style="color:#000000;"><i>Who is your favorite composer, and why?</i></span></p><p><span style="color:#000000;">A tough choice! Choosing your favorite composer is like trying to choose your favorite child; it just can't be done. But I do have a special love for the music of Rimsky-Korsakov. His colors sparkle.</span></p><p><a class="no-pjax" href="https://www.amazon.com/dp/B0C2SDCQ7T?ref_=cm_sw_r_cp_ud_dp_HDWTVBTEPBGM57V3NXCN" target="_blank" data-link-type="web"><i><u>Echoes in the Valley</u></i><u> is available in both paperback and eBook formats from Amazon</u></a><span style="color:rgb(0,0,0);">. You can also order a premium quality, signed copy directly from Jud at </span><a class="no-pjax" href="mailto:judspena@aol.com" target="_blank"><u>judspena@aol.com</u></a><span style="color:rgb(0,0,0);">. </span></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7215426
2023-06-07T09:15:26-04:00
2023-06-07T09:16:10-04:00
Musician Spotlight: Adam Peck, Tuba
<p dir="ltr"><span style="color:#000000;"><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/b9e02a752b7293b6a972576c8d9ffdd188ab2ad2/original/resized-received-2078951765642057-1.jpeg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_left border_" /><i>Could you tell us a little bit about how you joined the Binghamton Philharmonic Orchestra? How long have you played with the Binghamton Philharmonic?</i></span></p><p dir="ltr"><span style="color:#000000;">I auditioned for and began subbing with the orchestra in 1985. I replaced Dave Unland as Principal in 2000.</span></p><p dir="ltr"><span style="color:#000000;"><i>What do you like about performing with the Binghamton Philharmonic?</i></span></p><p dir="ltr"><span style="color:#000000;">Everything! The thrill of performing for the audience, playing alongside such talented musicians, and the camaraderie and friendships that we share – some going back 45 years. </span></p><p dir="ltr"><span style="color:#000000;"><i>Would you share a favorite memory with the Binghamton Philharmonic?</i></span></p><p dir="ltr"><span style="color:#000000;">We were performing Death and Transfiguration by Richard Strauss. After the Artist’s Death, the theme recurs and the orchestra had a perfect moment…we were of one mind, playing perfectly in tune with my tuba supporting with a glorious sustained C. I was so overcome that I almost forgot to change pitch five measures later! This is the joy of performing music and the reason we keep doing it.</span></p><p dir="ltr"><span style="color:#000000;"><i>Tell us the story of how you were first introduced to the instrument you play. What drew you to your instrument?</i></span></p><p dir="ltr"><span style="color:#000000;">I started as a trumpet player. In 7th grade my teacher asked if I would consider playing the tuba. I agreed and my next lesson saw me holding a tuba. I found I could produce a good tone on it, and, unlike the trumpet, it just felt “right.” In a few months I was playing very well.</span></p><p dir="ltr"><span style="color:#000000;"><i>Who is your favorite composer and why?</i></span></p><p dir="ltr"><span style="color:#000000;">Anton Bruckner. I heard the last few minutes of his 5th symphony on the radio during my freshman year at Ithaca College and instantly became a fan. Although his works are known for powerful brass, there are many quiet moments of heavenly beauty. His motets and masses are sublime music. I hope our orchestra will perform one of his symphonies in the future!</span></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7211349
2023-05-23T15:13:26-04:00
2023-05-25T14:03:41-04:00
Musician Spotlight: Patricia O'Connell, French Horn
<p> <img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/16423f686effcfcc304ae52fd6024422b5edb636/original/img-2669-patti-oconnell.jpeg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_left border_" /><span style="color:rgb(32,33,36);"><i>Tell us a little bit about how you joined the Binghamton Philharmonic Orchestra. How long have you played with the Binghamton Philharmonic?</i></span><br><span style="color:rgb(32,33,36);">I remember being recruited by Principal Horn, Brian Sternberg, to play 4th horn for a concert in the fall of 1978. David Loebel was the conductor at that time. He insisted on an “audition.” So during the break Maestro, Brian and I went to the 2nd dressing room of the Forum, where I played a French etude. I will never forget Maestro’s reaction, (or Brian’s for that matter) which was, “I didn’t know 4th horn players could play so high!” Brian struggled not to giggle. Must be I played well, for I have been here ever since!</span></p><p><span style="color:rgb(32,33,36);"><i>What do you like about performing with the Binghamton Philharmonic?</i></span><br><span style="color:rgb(32,33,36);">I enjoy the challenges in the diverse repertoire plus the different layers of focus and concentration required to bring music to life for the audiences. Being a single line, section player has many challenges. First and foremost we must be well prepared as an individual line. We must then come together as a section; then our section combines with the other brass sections and then to the winds, percussion and strings. It’s a wonderful process to hear it all come together. The BPO has grown from a “hometown” orchestra to a Regional orchestra with many fine players from larger orchestras joining us. I am proud to be a part of that history.</span></p><p><span style="color:rgb(32,33,36);"><i>Could you share a favorite memory with the Binghamton Philharmonic?</i></span><br><span style="color:rgb(32,33,36);">“Coca cola hamburger”. Maestro Jose Luis Novo’s version of 7/8 time.</span></p><p><span style="color:rgb(32,33,36);"><i>What was your favorite (or one of your favorite) concerts to perform in with the Binghamton Philharmonic and why?</i></span><br><span style="color:rgb(32,33,36);">Mahler 1 “The Titan,” with Maestro John Covelli. Playing in a section with 10 horns was thrilling! The Mahler Orchestra is a unique experience, and memorable.</span></p><p><span style="color:rgb(32,33,36);"><i>Tell us the story of how you were first introduced to the instrument you play. What drew you to your instrument?</i></span><br><span style="color:rgb(32,33,36);">I taught myself to play the flute at a very young age, it was my Father’s instrument. And I liked it…but was really drawn to Tchaikovsky 5th Symphony with the lovely solo in the Andante Cantabile. I think I wore out my Mom’s record. So when the time came to choose an instrument in school, I chose the French horn, but they handed me an Eb Mellophone. I suffered that for a year and a wonderful music teacher found a French horn for me. I took to it right away. My Mom played in The Kirby Band for years, I tagged along and really received lots of lessons there! I grew up playing Sousa!</span></p><p><span style="color:rgb(32,33,36);"><i>Who is your favorite composer and why?</i></span><br><span style="color:rgb(32,33,36);">To limit a favorite to one composer is a real challenge. Rachmaninov because his lush harmonies bring tears; Tchaikovsky because he allows horns to sing; Holst because he gives us the pulse or heartbeat of life; Rossini because he makes us laugh; and Puccini because he reaches out and touches the soul. To pick one? Not today.</span></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7213365
2023-05-23T14:33:03-04:00
2023-05-23T14:33:03-04:00
End of Season Giving Campaign
<p dir="ltr"><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/820a6b99dc8460056200d9a92cdf077d69ea0a53/original/paul-cienniwa.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_s justify_left border_" />A Letter from Paul Cienniwa, Executive Director:</p><p dir="ltr"><span style="color:#000000;">As we conclude our 67th Season—after just announcing our 68th Season— it’s hard to believe that, in just a few weeks, Maestro Hege and I will begin planning our 69th Season! You see, running a symphony orchestra is a bit like steering an ocean liner: one needs to think very far ahead while also being attentive to the moment. Whether we plan new programming, perform scheduled concerts, or announce a new season, we are working continuously within different time frames, all with different hopes, expectations, and aspirations. And they all surround you, the audience member.</span></p><p dir="ltr"><span style="color:#000000;">Between us, I feel that these past two years have been “recovery” seasons, as we have increasingly made our way out of once-inescapable restrictions. And while your support throughout this period has been steadfast and deep, the economic shadow cast by COVID has been long. Even with conservative projections, our most recent pair of post-pandemic seasons has ended with attendance shortfalls.</span></p><p dir="ltr"><span style="color:#000000;">To offset these gaps, the Philharmonic has fortunately been able to rely upon substantial support, not only from federal and local grants…but also from generous donors like you.</span></p><p dir="ltr"><span style="color:#000000;">This has helped us approach the 2023-2024 Season with new hope, greater buzz, and anticipated larger audiences…and we’ve even expanded our offerings to include four chamber music concerts at the Phelps Mansion Museum, bringing next season to a total of twelve concerts! Doing so helps us hold true to our mission and serve up to 10,000 music lovers, each season, every time.</span></p><p dir="ltr"><span style="color:#000000;">So, at this time, I ask you to please consider making a contribution to help us see off the 2022-2023 Season on an especially high note. Your gift will give us solid footing as we move forward from recovery to a robust season of classical, pops, and chamber music programming! </span><a class="no-pjax" href="https://binghamtonphilharmonic.app.neoncrm.com/forms/15" target="_blank" data-link-type="url" contents="Click here to give today."><strong><u>Click here to give today.</u></strong></a><strong> </strong></p><p dir="ltr"><span style="color:#000000;">Thank you, as always, for your support, and we look forward to seeing you in the months to come!</span></p><p dir="ltr"><span style="color:#000000;">Sincerely,</span></p><p><span style="color:#000000;"><span><u><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/0d8a92cebca7b38de016a4886d2105aa057409d6/original/image.png/!!/meta%3AeyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ%3D%3D.png" class="size_orig justify_inline border_" alt="A drawing of a person's belly
Description automatically generated with low confidence" height="68" width="204" /></u></span></span></p><p><span style="color:#000000;">Dr. Paul Cienniwa</span><br><span style="color:#000000;">Executive Director</span></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7210645
2023-05-22T09:14:13-04:00
2023-05-23T09:26:09-04:00
Contrabassoonist Peter Rothbart to retire from the Binghamton Philharmonic
<p><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/bed13601a58eb715a6067470bedf4f10d5b38eb0/original/peter-rothbart-bassoon.jpeg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_s justify_left border_" />A Letter From Peter:</p><p>Playing contrabassoon and third bassoon with the Binghamton Philharmonic Orchestra has been of the great joys of my musical life.</p><p>I studied with Boston Symphony contrabassoonist Dick Plaster, who graciously gave me free lessons at the New England Conservatory of Music. He warned me that once you are known as a contra player, you will always be called THE contra player. And he was right. I’ve played contra with the Binghamton Philharmonic Orchestra for somewhere between 37 and 43 years and have performed with virtually every regional orchestra in Central New York.</p><p>Contrabassoonists often double on third bassoon, juggling two bulky instruments and distinctly different reeds within the same piece. Then there are the long stretches within a piece when we do not play. We sometimes must count over eighty measures of rest (you run out of fingers that help to keep track) before we must enter playing pianissimo on a very low note with a reed that may have dried out under the stage lights while we were busy counting. These moments can be terrifying!</p><p> Contrabassoons are part of the woodwind section, but much of the time we play with the trombones or string basses to add additional heft and power to the thunderous low notes that can literally shake the floor. Other players often congratulate me on how they “feel” my fortissimos. At other times we play delightfully delicate passages with our fellow bassoonists or other woodwinds. We need to blend, stay in tune and not overpower anyone, no easy feat when blowing on an 18-foot-long wooden pipe.</p><p>Over time however, the physics of aging is pushing me to limit my musical activities, so I am focusing on newly emerging musical opportunities: composing concert, jazz and electroacoustic music (which I taught at the Ithaca College School of Music for forty years), conducting the Ageless Jazz Band and playing jazz saxophone, my other love. Who knows? You may see me in the sax section of t<span style="color:#000000;">he Binghamton Philharmonic</span> at pops concerts, or perhaps I’ll write a piece for the orchestra.</p><p><span style="color:#000000;">The Binghamton Philharmonic </span>is sounding better than they ever have before and I am happy to leave on a high note…a relative thing for a contrabassoonist.</p><p> </p><p style="text-align:center;" dir="ltr"><span class="text-big" style="color:#222222;"><i>Congratulations to Peter </i></span><span class="text-big" style="color:rgb(0,0,0);"><i>on his well-earned retirement, and we are grateful for his years of dedicated service.</i></span></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7209183
2023-05-15T11:29:29-04:00
2023-05-18T12:32:04-04:00
Musician Spotlight: Christopher Mann, Bass Trombone
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<span>Christopher</span> <span>Mann <img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/636b83aaf5f3a46aac6cb323829b2d75582d184b/original/screenshot-20230421-072542.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_s justify_left border_" /></span>(bass trombone) is a graduate of the Armed Forces School of Music, and a veteran of the U. S. Navy Band in San Diego, California. Additional training took place at Ithaca College, Syracuse University, Towson State University, McGill University, Lebanon Valley College, and Binghamton University. He was a private student of Allen Ostrander. His playing experience as a tenor and bass trombonist includes performing for Tommy Tune, Ringling Brothers, Natalie Cole, the Irish Tenors, Aretha Franklin, and Olivia Newton-John, among others, as well as several local small and large groups since 1973. Aside from his enlistment, he has been with the Symphony since 1976.</div>
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Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7200747
2023-05-08T13:23:12-04:00
2023-05-15T11:13:30-04:00
Clarinettist Sarah Chandler to Retire from the Binghamton Philharmonic
<p><span style="color:rgb(0,0,0);"><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/883ebda7428904a10ffaf562a5600169d1eac61e/original/sarah-chandler-clarinet.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_left border_" /></span><span style="color:#222222;">A Letter from Sarah…</span></p><p dir="ltr"><span style="color:#222222;">I would like to share the news of my retirement from the Binghamton Philharmonic with my colleagues in the orchestra, the administrative staff, and friends in the audience from over the years. I have been performing with the orchestra since 1999, when I moved to the area and began subbing. Tim Perry was kind enough to recommend me, based on our mutual clarinetist connections. I remember April Lucas, who didn’t know me from Adam, loaning me her bass clarinet for the first gig, because Tim said it was okay. Soon after that, I served as the Philharmonic’s first call clarinet sub, sometimes subbing on bass clarinet and frequently on e-flat clarinet. I remember in those years, with John Covelli as Music Director, performing masterworks like Mahler’s Symphony No. 1.</span></p><p dir="ltr"><span style="color:#222222;">In 2010, I won the audition for Second Clarinet and joined the section in earnest with Robin Seletsky and April Lucas. My years as Second Clarinet with Robin and April, working with José-Luis Novo, were wonderful. I served as the first call sub for Robin when she was absent. Among the many musical highlights for me were Beethoven Symphony No. 9, Berlioz Symphony Fantastique, Ravel Piano Concerto in G and Shostakovich Symphonies No. 5 and 6. I requested Shostakovich 6 and José-Luis ended up programming it subsequently; I loved playing the big e-flat clarinet solo.</span></p><p dir="ltr"><span style="color:#222222;">I also enjoyed my two years as Acting Principal Clarinet when Robin took her leaves of absence. While I missed her greatly, it was an opportunity to lead the section in some amazing repertoire. At the time, I was serving as Union President (Local 380, American Federation of Musicians). Music Directors are in a unique position in that they are management but work closely with the musicians artistically. I will always appreciate how respectful José-Luis was of my work as a musician in the orchestra and how we both were able to keep our labor-management relationship separate from our work as musicians with and for the orchestra.</span></p><p dir="ltr"><span style="color:#222222;">As you may have heard, I was recently appointed Managing Director of the Cayuga Chamber Orchestra, where I have served as Second Clarinet for fifteen years (and served as Acting Principal for a few years recently). I began my work in this role as Interim Manager during the summer. While I am thrilled to have been offered the opportunity, having done the work for close to a year now, I have identified that it simply is not possible for me to continue as a tenured member of the Binghamton Philharmonic. I hope that whomever wins the Second Clarinet position has the kind of fulfilling experience that I did.</span></p><p dir="ltr"><span style="color:#222222;">Sincerely,</span></p><p dir="ltr"><span style="color:#222222;">Sarah Chandler</span></p><p dir="ltr"> </p><p style="text-align:center;" dir="ltr"><span class="text-big" style="color:#222222;"><i>Congratulations to Sarah on her new position! </i></span></p><p style="text-align:center;" dir="ltr"><span class="text-big" style="color:#222222;"><i>We are grateful for her years of dedicated service.</i></span></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7194556
2023-04-21T13:05:26-04:00
2023-05-04T09:40:43-04:00
Notes from Maestro Hege
<p><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/1be24e24f6503ac91746206afada7f8db0bcc721/original/1024px-dmitri-shostakovich-credit-deutsche-fotothek-adjusted.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_s justify_left border_" alt="" /><span style="color:#000000;">Dmitri Shostakovich (1906-1975) was a gifted pianist and composer who was torn between becoming a professional performing pianist or pursuing the path of becoming an established composer. His Symphony No. 1 was written as his graduation work from the Petrograd Conservatory when he was 19, and it is still an established part of the symphonic repertoire. His symphonies that followed didn’t get much notice until his Symphony No. 5, the final work on our upcoming program.</span></p><p dir="ltr"><span style="color:#000000;">Shostakovich composed his 5th Symphony in 1937, during the height of the Stalinist Purges, also known as the Great Terror (1936-1938), when millions of Soviet citizens were relocated, exiled, or killed outright. It is interesting to consider Shostakovich’s 5th Symphony through this lens. In 1934, Shostakovich composed his opera, Lady Mabeth of Mtsensk, which found favor among critics and the public, but was formally denounced by the Stalinist regime in 1936 and banned for decades in the Soviet Union. It is understandable that Shostakovich felt anxiety and fear and wished to repair his reputation with the State, especially given the political climate of the time.</span></p><p dir="ltr"><span style="color:#000000;">Shostakovich presented his 5th Symphony as “A Soviet Artist's Response to Just Criticism.” Against this historical backdrop, we can see that the work is filled with paradox and ambiguity. When the music is joyous, is it tinged with irony? It is at times, sarcastic, humorous, lonely, celebratory, and even a simultaneous blend of these. When we describe music, we are really only describing our reaction to it, we aren’t describing the music itself. But knowing the frame of mind Shostakovich was likely experiencing helps us to hear what is “between” the notes for a more nuanced appreciation of his music. The finale, for example, ends in a major key and sounds “triumphant” in a sense….but it is still laced with a sense of a hollow victory. Leonard Bernstein famously took the ending twice too fast as Shostakovich himself noted at a live performance, though he said it still “worked.” Knowing that Shostakovich wanted a slower tempo yet filled with a slow fanfare takes away the more straightforward reaction of elation, but it tells us there is something else. Shostakovich, speaking about the “triumphant” ending, said, “it’s as though someone is hitting you with a stick saying ‘your business is rejoicing,” and you mutter to yourself, “our business is rejoicing, our business is rejoicing.” </span></p><p dir="ltr"><span style="color:#000000;">This music, even if you do not consider the turbulent political backdrop in which Shostakovich wrote the work, is still great, incredibly powerful, and tells a story that only you, the listener, truly can know in the way you interpret it. It is one of the great masterpieces of the 20th Century, and I hope you enjoy the work immensely!</span></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7184510
2023-04-07T09:29:02-04:00
2023-04-21T12:49:51-04:00
Northern Lights program notes
<p style="text-align:right;" dir="ltr"><i>by Ubaldo Valli, Binghamton Philharmonic Program Annotator</i></p><p dir="ltr"><span style="color:#000000;">In 1598, a group of Florentine noblemen wanted to revive what they thought was the tradition of ancient Greek drama that combined music and theater. They failed. Instead, with the premiere of Jacopo Peri’s <i>Dafne,</i> they invented opera. Soon, opera swept through the Italian peninsula, with hundreds of operas being written for new theaters specifically built for their performance.</span></p><p dir="ltr"><span style="color:#000000;">As Italy produced some of the most popular music of the day, opera soon swept through Europe. Italian opera was performed in France, Austria, Germany, England… And, as it was literally Italian opera, in Italian. (Perhaps the best example of Italian opera’s dominance was a German composer, Georg Frideric Handel (1685-1759), writing operas in Italian for audiences in London.)</span></p><p dir="ltr"><span style="color:#000000;">Interestingly, the rise of opera paralleled the rise of nationalism in Europe. As Machiavelli pointed out in <i>The Prince</i>, “two peoples, preserving in other things the old conditions, and not being unlike in customs, will live quietly together, but when states are acquired in a country differing in language, customs, or laws, there are difficulties.” Unsurprisingly, after importing Italian stuff, countries wanting to preserve “the old conditions, and not being unlike in customs” began to produce their own versions of opera. France, proudly produced <i>tragédie lyrique</i>s (ironically established by an Italian import, J. B. Lully (1632-1687)), Germany developed the singspiel (Mozart’s <i>The Magic Flute</i> for one) and England, via Henry Purcell and John Blow, did their best to help English opera take root. (You can thank Handel for helping to nip that in the bud).</span></p><p dir="ltr"><span style="color:#000000;">The rise of nationalism also paralleled a quest for cultural identity by ethnic groups rebelling against hegemonic dominance that suppressed their language, traditions, and culture. The result: a demand for native languages, local traditions, and cultural autonomy. Poles began to speak Polish, Norwegians began to read Norwegian folktales (collected by Peter Christen Asbjørnsen and Jørgen Moe), and elaborately embroidered traditional clothing became the rage in Budapest. Unsurprisingly, there was a corresponding increase in demand for operas that were rooted in cultural identities. </span></p><p dir="ltr"><span style="color:#000000;">So how can an opera reflect a cultural identity? Typically, plots are taken from native sources, such as folk tales, designers' use of local visual motifs, and the like. But perhaps the most important way that an opera reflects a cultural identity is that it is sung in a native tongue. And the music composed using a native tongue reflects the unique forms and accents of those native words. The composer and critic Virgil Thomson made the point for American composers by advocating an American method of “how to project the meaningful syllables…how to distort for passionate statement, to go into and out of patter, to syncopate the line for avoiding methods that fit German or French or Italian, <i>but not English.</i>” Leos Janacek found methods for Czech, George Gershwin and Thomson found (very different) methods for American, and then there was Mikhail Glinka. </span></p><p dir="ltr"><span style="color:#000000;"><strong>Mikhail Glinka (1804-1857)</strong> was born in Novospasskoye near the border of what is now Belarus into a wealthy, noble family. A sickly child, he was raised and pampered by his grandmother and uncle before being sent in 1818 to a boarding school in Saint Petersburg that catered to the children of the gentry, graduating in 1822. After graduation, he took an undemanding job in Saint Petersburg as a civil servant that allowed him time to dabble in composition and to mingle in the high society social circles where he became friends with Russian movers and shakers, intellectuals, and writers such as Alexander Pushkin (1799-1837). Although realized he loved music above all else after hearing at age 10 a clarinet quintet, and, in spite of his violin, piano, and voice lessons, his songs and piano pieces played at those high-class salons were those composed by a dilettante. </span></p><p dir="ltr"><span style="color:#000000;">It was ill health that led him down a different path. Glinka left the civil service and, in 1830, took his doctor’s advice to spend some time in Italy to regain his health. He settled in Milan where he got to know many of the leading European performers and composers of the time, composers such as Donizetti, Bellini, Berlioz, and Mendelssohn (he seemed to have a knack for meeting important people). And he absorbed their music like a sponge. But Italy and Italian music became a dead end for Glinka when he realized that he needed, as a Russian, to write “in a Russian manner”, so he left Italy in 1833 to join his sister’s family in Berlin. While in Berlin, Glinka took composition lessons with Siegfried Dehn (1799-1858). The lessons were transformative. “He (Dehn)…not only put my knowledge in order, but also my ideas on art in general – and after his teaching I began to work clear-headedly, not gropingly.”</span></p><p dir="ltr"><span style="color:#000000;">Glinka left Berlin and returned to Russia to be with family after his father’s death in 1834 and found himself back in the intellectual salons he had frequented before going to Italy. There, again hobnobbing with the influential and powerful, he found the opportunities to “clear-headedly” compose “in a Russian manner.” The result: in 1836, <i>A Life for the Tsar</i>, the first opera completely sung in Russian on a Russian subject, received its premiere in St. Petersburg. In his music for <i>A Life for the Tsar</i>, Glinka adapted the conventions of early 19<span>th</span> Century Italian opera to the necessities of telling a Russian story based a Russian text by using Russian folksongs as its basis. It was a great success, with the Tsar and his court attending the first performance. </span></p><p dir="ltr"><span style="color:#000000;">With one opera under his belt, Glinka approached his friend Pushkin to write a libretto for another based on Pushkin’s mock epic poem <i>Russlan and Ludmila, </i>but Pushkin died in a duel before he could write the libretto. Glinka then turned to a string of writers who contributed bits and pieces to a libretto describing Princess Ludmilla’s kidnapping on her wedding day by an evil wizard and her rescue by her betrothed, Russlan, a Russian knight who must cut off the beard of the wizard, awaken the enchanted Ludmilla with a magic ring, save the city of Kyiv from attack, attack a giant sleeping head, defeat a dwarf and a giant who are brothers...(I am not making this up). What it did not have was a coherent plot, but Glinka did his best and the opera was first performed in December 1842. Unlike <i>Life</i>, it was not a success with the public or critics and its failure caused Glinka to abandon composing opera. </span></p><p dir="ltr"><span style="color:#000000;">It was a success, however, for Glinka the composer. The fantastical plot allowed him to continue developing a Russian musical idiom based on folk music and the Russian language, and to create innovative techniques to depict the wizard’s spells. And these ideas found their way into the one part of the opera that has found its way into the standard repertoire. </span></p><p dir="ltr"><span style="color:#000000;">The <i><strong>Overture to</strong></i><strong> </strong><i><strong>Russlan and Ludmilla</strong></i>, unencumbered by a bad libretto, allows Glinka’s music to shine. It contrasts a vigorous opening idea inspired by a wedding dinner Glinka attended (“I was up in the balcony, and the clattering of knives, forks and plates made such an impression on me that I had the idea to imitate them in the prelude to <i>Russlan</i>”) with a lyrical melody played by the bassoons, violas and cellos before ending with one of the many innovations that Glinka employed in the opera–the use of a descending whole tone scale. (For those of you who are interested: The western equal temperament scale is divided into whole steps and half steps and a half step typically gives the music a strong sense of direction. Sing do-re-mi…and stop at ti. You can feel the half step between <i>ti </i>and <i>do</i> pulling you up to <i>do</i>. A whole-tone scale has no half steps, so it feels very different, almost unmoored<strong>.</strong> Music using whole tone scales was rarely heard until 50 years later as in music of Debussy, Janacek, and Puccini). </span></p><p dir="ltr"><span style="color:#000000;">Glinka’s example in forging a Russian classical music idiom may not have been successful in his lifetime, but it took root in the following generation which acknowledged him as their master. Perhaps Tchaikovsky acknowledged Glinka’s seminal influence on Russian music best, writing “all of an oak tree is in an acorn."</span></p><p dir="ltr"><span style="color:#000000;">One of music’s great mysteries is the career of the Finnish composer <strong>Jean Sibelius (1865-1957)</strong>. He composed prolifically, getting to his Op. 116 by 1929. After that, while there was chatter of the Boston Symphony premiering an Eighth Symphony, Sibelius published only a few arrangements of his own music and some scattered songs for the remaining third of his life. No one knows why.</span></p><p dir="ltr"><span style="color:#000000;">Of course, there are theories. Sibelius was notoriously self-critical (late in his life he was caught burning manuscripts in the kitchen stove) and over the years he ruthlessly pruned his compositional style and music to their essence. Did his relentless attempts to distill his music to the barest essentials leave him with nothing left to write? He lived a long life, born the year of Lincoln’s assassination and dying after the Korean War. Did he feel that he was locked in the past with nothing left to say to the musical world of Stravinsky, jazz, and rock and roll? He was lionized as a Finnish patriot who helped establish a Finnish identity in a country dominated by Russia, receiving an artist’s pension from the government starting in 1898. Was he simply content to live a comfortable life, allowing himself to be celebrated as the grand musical master of Finland? Sadly, Sibelius never provided any answers.</span></p><p dir="ltr"><span style="color:#000000;">But before Sibelius’ compositional silence, the world waited to hear the latest from Sibelius’ pen. While he composed incidental music, songs, and a smattering of chamber music, his best pieces were a series of symphonic poems (music based on an extra-musical idea, in Sibelius’ case, Finnish culture), and the tone poem’s musical antithesis, seven symphonies (built on internal musical logic). However, there was one great exception–the<strong> Violin Concerto Op. 47</strong>.</span></p><p dir="ltr"><span style="color:#000000;">Sibelius started playing violin at the ripe old age of 14 and, for a while, aspired to be a concert violinist (his unsuccessful audition in 1891 to become a member of Vienna Philharmonic audition may have been the final blow to that dream). But he knew his way around the violin and, as “There's still a part of me that desires to become a violinist, and this expresses itself in unusual ways,” he began to write a violin concerto in 1902 at the encouragement of the German violin virtuoso Willy Burmester (1869-1933). Burmester, who was supposed to premiere the concerto, ended up regretting working with Sibelius. After a promising start (Sibelius wrote to his wife that “I’ve got some lovely themes for a violin concerto”), Sibelius spent more time drinking in his favorite Helsinki hangouts than composing. Then, needing cash, Sibelius rescheduled the concerto’s premiere, even though the orchestration was incomplete, for an earlier date that Burmester could not attend. That concert was a failure. Sibelius withdrew the concerto and, unsurprisingly, extensively revised it, intending that Burmester premiere the new version. But, on the advice of his publisher, in 1905 Sibelius gave that first performance to another violinist, Karl Halir (1859-1909). An angry Burmester refused to ever play the concerto.</span></p><p dir="ltr"><span style="color:#000000;">While Burmester was justifiably aggrieved, he missed out on playing one of the great Romantic violin concertos. Sibelius came of age as a composer just before the magnificent stylistic splintering of concert music at the beginning of the 20<span>th</span> Century, absorbing the later romantic scores of Bruckner, Tchaikovsky, and Wagner and filtering it through his interest in Finnish culture and folk music. The concerto combines Sibelius’ intimate knowledge of violin technique<strong> </strong>with his mastery of a late Romantic style that he subsequently refined and transformed. But perhaps more impressive was how Sibelius uses those virtuosic violin techniques to combine the atmosphere of his Finnish inspired symphonic poems with the internal musical logic of his symphonies. The wickedly hard violin part, using all the tricks of the trade, sounds as if the soloist is improvising in the moment, while the composition as a whole is both moody and evocative (go online to read all the comparisons to the Finnish landscape) while having an internal, motivic cohesiveness that is often felt rather than heard.</span></p><p dir="ltr"><span style="color:#000000;">The concerto follows the conventional three movement pattern of fast-slow-fast. After starting with a soft, haunting opening (one of those “lovely ideas”), Sibelius follows the general framework of “sonata form” by writing sections in contrasting keys signaled by different tunes. The tension between these ideas is then exploited, then resolved to provide a sense of closure. But Sibelius uses his own solutions within that framework when he expands on the precedent set by Felix Mendelssohn in his violin concerto, which Sibelius studied as a violin student. Mendelssohn composed a cadenza (an extended, typically improvised, section for solo violin) that he placed at a structural point within the movement, rather than at the end, but Sibelius did Mendelssohn one better. Rather than place the cadenza at the end of the section exploring the tensions set up earlier–the “development section”–as Mendelssohn did, Sibelius composed a cadenza that <i>is</i> the development section, thereby balancing the need for the soloist to strut their stuff with the integrity of the musical structure. The second movement is in three sections (A-B-A). The first section, feat<span><img src="https://lh6.googleusercontent.com/M_xax5r76GS3odyqPg8aZYm2pHcQp1aioBsFgDNtFca0E1zUsaHjiGLJL0ghjF0eXIAz2unjx0r-gsY4yFfXwWO4frUZoR4PJ8Ugi-UYOuqSd89TkbrLSx_Ds9cRRPGuzdm7-gcKafhgQCGcHO5oaFg" class="size_m justify_right border_" height="352" width="566" /></span>uring a songful violin solo, and the third section, with the violin playing arabesques over the orchestra singing the song, bracket the stormy middle section - a sort of musical Oreo cookie. The last movement is a wild ride, filled with a rhythmic drive and virtuoso hotdogging that the writer Donald Tovey described as a “polonaise for polar bears.” </span></p><p dir="ltr"><span style="color:#000000;">If this all sounds a little too intellectual, not to worry. The soloist’s virtuoso fireworks, backed by a dynamic orchestral accompaniment, provide a visceral experience that you will find hard to forget.</span></p><p dir="ltr"><span style="color:#000000;">If you ever want to have a musical discussion equivalent to the theological debate of how many angels can fit on the head of a pin, bring up the opening of Beethoven’s Symphony No. 5. You know – three shorts and a long – DA DA DA DUM. The ink spilled, the theories posited, the people shouting “I have the answer!”... These provocations boggle the mind. Just take a look at pages 109-126 of Gunther Schuller’s book <i>The Compleat Conductor</i> in which he essentially condemns just under 90 recordings for getting this opening wrong. (I will lend you my copy.)</span></p><p dir="ltr"><span style="color:#000000;">Sadly, the same level of controversy has attached itself to music composed by the Soviet composer<strong> Dmitri Shostakovich (1906-1975)</strong>.</span></p><p dir="ltr"><span style="color:#000000;">Ay, there’s the rub–Shostakovich was a <u>Soviet</u> composer. As he was 11 during the 1917 Russian Revolution, the whole of his career, from his admittance to the Petrograd (now St. Petersburg) Conservatory in 1919 to his death in 1975, was in Soviet Russia. And Soviet Russia became, to say the least, a problematic place for an artist.</span></p><p dir="ltr"><span style="color:#000000;">In the early days of the Soviet Union after the 1917 revolution, the young Soviet state was home to an artistic vanguard, free from interference from the government as officials focused on more pressing concerns. Innovations in movies (<i>Battleship Potemkin</i> directed by Sergei Eisenstein (1898-1948), theater (The Moscow Art Theater founded by Konstantin Stanislavski (1863-1938) and the techniques of Vsevolod Meyerhold (1874-1940)), and the Constructivist movement in architecture and art were popular at home and influential abroad. (You can thank the vanguard for the quick cutting style of MTV videos and the acting technique of Marlon Brando). And music was part of that vanguard. Leon Theremin (1896-1993) invented his eponymous electrical musical instrument (which the player does not touch. It is the sound you hear listening to <i>Good Vibrations</i> by the Beach Boys or the soundtrack to <i>The Day the Earth Stood Still</i>). Rimsky Korsakov’s grandson Georgi (1901-1965) founded the Society of Quarter Tone Music, and composers wrote music evoking the sounds of rapid Soviet industrialization as Alexander Mosolov (1900-1973) did in his ballet movement entitled <i>The Iron Foundry</i> Op. 19.</span></p><p dir="ltr"><span style="color:#000000;">This was the artistic environment of Shostakovich’s early career. And he thrived. His Symphony No. 1, written by the 19-year-old composer as his graduation project, was played throughout the world after its 1926 premiere. He wrote ballets, operas, and lots of scores for plays and movies (Meyerhold hired Shostakovich to play piano for his theater productions).</span></p><p dir="ltr"><span style="color:#000000;">The artistic freedom of the Soviet Union began to change when Joseph Stalin (1878-1953) became Secretary General of the Central Committee of the Communist Party of the Soviet Union in 1922. After Lenin’s death in 1924, Stalin used his position to exile, assassinate, or imprison his rivals to consolidate his power, becoming the undisputed ruler of the Soviet Union by 1929. Lenin had said "Every artist…has the right to create freely according to his ideal... However, we are Communists, and we must not stand with folded hands…We must systematically guide this process and form its result.” After 1929, Stalin unfolded his hands.</span></p><p dir="ltr"><span style="color:#000000;">Wielding complete power, Stalin transformed the Soviet government and economy (for example, the collectivization of agriculture), and also worked to transform Soviet society itself to reflect Stalin’s vision of the ideological ideals of communism. He was willing to do whatever it took to achieve his goals. Stalin said, “You cannot make a revolution with silk gloves,” and he meant it. In 1936, Stalin began a massive purge of opponents, real and imagined. Millions were arrested and hundreds of thousands died in what became known as the Great Terror. </span></p><p dir="ltr"><span style="color:#000000;">Artists and intellectuals were not above suspicion. Stalin knew the power of the arts, saying “The writer is the engineer of the human soul,” and set about to define how the arts would support the ideals of communism. In 1934 the<i> </i>First All-Union Congress of Soviet Writers<i> </i>established guidelines for Socialist Realist art, which required realistic depictions of the everyday life of the proletariat in a way that was both supportive of the Communist Party and accessible to the Soviet citizen.<i> </i>Those not following these guidelines were not just enemies of the political state, but enemies of Stalin’s new Soviet society and could be branded as disloyal “counter-revolutionaries.” Many were. Meyerhold and the writer Isaac Babel (1894-1940) were executed and ironically Mosolov, whose music celebrated Soviet industrialization, was arrested and sentenced to prison and internal exile.</span></p><p dir="ltr"><span style="color:#000000;">Shostakovich soon experienced this new reality. In 1934 his opera <i>Lady Macbeth of the Minsk District</i>, Op. 29 premiered in Leningrad (the Soviet name for Saint Petersburg), followed by multiple productions around the world. At one point there were three simultaneous productions in Moscow alone! In short, the opera was a hit. It was such a hit that in 1936 Stalin attended a performance. Well, part of a performance. He did not like what he saw and especially what he heard (including the most aurally graphic depiction of intimacy since Richard Strauss’s opera <i>Der Rosenkavalier</i>) and left before the final curtain. But that final curtain was just the beginning for Shostakovich.</span></p><p dir="ltr"><span style="color:#000000;">Two days later, the opera and Shostakovich were condemned in an article entitled “Muddle Instead of Music” published in <i>Pravda</i>, the official paper of the Communist Party. Calling <i>Lady Macbeth</i> “a confused stream of sound”, the article accused Shostakovich of having "ignored the demands of Soviet culture" and that the opera was “a petty-bourgeois, 'formalist' attempt to create originality through cheap clowning. It is a game of clever ingenuity that may end very badly.” Shostakovich feared for his life, sleeping on the staircase outside of his apartment with a packed suitcase so that his family would not see his arrest.</span></p><p dir="ltr"><span style="color:#000000;">However, unlike many of his friends and family members, Shostakovich was not arrested and executed. Rather, his career came to a dead stop. Commissions, concert opportunities and royalties disappeared, performances of <i>Lady Macbeth</i> were halted, and, fearing that its somber vision would fail to follow the precepts of socialist realism, Shostakovich canceled the premiere of his Symphony No. 4.</span></p><p dir="ltr"><span style="color:#000000;">Shostakovich knew that, to survive, he needed to compose something that would redeem him in the eyes of the commissars of culture. He could have continued writing scores for approved movies and plays or decided to compose tub thumping panegyrics (as he did in 1949 with <i>Song of the Forests</i>, Op. 81, an oratorio celebrating Stalin’s work in reforesting areas devastated during World War II). Instead, he wrote a symphony.</span></p><p dir="ltr"><span style="color:#000000;">It was a bold and smart move. The musical authorities would find it difficult to ascribe specific meaning to a purely instrumental work and the prestige of a new symphony would appeal to them. And indeed, the acclamation from both the public and the government for the premiere of the <strong>Symphony No. 5, Op. 47</strong> in November 1937 was a triumph for Shostakovich and restored him (for a while) to official approval. Agreeing with a journalist to subtitle the symphony <i>A Soviet Artist's Practical Creative Reply To Just Criticism, Shostakovich wrote that “The </i>theme of my Fifth Symphony is the making of a man. I saw a man with all his experiences in the center of the composition, which is lyrical in form from beginning to end. In the finale the tragically tense impulses of the earlier movements are resolved in optimism and joy of living.” Talk about support for the communist ideal of the triumph of dialectical materialism!</span></p><p dir="ltr"><span style="color:#000000;">The music Shostakovich wrote was seemingly clear and direct, more rooted in traditional harmony than <i>Lady Macbeth</i>, and with obvious links to Tchaikovsky and to the Communist Party’s favorite bourgeois composer–Beethoven. Written in four movements, the symphony morphs from an opening anguished d minor to a bright D Major ending, a la Beethoven Symphony No. 5. The first movement has a musical structure (sonata form) favored by Beethoven and uses repeated recontextualized small melodic ideas to hold it together, another Beethovian technique. The second movement, a sardonic scherzo, cribs Beethoven’s device of having the return of earlier loud music played softly by plucked strings, while the wrenching, plangent third movement (which omits the brass) echoes Tchaikovsky’s echoes of Russian Orthodox choral church music. The last movement, a march that initially gets faster and faster, transforms, after the collapse of the march, into a final apotheosis in D Major. </span></p><p dir="ltr"><span style="color:#000000;">Everyone walked away happy–for a time. The “proletarian” audience embraced the symphony, the Communist Party celebrated one of its leading composers finding his way to create music that supported the Party and the State, and Shostakovich found a way to compose that informed his later compositions (and that allowed him to find official favor with all the benefits that entailed). But, after the cultural thaw that followed Stalin’s death in 1953, rumors began to circulate that this model Soviet composer and citizen had encrypted musical protests in his compositions, including his Symphony No. 5. Those gloves came off with the publication in 1979 of Solomon Volkov’s book <i>Testimony: The Memoirs of Dmitri Shostakovich</i> which presented Shostakovich as a hostage of a state and ideology he hated and as a man who did indeed hid protests in the music that the Soviet Union celebrated. More gloves came off in 1980 when the musicologist Laurel Fay published her article “Shostakovich versus Volkov: Whose Testimony?” that raised serious questions about the authenticity of <i>Testimony</i>.</span></p><p dir="ltr"><span style="color:#000000;">Thus began the Shostakovich Wars. The true character of Shostakovich and his music was fervently, sometimes violently debated in books, articles, and editorials filled with accusations and counter-accusations. Family and friends of Shostakovich vouched for the essence of <i>Testimony</i> while sometimes questioning its truthfulness. (Shostakovich’s son Maxim said, “I would still say it’s a book about my father, not by him.”) Even the opening of Soviet archives after the fall of the Soviet Union, which added piles of information, provided no definitive answers. The debate still rages today.</span></p><p dir="ltr"><span style="color:#000000;">You might ask “So what? What difference does it make?” If the essential character and meaning of Shostakovich’s music is unclear, the choices a musician makes with Shostakovich’s music will be as different in effect and as hotly debated as those for the opening of Beethoven’s Symphony No. 5. The prime example is the final section (coda) at the end of the 4<span>th</span> movement of Shostakovich’s Symphony No. 5. Was Shostakovich really “a committed Communist who…considered his music an expression of the Russian people, in line with the doctrines espoused by the Central Committee of the U.S.S.R.”? If so, the arrival of music in D Major in the coda should be played with a sense of arrival and triumph. Leonard Bernstein did exactly that, </span>conducting it twice as fast as Shostakovich indicated<span style="color:#000000;">. </span><a class="no-pjax" href="https://youtu.be/SW6hIlt8rpQ?t=85" target="_blank" data-link-type="url"><span style="color:hsl(210,75%,60%);">Click here.</span></a></p><p dir="ltr"><span style="color:#000000;">Or was “Shostakovich’s music…a semantic minefield, laced with irony and punctuated with hollow triumphs trotted out to keep Stalin at bay”? If so, the arrival of the coda should be played with heaviness, fatality, and a sense as being as “false as a Potemkin village.” Shostakovich’s colleague and friend, cellist Mstislav Rostropovich did exactly that</span>, conducting at the much slower tempo as indicated in the score. <a class="no-pjax" href="https://youtu.be/Nbh9MKkV3oU?t=590" target="_blank" data-link-type="url"><span style="color:hsl(210, 75%, 60%);">Click here.</span></a></p><p dir="ltr"><span style="color:#000000;">Which should it be? The answer as to what the true character of Shostakovich and his music is will probably never be resolved, but his music will still be heard. So, the next time you hear something by Shostakovich, rather than asking “So what? What difference does it make?”, you might ask “Does this speak to me? If it does, why does it?” Your answer will allow you to enjoy and appreciate Shostakovich’s music better than any salvo from the Shostakovich Wars.</span></p><p> </p><p dir="ltr"><span style="color:#000000;">© 2023 Ubaldo Valli</span></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7177867
2023-03-24T09:26:42-04:00
2023-04-05T12:49:15-04:00
Binghamton Philharmonic’s musical tasting menu harkens back to heyday of BC Pops
<div class="post-content" style='-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(3, 3, 3);font-family:"Open Sans", Arial, Helvetica, sans-serif;font-size:16px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;orphans:2;position:relative;text-align:start;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;'>
<p><a class="no-pjax" href="https://broomearts.org/binghamton-philharmonics-musical-tasting-menu-harkens-back-to-heyday-of-bc-pops/" target="_blank" data-link-type="url">Broome Arts Mirror</a><br><i><strong>By George Basler</strong></i><br><br>A mixture of “bonbons, greatest hits, humor and fun” is how Executive Director Paul Cienniwa describes the Binghamton Philharmonic’s upcoming “Pops at the Forum” concert Saturday (March 25) at the Broome County Forum Theatre in downtown Binghamton.</p>
<p>The goal is “to revisit the style of programs” conducted by the late David Agard, who headed the former BC Pops Orchestra for 20 years until it merged with the Binghamton Symphony in 1996, Cienniwa said. “We have a great tradition with the BC Pops. We thought’ Why not go back to that and honor that legacy?’” he added.</p>
<p>At most Philharmonic concerts, the orchestra performs new works and larger, multi-movement works that are pillars of the symphonic repertoire. “This concert will be different,” said Music Director Daniel Hege, “because we will be performing overtures, medleys from Broadway musicals, excerpts from film scores and widely known music that doesn’t always make it into our classical series.”</p>
<p>The 3 p.m. concert will be preceded at 2:30 p.m. by an organ recital featuring Nancy Wildoner from the Binghamton Theater Organ Society, playing the Forum’s 1922 Robert Morton IV/24 Theatre Pipe Organ.</p>
<p>“The goal is to provide an afternoon of orchestral delights, shorter works that are very accessible and familiar to a wide range of people,” Hege said.</p>
<p>The classical selections include “the greatest hits of classical music,” Cienniwa said, such as the overture from the opera <i>The Barber of Seville</i> by Gioachino Rossini (known to many from a Bugs Bunny cartoon); <i>The Blue Danube,</i> probably the most famous waltz by Johann Strauss II; George Bizet’s <i>Carmen Suite</i>, which combines themes from the <i>opera Carmen,</i> and <i>Ritual Fire Dance</i> by Manuel De Falla.</p>
<p>“These are the kind of works people think they might not know until they actually hear the music and will say, “Oh, I know this music,” even though they might not consider themselves music aficionados,” Hege said.</p>
<p>Also on the program are selections from the classic Broadway shows <i>West Side Story</i> and <i>The Sound of Music</i>, music composed by Hans Zimmer for <i>The Pirates of the Caribbean</i> movies and the John Phillips Sousa march <i>Hands Across the Sea</i>.</p>
<p>The orchestra is also throwing in some “cheeky” fun in the form of <i>The Typewriter</i> by Leroy Anderson, an American composer who specialized in short, light concert pieces. To perform it, the Philharmonic has borrowed an actual manual typewriter from TechWorks, the Binghamton-based technology museum. The orchestra’s principal percussionist, Sam Lazzara, will play the typewriter accompanied by the orchestra’s string section.</p>
<p>In addition to working with the Philharmonic, Lazzara has played in concert halls around the country and throughout the world. He has performed with opera star Jessye Norman and pop/theater legends Carol Channing, Rita Moreno, Lucie Arnez, Suzanne Vega and The Irish Tenors, among others. He has toured with the New York City Opera, performed with the Mark Morris Dance Company and toured the Czech Republic and Poland.</p>
<p>Besides being fun, <i>The Typewriter</i> is a fitting piece for the Philharmonic to play, because upstate New York was once the center of the typewriter manufacturing industry, Cienniwa said. In fact, by the first decade of the 20th century, more than 50 percent of the machines used across the country were made in Syracuse.</p>
<p>The philharmonic is billing Lazzara as a “typewriterist,” a lighthearted joke about him being a soloist with the “instrument” of a typewriter, Hege said.</p>
<p>The “Pops at the Forum” concert promises to be a fun event, Cienniwa said. It is designed to be family friendly and an opportunity to introduce a new audience to classical music, he added. Audience members also will get to hear classic Broadway and Hollywood music played by a full orchestra.</p>
<p>“Think of having a meal of your favorite appetizers, where you can enjoy the wonderful tastes and smells of a wide range of food to please your palate, but you have just a few bites of each. That’s similar to what we will present at this concert,” Hege said.</p>
<p><i>IF YOU GO: The Binghamton Philharmonic Orchestra’s “Pops at the Forum ” concert will begin at 3 p.m. Saturday (March 25) at the Broome County Forum Theatre, 236 Washington St., Binghamton. It will be preceded by a short organ recital at 2:30 p.m. Ticket prices are $25, $45 and $65. Students with ID pay half and children under 17 are free. Call the box office at 607-723-3931 ext. 1, from 9 a.m. to 5 p.m. weekdays, or purchase tickets online at binghamtonphilharmonic.org.</i></p>
</div>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7171914
2023-03-15T09:48:13-04:00
2023-03-15T09:48:13-04:00
BC Arts Council announces $261k for local Arts
<p>BINGHAMTON, NY (<a class="no-pjax" href="https://www.binghamtonhomepage.com/?p=1339821" target="_blank">WIVT/WBGH</a>) – Today, the Broome County Arts Council announced over $261,000 in 2023 United Central Funds to 21 local artists, arts organizations, and community non-profits.</p><p>According to the BCAC, a greater number of medium and large arts organizations applied for grant support to counteract loss of revenue due to the COVID lockdown in 2020.</p><p>Also, many individual artists and small organizations seemed to demonstrate a renewed faith in recovery of arts by asking for funding for fresh, new programs.</p><p>2023 UCF General Operations awards were granted to the following organizations:</p><ul>
<li>Binghamton Philharmonic Orchestra</li>
<li>Bundy Museum of History and Art</li>
<li>Discovery Center of the Southern Tier</li>
<li>Endicott Performing Arts Center</li>
<li>Goodwill Theatre and Firehouse Stage</li>
<li>LUMA</li>
<li>Roberson Museum and Science Center</li>
<li>Tri-Cities Opera</li>
</ul><p>The following individual artists and smaller community arts projects received grants of up to $1,000 each:</p><ul>
<li>Binghamton Community Orchestra</li>
<li>Binghamton Downtown Singers</li>
<li>The Binghamton Poetry Project</li>
<li>Binghamton Theater Organ Society</li>
<li>Binghamton Youth Symphony</li>
<li>Cornell Cooperative Extension</li>
<li>Endwell Community Chorus</li>
<li>Kopernik Society of Broome County</li>
<li>Madrigal Choir of Binghamton</li>
<li>The Nanticoke Valley Historical Society of Maine, NY</li>
<li>The Phelps Museum Mansion</li>
<li>The Cazenovia Connection</li>
<li>The Vestal Museum</li>
</ul><p>The following major donors helped make these UCF grants possible:</p><ul>
<li>The Stewart W. & Willma C. Hoyt Foundation</li>
<li>Broome County Government</li>
<li>The Dr. G. Clifford & Florence B. Decker Foundation</li>
<li>The Miller S. & Adelaide S. Gaffney Foundation</li>
<li>Mediabrush Marketing</li>
<li>Sentry Alarms</li>
<li>Aaron Callaway</li>
<li>Dr. Pamela Smart</li>
<li>Miller Auto Team</li>
<li>Helen Insinger</li>
<li>Catherine Machlin</li>
</ul><p>Since 1987, the Broome County Arts Council’s United Central Fund has distributed over $11 million to the Arts in Broome County.</p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7167430
2023-03-08T10:46:39-05:00
2023-03-08T12:32:13-05:00
"Walking Distance" in Review
<p><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/bb67a0cf73321dc5d9071579f6b9b483f424a7ac/original/carouselthumbnail.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_left border_" /><meta charset="utf-8"><span class="text-small" style="color:#000000;">Our October 2022 performance of “Walking Distance” was featured in the Winter 2023 Official Newsletter of the Rod Serling Foundation. Three articles highlight the production, including a heartfelt review of the performance. </span><a class="no-pjax" href="https://rodserling.com/wp-content/uploads/2023/03/Serling-Newsletter_Winter_2023.pdf" target="_blank" data-link-type="url"><span class="text-small" style="color:#1155cc;"><u>Click here</u></span></a><span class="text-small" style="color:#000000;"> to view the newsletter.</span></p><p><span class="text-small" style="color:rgb(34,34,34);">For information on supporting the Rod Serling monument in Rec Park, </span><a class="no-pjax" href="https://www.kickstarter.com/projects/rodserlingmonument/a-rod-serling-monument" target="_blank" data-link-type="url"><span class="text-small" style="color:#1155cc;"><u>click here</u></span><span class="text-small" style="color:rgb(34,34,34);">.</span></a></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7166751
2023-03-07T11:41:01-05:00
2023-03-08T12:32:13-05:00
Leroy Anderson's "The Typewriter"
<p><meta charset="utf-8"></p><p><a class="no-pjax" href="https://binghamtonphilharmonic.org/event/4608680/595046232/pops-at-the-forum" target="_blank"><span style="color:#bf532c;"><strong><u>Pops at the Forum</u></strong></span></a><span style="color:rgb(34,34,34);"> will feature Leroy Anderson's <i>The Typewriter</i>, a cheeky work for typewriter soloist and orchestra. Philharmonic Principal Percussionist Sam Lazzara will be our typewriterist. (Is <i>typewriterist</i> a word?) </span></p><p><a class="no-pjax" href="https://binghamtonphilharmonic.org/news/blog/6956308/real-live-music" target="_blank"><span style="color:#bf532c;"><strong><u>Last season, Sam's cymbal crashed to the floor</u></strong></span></a><span style="color:#bf532c;"> </span><span style="color:rgb(34,34,34);">during the most tender moment of Rachmaninoff's Second Piano Concerto! Who knows what will happen this time?!</span></p><h3 dir="ltr"><span style="color:#000000;"><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/ab5ef4c51b6297a35aba6effb34f50c54ae6d9cf/original/sam-lazzara-article-headshots-01.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_left border_" />Sam Lazzara, typewriterist</span></h3><p dir="ltr"><span style="color:#000000;">Sam’s career takes him to concert halls around the country and throughout the world. He is principal percussionist with the Binghamton Philharmonic played with opera star Jesseye Norman, pop/theater legends Carol Channing, Skitch Henderson, Rita Moreno, John Pizzarelli, Lucie Arnaz, Susan Lucci, Marnie Nixon, Suzanne Vega, Bob Newhart, Don Rickles, Steven Rieneke, Megan Hilti, the Singing Nun Christina Scuccia, Annie Golden and The Irish Tenors. Sam has toured the country with the New York City Opera, performed with The Mark Morris Dance Company and toured the Czech Republic and Poland performing the music of Karlhein Stockhausen. His work has been broadcast nationally on NPR and heard on the TV show Grey’s Anatomy. Sam can be seen on the big and small screen in the HBO mini-series Mildred Pierce, Wall Street 2, Mr. Popper’s Penguins, The Good Shepherd, and recently in the indie film, 40 Winks. The New York Times wrote, “Sam Lazzara is a firm and stabilizing presence on percussion. (Anne Midgette).” </span></p><p dir="ltr"> </p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7164469
2023-03-03T10:46:10-05:00
2023-03-03T10:46:10-05:00
Lenten Notes: Playing Together in Harmony
<img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/27a5268cc693a034f54464b288a31df33d7be026/original/screenshot-2023-03-03-104446.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_l justify_center border_" /><p><strong>By Jeff Kellam, March 3, 2023</strong></p><p><i>[Forty days in Lent, forty reflections about music, and not all of it in a minor chord – that’s what I’m doing here.]</i></p><p>Wouldn’t the world be a better place if everyone played nicely together, the way we were taught as children? Most of us anyway.</p><p>Playing together, recognizing that we all bring different lives into the sandbox, the playground, the public forum…showing respect and honoring gifts, and finding harmony in our unity. Lord, what a touch of heaven that would be.</p><p>Speaking of playing together, harmony, and the Forum…The Binghamton Philharmonic plays its season at the Forum Theatre. (See what I did there?) About sixty professional musicians share their personal musical gifts, always showing respect for the talent and hard work of their peers, unified in their desire to be true to the geniuses who composed the scores they play. We in the audience are sometimes enthralled, often inspired, now and then puzzled, and always appreciative. We reward the musicians with never-enough applause. And we almost always leave the theatre fulfilled.</p><p>I could be writing I suppose of any symphony orchestra. But I write today only of our “own.” Joan and I live in a village (Owego, NY) of only 4000 residents. (New York’s geographic boundaries are tricky: there’s also a “Town of Owego” in which the village resides, population around 18,000). About 20 miles to the east is the small city of Binghamton, population about 44,000 and home to a well-respected university of 18,000 students. I mention the size of the community in order to stress how fortunate we are to have a fine symphony orchestra on stage here in our community.</p><p>Truth be told, the members of the Binghamton Philharmonic are not all local residents. Many travel from New York City, Syracuse, Rochester, and elsewhere to play here, with several (most?) playing in orchestras in other cities. Our conductor, maestro Daniel Hege, also conducts the Wichita Symphony, and is principle guest conductor of the Tulsa Symphony. None of that lessens this fact: we have a very fine symphony orchestra within a half-hour drive from our home.</p><p>We are subscribers to the full season. Masterworks, pops, ye olde warhorses, fresh new works by younger composers…and guest artists of the highest caliber grace the Forum stage. I know; I sound like I’m writing for the PR office. But after each concert I remain so enthused that we can enjoy live music by gifted women and men who love their art. Whether playing Beethoven or Star Wars, Gershwin or Grieg, their instruments blend and their commitment to their craft resurrects the classics and premiers the latest concerto.</p><p>This is not everyone’s cup of tea, so to speak. Not every seat is occupied in the theatre. I’m guessing that the vast majority of locals have never heard so many people playing so nicely together. They’ve not experienced the harmonies, the wonders, the resounding almost miraculous blend of horns and strings and percussion. They’ve never heard music that has survived for centuries and not just twelve weeks on the pop charts. That may be the primary reason the Binghamton Philharmonic lets any kid under the age of 17 into concerts <i>for free.</i> Joan and I have smiled broadly to see so many young people now filling seats along with all us gray-haired fans of such music. Yes, now and then the repertoire of the occasion is centered on John Williams’ film scores or, as was the case a couple of years ago, symphonic soundtracks to videogames (hey, it was <i>way</i> better than I had expected!), but if it exposes a young audience to a full philharmonic orchestra, so be it. And the more often, the better.</p><p>No matter the genre, there is good music everywhere. And <i>great</i> music in fewer places. But seeking it out, supporting it with our ticket purchases, sharing the experience with friends, spreading the word, and even making a financial gift of support will keep great music alive and fine musicians in good, um fiddle. (Sorry.)</p><p>What’s this got to do with Lent? Hey, <i>I gave up</i> an hour to write about harmony, joy, and a bit of heaven. There’s that.</p><p><a class="no-pjax" href="https://jeffkellam.wordpress.com/2023/03/03/lenten-notes-playing-together-in-harmony/" data-link-type="url"><span style="color:#bf532c;"><strong>Click Here to View the Original Article.</strong></span></a></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7163909
2023-03-02T15:12:28-05:00
2023-03-02T15:13:40-05:00
Spring Giving Campaign
<p><meta charset="utf-8"><span style="color:#000000;"><strong>You may have heard it said before: “the music’s the thing.” But what makes it possible? </strong></span><br><span style="color:#000000;">While we at the Binghamton Philharmonic owe so much of our 67th Season’s success to our orchestra’s brilliant musicians under the baton of Maestro Daniel Hege, <u>you</u> complement each performance with the energy you generate and the importance that symphonic music deserves. </span><br><span style="color:#000000;"><strong>The music <u>is</u> the thing, but <u>you</u> are the thing that keeps it alive & well in the community!</strong></span></p><p dir="ltr"><span style="color:#000000;">This includes not only an outstanding array of composers like Beethoven, Gershwin, Sibelius, and Shostakovich, but also some unique programs, like <i>Walking Distance</i>, featuring music from “The Twilight Zone,” a carousel organ, and live acting; and <i>Winter Wonderland</i>, featuring </span><br><span style="color:#000000;">“The Snowman,” singalongs, and, of course, Santa Claus!</span></p><p dir="ltr"><span style="color:#000000;"><strong>Since <u>last</u> spring, many in our community have also enjoyed the Philharmonic’s outreach and education programs, designed to enlighten, enrich, and just plain entertain</strong>, including: </span><span style="color:#222222;"><i>Ties and Tutus</i>, a free children’s event, complete with dinner, fancywear, a visit with Maestro Hege, and seats to <i>Wallenberg Festival</i> (a tribute concert uniting the Philharmonic with the Binghamton Community Orchestra and Binghamton Youth Symphony); <i>MusicianFest</i>, a series of solo performances at 20+ senior homes; and </span><span style="color:#000000;"><i>Summer Chamber Music Camp</i>, a day camp for middle/high school musicians. <strong>Thousands of smiling faces have you and supporters like you to thank for ensuring these programs’ success. And the best success is yet to come! </strong></span><br><br><span style="color:#222222;">We are on the verge of announcing the Philharmonic’s 68<span>th</span> season, to feature a dozen amazing performances, spanning Classical, Pops, and a new Chamber Series at the Phelps Mansion Museum! </span><span style="color:#000000;">And, just like this season, tickets to all Forum concerts—with help from our sponsors— will be free for the child in your life. This opens our doors to our most faithful <u>and</u> </span><br><span style="color:#000000;">future concertgoers. <strong>Because together, you and I can ensure that Broome County’s only professional symphony orchestra will serve music lovers like you for seasons to come.</strong></span></p><p dir="ltr"><br><span style="color:#000000;">Of course, none of this would ever be possible without <u>you</u> and your generous support. </span></p><p dir="ltr"><span style="color:#000000;"><strong>That is why I am asking you to consider making a tax-deductible gift to the Binghamton Philharmonic before April 15, 2023.</strong> No gift is too large or small, but each gift is priceless. </span><a class="no-pjax" href="https://binghamtonphilharmonic.app.neoncrm.com/forms/22" data-link-type="url"><span style="color:#bf532c;"><strong>Click here to give today. </strong></span></a><br><br><span style="color:#000000;">Have a safe and sonorous spring, and See You At the Symphony!</span></p><p dir="ltr"><span style="color:#000000;">With warm regards,</span></p><p><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/592808/b16f31fdbcd174c6078164a45eca12bfe062f353/original/brian-signature.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_left border_" /></p><p dir="ltr"> </p><p dir="ltr"> </p><p dir="ltr"> </p><p dir="ltr"> </p><p dir="ltr"> </p><p dir="ltr"><span style="color:rgb(0,0,0);">Brian Nayor </span><br><span style="color:rgb(0,0,0);">Director of Sales and Development </span></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7125741
2023-02-15T10:37:50-05:00
2023-02-15T10:46:24-05:00
Musician Spotlight: Karen Bogardus, Principal Flute
<p><strong><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/4658cfcb74ffc8d01fb5fe361d266b1df4475e9e/original/musician-profiles-03.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_left border_" alt="" />Tells us a little bit about how you joined the Binghamton Philharmonic Orchestra. How long have you played with the Binghamton Philharmonic?</strong> </p><p>I won an audition in 2016. 26 flutists auditioned. The judges were undecided between me and a much younger flutist so asked us both to return to do a trial with the orchestra. I was awarded the position after we both played our trials. </p><p><strong>What do you like about performing with the Binghamton Philharmonic? </strong></p><p>I love playing the great orchestral repertoire. I consider myself first and foremost an orchestral musician. I had a full time orchestral position for 8 years and currently perform with dozens of freelance orchestras in the NYC area. I also really enjoy playing with the first rate woodwind section in the Binghamton Philharmonic.</p><p><strong>Share a favorite memory with the Binghamton Philharmonic. </strong></p><p>Winning the audition for Binghamton Philharmonic at age 55. I am truly grateful that my age was not held against me as it is in many sectors of the music industry especially for women.</p><hr><p><span style="color:#bf532c;"><i><strong>"I always loved music. I have no memories of my parents listening to music, so when a woman who sang and played guitar played at my school in 3rd grade and another singer/guitarist sang (Puff the magic Dragon) while I was in the hospital at age 3, I was greatly impacted by their performances." -Karen Bogardus</strong></i></span></p><hr><p><strong>What was your favorite (or one of your favorite) concerts to perform in with the Binghamton Philharmonic and why? </strong></p><p>The last concert I played in which I was a featured soloist playing a super fun piece by Gary Schocker followed by one of my favorite orchestral pieces, Beethoven's 4th Symphony. It was a very exciting and rewarding night for me.</p><p><strong>Tell us the story of how you were first introduced to the instrument you play. What drew you to your instrument? </strong></p><p>I always loved music. I have no memories of my parents listening to music, so when a woman who sang and played guitar played at my school in 3rd grade and another singer/guitarist sang (Puff the magic Dragon) while I was in the hospital at age 3, I was greatly impacted by their performances. My mother says I was asking for a piano at a very early age. By the time I started flute I was already playing piano and guitar. I believe I was drawn to the flute because I played in the school band and really enjoyed being a part of a group</p><p><strong>Who is your favorite composer and why? </strong> </p><p>There are so many outstanding composers so I can not limit it to one, but I can say one of my favorite orchestral pieces is Berlioz's Symphonie Fantastic - that is a really fun piece to play and brings me a lot of joy.</p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7149619
2023-02-06T16:21:06-05:00
2023-02-06T16:21:06-05:00
In Focus: First Ever Wallenberg Festival Brings Binghamton Orchestras Together
<p><strong>By NYS Music Staff, February 1, 2023</strong></p>
<p>On Saturday, January 28, the Binghamton Philharmonic celebrated its first “Wallenberg Festival,” a concert of Binghamton’s three orchestras: the Binghamton Community Orchestra (Evan Mecarello, dir.), the Binghamton Youth Symphony (Barry Peters), and the Binghamton Philharmonic (Daniel Hege). <br><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/3fd3fbfe5107a1465ced6baa37af0abeb8423773/original/wallenberg-festival-social-diary11.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" /></p>
<p>The program was named after Fritz and Marianne Wallenberg, the founders of the Binghamton Symphony in 1955. In his remarks to the audience, Executive Director Paul Cienniwa explained that, while the Wallenbergs did not directly create today’s three orchestras, they were instrumental in sparking substantial interest within a relatively small community. </p>
<p>Each orchestra performed a short set of familiar works. Many of the crowd-pleasers, from von Suppè’s Poet and Peasant to a Brahms Hungarian Dance, are not heard too often these days, and these works were an excellent introduction to the orchestra for many of the concert’s young attendees. “Wallenberg Festival” concluded with a side-by-side performance of the Youth Symphony and the Philharmonic, first playing Rimsky-Korsakov’s Procession of the Nobles under Peters, and then Tchaikovsky’s Marche Slave under Hege. <br><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/f23ff506c5e9f9e6ed028361dbd22f6b874e6bcb/original/wallenberg-festival-social-diary9.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" /></p>
<p>As expected in a concert of one professional and two amateur orchestras, the playing was mixed. The enthusiasm was not, however–especially during the side-by-side. Even more so, the large audience showed again and again its love for Binghamton and its uncommon tradition. <br> </p>
<p>Coming up this month, on Thursday, February 16 at 6:00 pm, the Binghamton Philharmonic Orchestra will present its 8th Annual Mac & Cheese Fest Fundraiser at the Holiday Inn Downtown in Binghamton. Guests should get ready for some cheesy goodness at this all-you-can-eat Mac & Cheese event featuring over sixteen local restaurants. Local chefs will compete for best Mac & Cheese while host Chelsea Cheddar (the Mayor of Macaroni) presides with cheesy proclamations as musicians of the Philharmonic play lively fanfares. Patrons and celebrity judges will determine which restaurant wins the Best Mac & Cheese title for 2023, along with other culinary awards. Tickets are just $25 to support the Binghamton Philharmonic Orchestra. For tickets and more information, contact the Binghamton Philharmonic box office at 607-723-3931 or visit www.bingmacfest.com. <br> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/a33d44c81edc1cce50b53dcc51ee56b87c3954d7/original/wallenberg-festival-social-diary10.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/1a248d9abed3086e1c6d6b012f432b232c863b82/original/wallenberg-festival-social-diary8.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/523fd798a5d0589e9445a6e4d6ba6c7f5d74d266/original/wallenberg-festival-social-diary7.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" /></p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/ddbdcf0e850ba219e0ca5467e96a29d997bd1292/original/wallenberg-festival-social-diary.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/f282b627d5a49e0d61bcdf283fd5efb75cdabcc6/original/wallenberg-festival-social-diary2.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/c0b9acb071a6c6825f58996c53242a6a588bdb63/original/wallenberg-festival-social-diary3.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/14c447c67ea6febe46a2d4ce4fd04949afb1cf1a/original/wallenberg-festival-social-diary4.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/0928b308ba3f7990dfa3a860831c491c1066f355/original/wallenberg-festival-social-diary6.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/d52d5258f65ec2303f983e403dfd0376bd2f8319/original/wallenberg-festival-social-diary5.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" /></p>
<p>Article Courtesy of <strong><a contents="NYS Music" data-link-label="" data-link-type="url" href="https://nysmusic.com/2023/02/01/in-focus-first-ever-wallenberg-festival-brings-binghamton-orchestras-together/" target="_blank"><span style="color:#bf532c;">NYS Music</span></a></strong></p>
<p> </p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7145808
2023-01-30T14:20:41-05:00
2023-02-06T16:18:47-05:00
Ties and Tutus Attendees Experience Wallenberg Festival
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/db562f780f7f4070e4a3dd5fd8fa32f3a99d1c59/original/all-kids-with-maestro.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.jpg" class="size_l justify_center border_none" alt="" />On Saturday, January 28, 2023, we hosted Ties and Tutus. We had a great turnout with 57 students from 7 different nearby schools! Students were treated to a pre-concert dinner at DoubleTree Hotel in downtown Binghamton with a chat from Maestro Daniel Hege. They then dressed up in Ties and Tutus and attended Wallenberg Festival at the Broome County Theatre in the best seats in the house! This program provides children in our community with the chance to experience the joy of the orchestra and fosters future audiences and Philharmonic musicians. </p>
<p style="text-align: center;"><a contents="Click Here to See a Photo Gallery of This Event" data-link-label="Ties and Tutus 2023 Photo Gallery" data-link-type="page" href="/ties-and-tutus-2023-photo-gallery" target="_blank"><strong>Click Here to See a Photo Gallery of This Event</strong></a></p>
<p style="text-align: center;"><strong>The participating schools were as follows: </strong></p>
<p style="text-align: center;">MacArthur Elementary School </p>
<p style="text-align: center;">Theodore Roosevelt Elementary School </p>
<p style="text-align: center;">Thomas Jefferson Elementary </p>
<p style="text-align: center;">Benjamin Franklin Elementary School </p>
<p style="text-align: center;">Woodrow Wilson Elementary School </p>
<p style="text-align: center;">Horace Mann Elementary School </p>
<p style="text-align: center;">Calvin Coolidge Elmentary School </p>
<p style="text-align: center;">Grace Miller - Greene School District</p>
<p style="text-align: center;"> </p>
<p style="text-align: center;"> </p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7143771
2023-01-26T09:23:18-05:00
2023-01-30T14:13:10-05:00
8th Annual Mac & Cheese Fest PSA
<p>Check out our PSA for Mac & Cheese Fest!</p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="n5qTX6F5Ph0" data-video-thumb-url="https://img.youtube.com/vi/n5qTX6F5Ph0/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/n5qTX6F5Ph0?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p> </p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7123351
2023-01-25T10:02:48-05:00
2023-01-25T14:37:50-05:00
Musician Spotlight: Frank Gabriel Campos, Principal Trumpet
<p><strong><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/7c0bbbef141b92521722467967ab7aa20facc5ec/original/musician-profiles-02.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_left border_none" alt="" />Tells us a little bit about how you joined the Binghamton Philharmonic Orchestra. How long have you played with the Binghamton Philharmonic? </strong></p>
<p>I started in 1987, the year after I began teaching at Ithaca College. I was also principal of the BC Pops under David Agard. John Covelli was the music director. I left the Philharmonic when I retired from IC, but I returned after a year when I realized I was having too much fun playing!</p>
<p><strong>What do you like about performing with the Binghamton Philharmonic? </strong></p>
<p>The are so many reasons that I can't find only one: the satisfaction of working each day to become the best musician I can be, the joy of making beautiful music with my good colleagues, the happiness I feel sharing inspiring music in a city that supports and values our contributions.</p>
<p><strong>Share a favorite memory with the Binghamton Philharmonic. </strong></p>
<p>The honor of playing the Haydn Trumpet Concerto accompanied by all of my friends and Maestro Daniel Hege is certainly a top memory, but there have been many performances when the music brought us all to the heights, orchestra and listeners together, to a sublime place. And of course, that's why we do it.</p>
<hr><p><em><span style="color:#bf532c;"><strong>"My Dad played trumpet through college and there was always one in the house. I can still hear his beautiful, clear tone and his Harry James vibrato." -Frank Gabriel Campos</strong></span></em></p>
<hr><p><strong>What was your favorite (or one of your favorite) concerts to perform in with the Binghamton Philharmonic and why? </strong></p>
<p>The Philharmonic recently programmed Duke Ellington's 'Black, Brown and Beige', a piece that combines big band jazz with the classical sensibility. This rarely performed work is practically a trumpet concerto and calls for an orchestra that can play both jazz and classical. It's one of Duke Ellington's very few compositions for symphony orchestra and a perfect example of the Binghamton Philharmonic's exciting programming that brings us the classics we all love with really cool things like this.</p>
<p><strong>Tell us the story of how you were first introduced to the instrument you play. What drew you to your instrument? </strong></p>
<p>My Dad played trumpet through college and there was always one in the house. I can still hear his beautiful, clear tone and his Harry James vibrato. I was forbidden to touch it, so of course I played it every chance I could! The neighbors joked about "the sick cow" in the basement, but I was undaunted. My Dad's sound has been in my ear all these decades, and I am a player because of him. He died in 2021.</p>
<p><strong>Who is your favorite composer and why? </strong></p>
<p>That is an impossible question to answer, but if you're asking a trumpet player what music is the most fun to play, well, I would have to say movie music. Who doesn't love hearing the brass put the pedal to the floor when the hero saves the day? (Well, maybe the strings right in front of us...) Come out to our Star Wars concert on May the 4th and I promise we'll show you a good time!</p>
<p> </p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7142147
2023-01-23T10:35:54-05:00
2023-01-23T10:49:45-05:00
Special Concert to Mark Wallenberg Legacy of Orchestral Music
<p><strong>By George Basler, </strong>January 21st, 2023</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/421a13b62f361cf8b1c13d7440c4371f88f5f564/original/guest-conductor-article-headshots-03.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_right border_none" alt="" />Over the course of several decades, the late Fritz and Marianne Wallenberg worked tirelessly to bring classical music to the Southern Tier. On Saturday (Jan. 28), the community will be able to honor their vision and dedication at a special 7:30 p.m. concert at the Broome County Forum Theatre. </p>
<p>Billed as the <a contents="Wallenberg Festival" data-link-label="" data-link-type="url" href="https://binghamtonphilharmonic.org/event/4608674/593418023/wallenberg-festival" target="_blank">Wallenberg Festival</a>, the concert will feature performances by Broome County’s three classical music orchestras — the Binghamton Philharmonic Orchestra, the Binghamton Community Orchestra, and the Binghamton Youth Symphony — preceded by a 6:30 p.m. talk by Katherine Rabinowitz, the Wallenbergs’ daughter. </p>
<p>“The legacy of music making in this community is extraordinary. The Wallenberg Festival is conceived as a celebration of that tradition,” said Paul Cienniwa, the Philharmonic’s executive director, who spearheaded organization of the festival. It was originally scheduled for last year but was put on hold because of the omicron COVID variant. </p>
<p>In 1949, after Fritz Wallenberg came to Binghamton to work as an engineer, he and his wife started a chamber orchestra. Six years later, they co-founded the Binghamton Symphony with Fritz, a noted cellist, as director and conductor. The symphony merged with BC Pops Orchestra in 1996 to form the Binghamton Philharmonic. </p>
<p>Fritz (1901-2001) conducted the symphony for more than 20 years until his retirement in 1976. Marianne (1913-2011) was its assistant concertmaster and a beloved violin teacher for dozens of students, many of whom went on to become professional musicians. </p>
<p style="text-align: center;"><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/cc488f0b668331775c78cde91dcfb6f820a42e34/original/guest-conductor-article-headshots-06.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" /></p>
<p>The community owes a debt of gratitude to the couple, so “it’s great for the family’s name to come back again,” said Barry Peters, music director and conductor of the Binghamton Youth Symphony. </p>
<p>Besides honoring the Wallenbergs, the festival concert will give the three orchestras the opportunity to hear each other and give audiences the chance to see all three ensembles perform on the same stage, Cienniwa said. “It’s very uncommon to have three orchestras in a community, and that’s something we need to celebrate,” he noted. </p>
<p>The three orchestras will play separate programs. The Philharmonic and Youth Symphony will then close the concert with a joint performance. Peters; Evan Meccarello, music director of the Community Orchestra, and Daniel Hege, music director of the Philharmonic, have programmed works by Brahms, Dvorak, Grieg, Rimsky-Korsakov and Tchaikovsky. </p>
<p>About 180 musicians will perform during the concert, with more than 100 on the stage for the joint finale. “It’s going to be quite a nice scene that will elevate everyone,” Cienniwa said. Philharmonic musicians will have the opportunity to mentor younger musicians, and the younger musicians will have the chance to play alongside professionals, he said, adding: “We hope they will come out with a spring in their step.” </p>
<p>In keeping with the concert’s purpose, tickets prices are being kept low, Cienniwa said. Some adult tickets can be purchased for as little as $10, and children are free. </p>
<h3>Recording the legacy </h3>
<p>The Philharmonic is also working to preserve the <a contents="Wallenbergs’ legacy" data-link-label="Wallenberg Legacy" data-link-type="page" href="/wallenberg-legacy" target="_blank">Wallenbergs’ legacy</a> by working with Newclear Studios of Vestal to digitize some 100 reel-to-reel tape recordings of the concerts conducted by Fritz Wallenberg during his career. The recordings come with documentation, including printed programs, newspaper articles and reviews. </p>
<p>The work is about 85 percent complete, Cienniwa said. When finished, the recordings will be available on the Philharmonic’s website free of charge. For more information or make a donation to help fund the effort, contact Cienniwa at 607-723-3931, ext. 4 or email pcienniwa@binghamtonphilharmonic.org. </p>
<p><em>IF YOU GO: The Wallenberg Festival concert will begin at 7:30 p.m. Saturday (Jan. 28) at the Broome County Forum Theatre, 236 Washington St., Binghamton. Tickets are $10, $25 or $35 (children under 17, free). Call the Philharmonic box office at 607-723-3931 ext. 1, from 9 a.m. to 5 p.m. weekdays, or purchase online at binghamtonphilharmonic.org.</em></p>
<p><em>Article courtesy of Broome Arts Mirror. <a contents="Read the original article by clicking here." data-link-label="" data-link-type="url" href="https://broomearts.org/special-concert-to-mark-wallenberg-legacy-of-orchestral-music/" target="_blank">Read the original article by clicking here.</a></em></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7140206
2023-01-19T09:24:55-05:00
2023-01-19T09:36:16-05:00
Winter Newsletter
<h3 style="text-align: center;"><a contents="Click Here to View Our Winter Newsletter" data-link-label="2023 Winter Newsletter" data-link-type="file" href="/files/1210041/2023%20Winter%20Newsletter" target="_blank">Click Here to View Our Winter Newsletter</a></h3>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7136401
2023-01-11T09:04:09-05:00
2023-01-17T09:40:21-05:00
Wallenberg Festival Guest Conductor Bios and Orchestra Rosters
<h3> </h3>
<h3><span style="color:#bf532c;"><strong><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/8b8e11afe38c1d726fce6427bd6f18cfab4db522/original/article-headshots-01.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_left border_none" alt="" />Barry Peters</strong></span></h3>
<p><strong><span style="color:#bf532c;">Conductor, </span><span style="color:#bf532c;">Binghamton Youth Symphony</span></strong></p>
<p>Barry Peters has been the conductor of the Binghamton Youth Symphony since 1997. A native of Pennsylvania, he received a B.S. in Music Education from Mansfield University and a M.M. from Ithaca College. His teaching career began in Troy, PA in 1970 and continued through his retirement in 2002 from Union-Endicott. His bands have performed at many competitions, pageants, college bowls, and professional football games, receiving numerous honors, including many “gold with distinction” ratings. <br> <br>Under Peters’ direction, the Binghamton Youth Symphony has been a featured performing ensemble at the NYSSMA Winter Conference and has played concerts in the Washington, D.C. and Boston areas. In addition, the BYS has commissioned and premiered several works by local composers and appears annually on local television. <br> <br>In 2005, The New York State Band Directors Association named Mr. Peters the recipient of their Outstanding Retired Band Director Award, an honor given to someone who has had a noteworthy career and continues to contribute to the band movement after retirement, and in 2010, the Mansfield University Alumni Association honored him with the Distinguished Educator Award.</p>
<p> </p>
<h3><span style="color:#bf532c;"><strong><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/40d4a50237d2d81bbb8cfa5955c578cbe7193812/original/article-headshots-02.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_left border_none" alt="" />Evan Meccarello</strong></span></h3>
<p><strong><span style="color:#bf532c;">Music Director, Binghamton Community Orchestra</span></strong></p>
<p>Evan Meccarello, Music Director of the Binghamton Community Orchestra (BCO), is committed to new explorations in classical music and engaging with communities across the Northeast. He is Artistic Director of Cordancia Chamber Orchestra (Rochester, NY), Founder and Director of the Hochstein Alumni Orchestra, and previously directed the Thames Valley Youth Symphony and Nazareth College Chamber Orchestra. This season’s engagements include serving as cover conductor for the Wheeling Symphony Orchestra (Wheeling, WV), guest conducting in schools, and a set of children’s concerts with the Irondequoit Community Orchestra in four Rochester libraries. </p>
<p>Along with the BCO, Meccarello was named a National Finalist for The American Prize in virtual performance, for the innovative program Music Outside the Box. This all-online festival for high school musicians featured live virtual ensemble rehearsals and performances during the pandemic lockdown. Through collaboration with the Broome County Music Educators Association, students from districts across the Binghamton area had the opportunity to play and learn together, playing contemporary classical music designed to be performed online. The project received international attention, leading to an invitation to present a similar experience to Sistema Europe Youth Orchestra.</p>
<p style="text-align: center;"> </p>
<h3 style="text-align: center;"><span style="color:#bf532c;"><strong>Binghamton Youth Symphony</strong></span></h3>
<p style="text-align: center;"><span class="font_small"><strong>Violin I </strong><br>Samson Wong—VHS, <em>Concertmaster </em><br>Sophia Chiu—VHS <br>Sua Choi—VHS <br>Kaelyn Katchuk—OFAHS <br>Hawon Kook—MEHS <br>Teresa Pyo—VHS <br>Andrea Waldmiller—VHS </span></p>
<p style="text-align: center;"><span class="font_small"><strong>Violin II </strong><br>Anthony Balaci—UEHS, <em>Co-Principal </em><br>Praket Govindaraju—VM, <em>Co-Principal </em><br>Madison Cartie—MEHS <br>Meenakshi Chakravadhanula—VMS <br>Keith Dai—VHS <br>Jayden Kim—VM <br>Daniel Li—VHS <br>Dolly McLaury—BHS <br>Anastasia Ostrowsky—SVHS <br>Inaaya Sethi—VHS <br>Luke Sobel—VHS <br>Fred Wang—VHE <br>Michael Wong—VM <br>Sindi Zhou—VHS </span></p>
<p style="text-align: center;"><span class="font_small"><strong>Viola </strong><br>Agena Malziu—JCHS, <em>Principal </em><br>Ian Chung—VHS <br>Sayum Singhal—VM <br>Amelia Wilson, <em>Guest Musician </em><br>Justin Vy—BHS </span></p>
<p style="text-align: center;"><span class="font_small"><strong>Cello </strong><br>Joshua Jang—VHS, <em>Principal </em><br>Eamonn Hubert—UEHS <br>Allison Yoon—VHS <br>Grace Yoon—VHS </span></p>
<p style="text-align: center;"><span class="font_small"><strong>String Bass </strong><br>Noah Elliott—UEHS, <em>Principal </em><br>Nicholas Driver—VHS <br>Sophia Easley—RCCA <br>David Scarangella—VM </span></p>
<p style="text-align: center;"><span class="font_small"><strong>Flute </strong><br>Kailey Labrecque—MEHS, <em>Principal </em><br>Maddison Gillis—OFAHS <br>Julie Lamantia—SVHS <br>Zoey Steele—UEHS <br>Clare Strollo—UEHS <br>Megan Todack—UEHS </span></p>
<p style="text-align: center;"><span class="font_small"><strong>Piccolo </strong><br>Maddison Gillis—OFAHS, <em>Principal </em></span></p>
<p style="text-align: center;"><span class="font_small"><strong>Oboe </strong><br>Cara Miller—VHS, <em>Principal</em> </span></p>
<p style="text-align: center;"><span class="font_small"><strong>Clarinet </strong><br>Grace Augenstern—UEHS, <em>Principal </em><br>Lily Oakley—UEHS </span></p>
<p style="text-align: center;"><span class="font_small"><strong>Bassoon </strong><br>Abigail Boyer—OFAHS, <em>Principal </em></span></p>
<p style="text-align: center;"><span class="font_small"><strong>Trumpet </strong><br>Andrew Garrett, <em>Guest Musician </em><br>Nathaniel Sodeur, <em>Guest Musician </em></span></p>
<p style="text-align: center;"><span class="font_small"><strong>French Horn </strong><br>Katherine Martin—MEHS, <em>Principal </em><br>Brenda Lidestri <br> Guest Musician <br>Peter Perfetti <br> Guest Musician <br>Beth Ann Shanfelt <br> Guest Musician </span></p>
<p style="text-align: center;"><span class="font_small"><strong>Trombone </strong><br>Maddie Bishop—VHS, <em>Principal </em><br>Reese Mathias—MEHS <br>Rowan McCollum—VM </span></p>
<p style="text-align: center;"><span class="font_small"><strong>Tuba </strong><br>Austin Greenmun—CVHS, <em>Principal </em></span></p>
<p style="text-align: center;"><span class="font_small"><strong>Percussion </strong><br>Heyan Chung—VM, <em>Co-Principal </em><br>Ben Varano—VHS, <em>Co-Principal </em><br>Mia Perfetti—VHS </span></p>
<p style="text-align: center;"><span class="font_small"><strong>Piano </strong><br>Mia Perfetti—VHS, <em>Principal</em></span></p>
<p style="text-align: center;"><span class="font_regular"><strong>School Abbreviations </strong></span></p>
<p style="text-align: center;"><span class="font_small">BHS………....Binghamton High School <br>BHME………Binghamton Horace Mann Elementary <br>BWM…….....Binghamton West Middle School <br>CVHS………Chenango Valley High School <br>JCHS………..Johnson City High School <br>MEHS…….…Maine-Endwell High School <br>OFAHS……..Owego Free Academy High School <br>RCCA...…….Ross Corners Christian Academy <br>SCCS……….Seton Catholic Central School <br>UEHS……….Union-Endicott High School <br>UEGFJE……..Union-Endicott George F. Johnson <br>Elementary <br>UEM………..Union-Endicott Middle School <br>VHE………...Vestal Hills Elementary <br>VHS………....Vestal High School <br>VM………….Vestal Middle School</span></p>
<p style="text-align: center;"> </p>
<h3 style="text-align: center;"><span style="color:#bf532c;"><span class="font_regular"><strong>Binghamton Community Orchestra</strong></span></span></h3>
<p style="text-align: center;"><span class="font_small"><strong>Violin I </strong><br>Douglas Diegert, <em>Concertmaster </em><br>Peter Roseboom <br>Michelle Swan <br>Nicole Kazmierczak <br>Kristen Fuller <br>Mary Delanoy <br>Ciara Maloney <br>Kiana Labrecque </span></p>
<p style="text-align: center;"><span class="font_small"><strong>Violin II </strong><br>Jennifer Capani, <em>Principal </em><br>Edris Boyll-Kuzia <br>Sara Hills <br>Lynn Aylesworth <br>Autumn Updaw <br>Martin Kay <br>Jasmin Basmajian </span></p>
<p style="text-align: center;"><span class="font_small"><strong>Viola </strong> <br>Laura Hine, <em>Principal </em><br>Mary Diegert <br>Leland Roseboom <br>Laura Crounse <br>Lindsey Carlson </span></p>
<p style="text-align: center;"><span class="font_small"><strong>Cello </strong><br>Ruth Fisher, <em>Principal </em><br>Emily Creo <br>Steven Wendell <br>Eric Johnson <br>Joel Boyd <br>Marianne Diehl <br>Cecily O’Neil <br>David Williams <br>Paula Grosso <br>Carrie Kay </span></p>
<p style="text-align: center;"><span class="font_small"><strong>Bass </strong> <br>Spencer Philips, <em>Principal* </em> <br>David Irvin, <em>Asst. Principal </em><br>Catherine Deskur </span></p>
<p style="text-align: center;"><span class="font_small"><strong>Flute and Piccolo </strong><br>Nina Stutzman, <em>Principal </em><br>Katrina Kemmery <br><br><strong>Oboe and English Horn </strong><br>Kathleen Karlsen, <em>Principal </em><br>Tess Telang <br>Elizabeth Faulkner </span></p>
<p style="text-align: center;"><span class="font_small"><strong>Clarinet </strong><br>Carol Barker, <em>Principal </em><br>Sean Denninger </span></p>
<p style="text-align: center;"><span class="font_small"><strong>Bassoon </strong><br>Melinda Lewis, <em>Principal </em><br>Dana Gleason </span></p>
<p style="text-align: center;"><span class="font_small"><strong>Horn </strong><br>Beth Shanfelt,<em> Principal </em><br>Jeff Barker <br>Drew Allport <br>Kristen Bertram </span></p>
<p style="text-align: center;"><span class="font_small"><strong>Trumpet </strong><br>Michael Steidle, <em>Principal </em><br>Robert Crissman <br>Jonathan Sorber </span></p>
<p style="text-align: center;"><span class="font_small"><strong>Trombone </strong><br>Steven Hine, <em>Principal </em><br>Mike Hampton </span></p>
<p style="text-align: center;"><span class="font_small"><strong>Tuba</strong><br>Keith Alcius </span></p>
<p style="text-align: center;"><span class="font_small"><strong>Timpani </strong><br>Steven Mathiesen, <em>Principal </em></span></p>
<p style="text-align: center;"><span class="font_small"><strong>Percussion</strong> <br>Leah Gardner <br>Eileen Miller</span></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7123349
2023-01-04T16:11:22-05:00
2023-01-11T08:40:57-05:00
Musician Spotlight: Victoria E. Miskolczy, Principal Viola
<p><strong><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/37f5d44b096910ed964e526a44728c2ce3928410/original/musician-profiles-01.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_left border_none" alt="" />Tells us a little bit about how you joined the Binghamton Philharmonic Orchestra. How long have you played with the Binghamton Philharmonic?</strong></p>
<p>I won the audition for principal viola in November of 2021 and started fully this past fall season of 2022. So, I am quite new to this orchestra and I am in my probationary year. Before I may be given tenure I must pass a review by the end of the season.</p>
<p><strong>What do you like about performing with the Binghamton Philharmonic?</strong></p>
<p>Maestro Hege is a wonderful conductor and I like his varied programming. There's something for every musical taste in every concert.</p>
<p><strong>Share a favorite memory with the Binghamton Philharmonic.</strong></p>
<p>Winning the audition and meeting the audition committee and Daniel Hege afterwards was a big highlight for me. Having gone through many months of pandemic shutdowns along with everyone else, and then having the positive experience of thinking about future concerts with a new set of colleagues was wonderful for my outlook on life. After a long studio career in Los Angeles and playing with the Los Angeles Chamber Orchestra for 33 years, (a position I resigned from very recently) the changes that are growing from all these experiences are life affirming. That there IS life after the shutdowns and the possibility of playing for audiences once more gives my life purpose and joy.</p>
<hr><p><em><span style="color:#bf532c;"><strong>"I fell in love with everything about the viola. I was hooked on the sound and the lower pitch, and the size fit me perfectly. I was born for the viola!" -Victoria E. Miskolczy</strong></span></em></p>
<hr><p><strong>What was your favorite (or one of your favorite) concerts to perform in with the Binghamton Philharmonic and why?</strong></p>
<p>The Christmas concert we just played (December 10th, 2022) was tremendous fun. There were selections from various movie sound tracks with which I was quite familiar, having played on the original soundtracks. Danny Elfman's Nightmare Before Christmas is a favorite of mine.</p>
<p><strong>Tell us the story of how you were first introduced to the instrument you play. What drew you to your instrument?</strong></p>
<p>For me coming to the viola was a sort of Goldilocks moment. I started on cello when I was 3 years old (yes, a 1/16th size cello!) and played it for 6 years. I switched to violin when I was 9 because I was getting bored with the cello. At the time I was studying with the well known Australian violist who played with the Sydney String Quartet (Alex Todicescu), who also taught violin. He said when he saw how tall and athletic I was quickly becoming at the age of 13, that I should consider playing the viola. He sent me home with a borrowed viola and told me to learn a J. S. Bach, solo 'cello suite, and I fell in love with everything about the viola. I was hooked on the sound and the lower pitch, and the size fit me perfectly. I was born for the viola!</p>
<p><strong>Who is your favorite composer and why?</strong></p>
<p>My favorite composer is whoever's music I am currently playing! How can one choose... I love great music, and there is a lot of it.</p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7127040
2023-01-03T11:51:49-05:00
2023-01-03T14:57:53-05:00
Introducing The New Musicians of the Binghamton Philharmonic
<p>Over the past four months, the Philharmonic held auditions for viola, oboe, English horn, and violin. Auditions are "blind," meaning that the panel of judges, made up of Maestro Hege and Philharmonic musicians, can see neither the auditioning musicians nor their resumes.</p>
<p>We are happy to announce the names of our new musicians:</p>
<p><strong><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/f063692d04dfb5a7d306c4fd12406f01b2916a09/original/new-musicians-02.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_left border_none" alt="" />Brianne Lugo, Assistant Principal Viola </strong></p>
<p>Brianne Lugo is a violist and violinist in New York City, as well as a violist with the Southwest Florida Symphony Orchestra (Ft Myers, FL) and Punta Gorda Symphony. Most recently, she has joined The Binghamton Philharmonic Orchestra as the Assistant Principal Viola. A New York native with mixed heritage, NYC has been her home since 2016 after spending a decade in Midwest cities. After receiving her BFA at Carnegie Mellon University and MM from the Cleveland Institute of Music, she spent three years in Chicago with the Civic Orchestra of Chicago. As a violist, she has performed in symphonic and operatic settings throughout her career, as well as both on and off-Broadway musical theater productions. This career also includes performances on Saturday Night Live (Chance the Rapper), The Tonight Show starring Jimmy Fallon (SZA), to Lincoln Center Out of Doors concert series, to various outdoor stages throughout the entire city, to Rockwood Music Hall, to Alice Tully Hall, to Carnegie Hall. Typically, she can be found traversing the NYC region with her viola, and, most likely, a bagel. She has thoroughly enjoyed genre-hopping and performing various styles of music throughout the Tri State area and down on the Gulf coast. During the pandemic shut down, Brianne jumped into learning about at-home recording as well as providing her time and efforts in the social justice scene around NYC while advocating for the performance of lesser-known BIPOC composers. You can find more information about Brianne at http://briannelugo.com/ and on Instagram @brilugovla. Current member of AFM and Local 802.</p>
<p> </p>
<p><strong><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/7dce90252696df117701434a1a4bcc87e575d66e/original/new-musicians-04.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_left border_none" alt="" />Junheng Chen, Assistant Principal Violin II</strong></p>
<p>Violinist Junheng Chen has been performed as solo and chamber artist throughout Asia, Europe, and America, including prestigious venues such as Weill Recital Hall at the Carnegie Halls, Kodak Hall, Kilbourn Recital Hall, etc. She has served as the concertmaster of the Music Festival School Orchestra and performed at the Chautauqua Amphitheater in 2018. Junheng is also the winner of multiple national and international music competitions, including South Florida Young Artist Competition (U.S.A., 2016), Zodiac Chamber Music Competition (France, 2016), Golden Classical Music Award (U.S.A., 2020), and Medici International Music Competition (2021). Junheng earned her Bachelor’s degree in 2017 at the Lynn University Conservatory of music under the tutelage of Guillermo Figueroa and her Master’s degree in 2019 at the Eastman School of Music under the tutelage of Mikhail Kopelman. She is now pursuing her Doctoral degree with Professor Kopelman at the Eastman School of Music. In 2021, she has been nominated for the 2020-21 Teaching Assistant Prize by the Eastman School of Music String Department.</p>
<p> </p>
<p><strong><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/5ff38e843a8a01c66f915493c4a48439273f764f/original/new-musicians-01.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_left border_none" alt="" />John Shuo Zhang, Section Violin </strong></p>
<p>John Shuo Zhang, a Graduate with a Master's degree from the Juilliard School was born in Guangzhou, China. He began studies on the violin at age seven and made his first public appearance in a movie about musically gifted children just six months later. Before arriving in the United States he received his Bachelor's degree with honors from the Xinghai Conservatory of Music. His musical study in the United States includes Eric Rosenblith, Dorothy DeLay, Hyo Kang, Itzhak Perlman, Joseph Silverstein, Yoko Takebe and Michael Gilbert. Zhang also studied chamber music with Fliex Galimir, the Emerson String Quartet and the Juilliard String Quartet. As a scholarship student at the Juilliard School, Zhang has participated on a tour performance with the Juilliard Chamber Orchestra and on a Us tour with the New York City Opera. He has appeared as a soloist with the Brooklyn neighborhood Orchestra given recitals in Lincoln Center, IBM Gallery as part of the IBM Recital Series and NYC International Center. Zhang has performed with the New York Philharmonic, the New Jersey Symphony, the Delaware Symphony, the Northeastern Pennsylvania Philharmonic, and the Symphony in C. As an advocate for contemporary music, Zhang has premiered several new works in the US. Since 2009, Mr.Zhang has served as the concertmaster of Guiyang symphony. Currently, he holds an assistant concertmaster position in Hangzhou Philharmonic Orchestra. </p>
<p> </p>
<p><strong><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/859f068feaac68d83cb484df17706bb009a18a9c/original/new-musicians-03.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_left border_none" alt="" />Yi-Ting (Joy) Kuo, Section Violin </strong></p>
<p>Yi-Ting (Joy) Kuo was born in Taiwan and started playing the violin at age of 8. In 2012, she came to the United States to study at the Walnut Hill School for the Arts with Lynn Chang. She received both her Bachelor and Master of Music degrees at the New England Conservatory studying with James Buswell, Paul Biss, and Soovin Kim. In 2014, she performed on From the Top with her string quartet “Noce,” who were semi-finalists at the Fischoff National Chamber Music Competition. From 2014 to 2020, she performed with Boston Philharmonic Youth Orchestra, Boston Philharmonic Orchestra, and the Atlantic Symphony Orchestra. She is currently in The Orchestra Now, enjoying her time at Bard College playing with great musicians everyday. Outside of music, she likes to play basketball, badminton, ride a bike, go into mountains, and enjoy nature.</p>
<p> </p>
<p> </p>
<p><strong><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/5bbbe3dcce1e5ecdf74df54ab4692e1596c44fce/original/new-musicians-05.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_left border_none" alt="" />Shawn Hutchison, Oboe II / English Horn</strong></p>
<p>Oboist Shawn Hutchison enjoys a multi-faceted freelance career, performing frequently with ensembles throughout New York. He holds the position of second oboe and English horn with the Binghamton Philharmonic Orchestra, and is principal oboe of the Glens Falls Symphony. He is also an oboe fellow with The Orchestra Now, with whom he has appeared on various recordings and in venues such as Jazz at Lincoln Center, the Metropolitan Museum of Art, and Carnegie Hall. In March 2022, he was a featured soloist with the orchestra in Mozart’s Sinfonia Concertante. During the summers of 2018 and 2019 he held the oboe fellowship at the Bowdoin International Music Festival. He is the 2015 recipient of the Marcel J. Dandois Memorial Prize in Oboe, and in 2018 he received the Graduate Music Award from The Presser Foundation. </p>
<p>He received his training at the University of Cincinnati College-Conservatory of Music and the Yale School of Music, where his principal instructors included Dr. Mark Ostoich, Dwight Parry, Christopher Philpotts, and Stephen Taylor.</p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7125753
2022-12-20T10:46:26-05:00
2022-12-20T11:04:47-05:00
Letter to the Editor: Binghamton Philharmonic is a Treat and Free for Kids
<p><em>By Steve Johnson, Binghamton</em></p>
<p>For those who say there’s nothing to do in Binghamton, I offer a different viewpoint. Did you know the Binghamton Philharmonic, thanks to generous supporters, is providing free tickets to children under the age of 17 for most events through the winter and spring? </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/d3bd2834255201bd23b0488d721996351cf7cd0a/original/winter-wonderland-letter-to-the-editor-12.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" />A friend and I were able to take my 9-year-old “Little Brother” and her three “Little Brothers” (Big Brothers Big Sisters of the Twin Tiers) to the Philharmonic’s Winter Wonderland holiday concert at the Broome County Forum Theatre. We paid for two adult tickets, but the four children attended for free. At 9, I don’t think I had the opportunity to go to a Binghamton Philharmonic concert but, today, kids can! To my pleasant surprise, they loved the concert, which featured a young soloist, Tri-Cities Opera singers, a short holiday-themed movie, a sing-along, and Santa Claus, in addition to a full orchestra of talented musicians and a friendly director, who welcomed all ages into the fun. It was heartwarming to see families coming downtown on a Saturday afternoon to celebrate the holidays and just have a good time together. </p>
<p>Kudos to the Philharmonic, its Board, supporters, and all involved for making our community a better place. </p>
<p><em>Article Courtesy of Press and Sun-Bulletin</em></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7123507
2022-12-15T14:26:37-05:00
2022-12-20T10:35:26-05:00
Binghamton Philharmonic Visits A Winter Wonderland
<p><strong>By NYS Music Staff, December 15, 2022</strong></p>
<p>On Saturday, December 10 at the Broome County Forum Theatre, Maestro Daniel Hege led the Binghamton Philharmonic Orchestra in “Winter Wonderland,” a holiday pops concert with a host of special guests. </p>
<p>Along with the big man himself (Santa Claus), the orchestra was joined by 11 year-old treble soloist Luca Thomas and a quartet of resident artists from Binghamton’s Tri-Cities Opera (Gina Moscato, soprano; Janine Dworin, mezzo-soprano; Felix Aguilar Tomlinson, tenor; Bernardo Medeiros, baritone). Nancy Wildoner’s charming pre-concert holiday bonbons, played on the Theatre’s 1922 Robert-Morton Pipe Organ, set the stage. <br><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/3e002643ab4eb6bb7c7190bb75c4d743862ceedd/original/winter-wonderland-social-diary.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" /></p>
<p>Winter Wonderland might have been a typical holiday pops concert, except that much of the program was focused on holiday film music. John Williams’ Home Alone II (with “Merry Christmas” sung by the opera guests), Alan Silvestri’s The Polar Express, and Danny Elfman’s Nightmare Before Christmas (a strange mashup of Klezmer music and Dies irae from the Requiem Mass) all led up to the afternoon’s highlight: Howard Blake’s The Snowman, complete with film screening and a stunning “Walking in the Air” by Luca Thomas. </p>
<p>The joyful concert concluded with some audience participation: a clapalong Radetzky March and a singalong set of Christmas carols. </p>
<p><br><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/d12b6da879e351daa479c651203b85793bf10ac5/original/winter-wonderland-social-diary2.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" /></p>
<p>The Binghamton Philharmonic’s season continues on January 28 with “Wallenberg Festival,” a concert celebrating Binghamton’s three orchestras: the Binghamton Youth Symphony, the Binghamton Community Orchestra, and the Binghamton Philharmonic. For more information, visit binghamtonphilharmonic.org. </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/1a76e843212ca00f3acf266fbe50a267e72dde7a/original/winter-wonderland-social-diary10.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" /></p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/a39a0353d04e231e077b041e3f90a7df35f8525c/original/winter-wonderland-social-diary11.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/46058a0643cd1a14fb1be9f1d89a48243e488190/original/winter-wonderland-social-diary3.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/076e5ce9b1d8bbb1512a1a0e98dff3c6bd8254fe/original/winter-wonderland-social-diary9.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/3f37c4de52cb4fc550fdc58fd13bbe1e693d2fa0/original/winter-wonderland-social-diary8.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/12bea719a84b7712d885030db8df1d0347f6c444/original/winter-wonderland-social-diary7.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/8e7fd45d6daabd4ac56bb3af34ffdb21b83dfea5/original/winter-wonderland-social-diary-06.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_center border_none" alt="" /></p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/5845c15f4ee083597f074c2a2522566f2d441058/original/winter-wonderland-social-diary5.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/9655c5c80cb6247754a9f41ee9e37b5535770f6c/original/winter-wonderland-social-diary4.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" /><br>Article Courtesy of <strong><a contents="NYS Music" data-link-label="" data-link-type="url" href="https://nysmusic.com/2022/12/15/binghamton-philharmonic-visits-a-winter-wonderland/" target="_blank"><span style="color:#bf532c;">NYS Music</span></a></strong></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7112217
2022-11-28T16:41:19-05:00
2022-12-15T14:01:55-05:00
Introducing Treble Soloist Luca Thomas
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/47ac54a7a6806acf5ce60b55b0d4eab5ab0be07f/original/luca-thomas.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_left border_none" alt="" /><span class="font_regular"><strong>Luca Thomas, Treble Soloist </strong></span></p>
<p>Luca, age 11, is thrilled to be performing for you today! An NYC native, he started singing before he could speak. At the age of 4, Luca was a featured singer on two Laurie Berkner tracks. Now a member of a professional children’s choir, he recently toured Ireland in the summer of 2022. Luca is a talented percussionist and loves living so close to Broadway. He’d like to thank his Mom, Dad, dog, family, and friends for supporting his musical journey. </p>
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<p><a contents="Click Here to Buy Winter Wonderland Tickets" data-link-label="" data-link-type="url" href="https://binghamtonphilharmonic.org/event/4608672/595046233/winter-wonderland" target="_blank"><strong><span style="color:#bf532c;">Click Here to Buy Winter Wonderland Tickets</span></strong></a></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7105522
2022-11-18T11:56:40-05:00
2022-11-28T16:36:08-05:00
In Focus: Binghamton Philharmonic Explores Green Places
<p><strong>By NYS Music Staff, </strong><strong>November 16, 2022</strong></p>
<p>On Saturday, November 12 at the Broome County Forum Theatre, Maestro Daniel Hege led the Binghamton Philharmonic Orchestra in “Green Places,” a program named for a featured concerto by American composer Gary Schocker. The concert began with an unscripted reading of the National Anthem, sung heartily by the audience, followed with the brief fourth Novelette by Samuel Coleridge-Taylor, a work for strings and percussion. </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/012b7d010aa280ab61b7182ca9db68cbcd55a1ad/original/green-places-social-diary-01.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" />“Green Places,” a three movement concerto for flute, featured principal flutist Karen Bogardus, whose stunning green gown helped set the tone for the fanciful piece. Bogardus’ virtuoso playing was fluid and flexible as she led the orchestra in playful calls and responses. Concertmaster Uli Speth concluded the first half of the program with Ralph Vaughan Williams’ “The Lark Ascending.” Speth, dressed in an open vest and bowtie suitable for the English moors, held the audience in rapt attention as his soloistic lines soared over the muted strings. <img src="//d10j3mvrs1suex.cloudfront.net/u/592808/d97202431c1a54d99bc693c38b323479ebf69e98/original/green-places-social-diary-03.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" /></p>
<p>The Philharmonic rose to the many challenges of Beethoven’s Fourth Symphony, one of the least known but most technically difficult of the nine. Highlights were the tight string sections, spot-on winds, and remarkably fine timpani playing. </p>
<p>The next event for the Binghamton Philharmonic is Winter Wonderland on December 10, featuring performances of music from <em>Home Alone 2</em> (John Williams), <em>The Polar Express </em>(Alan Silvestri), <em>Nightmare Before Christmas</em> (Danny Elfman), <em>The Snowman</em> (Howard Blake) and many more. </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/20b0b6e387141c136d53cf9436f3437893aa14aa/original/green-places-social-diary-04.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/ce6a5ea85d5b3bf45253736556555271ae74ca34/original/green-places-social-diary-05.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/2fd6afd7930ae5b851fac50e2f2762fcd9f58d0a/original/green-places-social-diary-08.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/d2e4349894c430d1e1450c5ad937fc3d79a1a34e/original/green-places-social-diary-06.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/e5bb0fcb6e1bfe617415d2004a992bc275bfb3be/original/green-places-social-diary-07.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/6c74bfbd8e3719b2a3ec9b64d0fdd36e19e9b05f/original/green-places-social-diary-09.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" />Article courtesy of <a contents="NYS Music" data-link-label="" data-link-type="url" href="https://nysmusic.com/2022/11/16/in-focus-binghamton-philharmonic-explores-green-places/" target="_blank"><span style="color:#bf532c;"><strong>NYS Music</strong></span></a>.</p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7098622
2022-11-09T11:01:02-05:00
2022-11-09T16:26:52-05:00
Requiescat in Pace: Edward H. Pettengill
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/3cd9b97b97ce222222ee72c8ea60e386a5fec83e/original/ed-pettengill-photo-01.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_left border_none" alt="" />We recently learned of the passing of Ed Pettengill, a former musician with the Binghamton Symphony (and, later, Philharmonic) for 48 years, starting in 1954. We have a wonderful recording of Ed as a Tenor vocal soloist and playing the viola in our <a contents="1974 recording of 'Rosalie'&nbsp;from Rosalie " data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=EbAD-E9HQNk" target="_blank">1974 recording of 'Rosalie' from <em>Rosalie</em> </a>from our Wallenberg Recordings. We also have a great <a contents="interview with Ed" data-link-label="" data-link-type="url" href="http://binghamtonphilharmonic.org/news/blog/6866603/remembering-the-wallenbergs" target="_blank">interview with Ed</a> from last year about his memories of Fritz and Marianne Wallenberg.</p>
<h3>Obituary </h3>
<p>Edward H. Pettengill, 91 years old, passed away peacefully Thursday, November 3, 2022 at Our Lady of Lourdes Hospital in Binghamton, NY. Edward was born to Grace Vivian Howe and Edward Lee Pettengill in Elmira, New York. Ed’s life has been all about music. From teaching at school, to becoming the area’s most sought-after piano technician for more than 50 years, to playing violin and viola professionally in the Binghamton Philharmonic, BC Pops, Summer Savoyards, Tri Cities Opera, and the Binghamton Community Orchestra. He was a volunteer Firefighter for the Town of Binghamton for over 50 years, served as a docent for the Ross Park Zoo mobile, and was a member of the Harmony Club. Ed lived life with purpose and direction. He never hesitated to help someone in need. He was a member of the Church of Jesus Christ of Latter-day Saints. His faith was strong, and his spirit was energetic and driven, yet gentle and loving. He practiced what he preached, and he reached many people through his kindness and his<img src="//d10j3mvrs1suex.cloudfront.net/u/592808/c7cf0fc4f2e85d06680bf87a165c9bd7f8c9051f/original/ed-pettengill-photo-02.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_right border_none" alt="" /> service. We know he will be missed by many and will remain in our hearts forever. Funeral services will be held 11:00 am, Saturday, November 12, 2022 at the Church of Jesus Christ of Latter-day Saints,305 Murray Hill Road, Vestal. Family will receive friends at the church from 9:30 am until the time of services. To forward condolences and to view the a full obituary please visit www.demunn.com. In lieu of flowers, memorial contributions to the Binghamton Township Historical Society or The Binghamton Theater Organ Society would be much appreciated. Arrangements for the family are directed by the DeMunn Funeral Home. </p>
<p>Posted online on November 08, 2022 </p>
<p><a contents="Published in Press &amp; Sun-Bulletin" data-link-label="" data-link-type="url" href="https://www.pressconnects.com/obituaries/bps133566" target="_blank">Published in Press & Sun-Bulletin</a></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7084576
2022-10-19T14:50:30-04:00
2022-11-02T15:24:36-04:00
"Green Places" Soloist Biographies
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/a708b437c6d57a352354c21216491e282a5216c0/original/karen-bogardus-green-places-11-12-22.jpeg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpeg" class="size_m justify_left border_none" alt="" /><strong>Karen Bogardus, Flute </strong></p>
<p>Ms. Bogardus earned her Bachelor of Music degree from New England Conservatory and Master of Music degree form Northwestern University. Her principal teachers were Keith Underwood, Walfrid Kujala, and Ransom Wilson. During the 8 years she lived in Mexico, she held several principal flute <br>positions. </p>
<p>Currently Ms. Bogardus holds principal flute positions with the <br>Binghamton Philharmonic, Berkshire Opera Festival, Martina Arroyo <br>Foundation Opera and Phoenicia Voice Festival. She has performed <br>with the Buffalo Philharmonic, American Ballet Theater Orchestra, <br>Northeastern Pennsylvania Philharmonic, Gotham Chamber Opera, Teatro Grattacielo Opera , American Symphony Orchestra, Albany Symphony, New Jersey Festival Orchestra, Greenwich Symphony, Allentown Symphony, Dorian Quintet, New York Philomusica, several Broadway Shows and dozens of other NY based orchestras. She can be heard on numerous TV and film sound tracks. She has performed chamber works in the Carnegie Hall Making Music series. Ms. Bogardus has appeared as a soloist with several orchestras both in the US and abroad. She is a prizewinner of the Myrna Brown and Artists International Competitions and won first place in the Continuo Arts Foundation Competition with her chamber group, Emerald Trio.</p>
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<p><strong><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/16f033baf9f41815f6293128516e2f074163bc58/original/uli-speth-violin-small.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_left border_none" alt="" />Uli Speth, Violin </strong></p>
<p>German violinist Uli Speth, concertmaster of the Binghamton Philharmonic Orchestra since 2005, has performed extensively with New York City Opera, American Symphony Orchestra, and the Florida <br>Orchestra. He also serves as concertmaster for The Chappaqua Orchestra and Fenimore Chamber Orchestra and has performed under the direction of distinguished conductors James Levine, Kurt Masur, Gerard Schwarz, JoAnn Falletta, Marin Alsop, among others. </p>
<p>As a chamber musician, Uli has played concerts throughout the U.S., has commissioned and premiered new pieces for string quartet, and has performed live on Vermont Public Radio and KMFA of Texas. He has recorded for Public Radio of Austria and Italy (ORF and RAI). Mr. Speth has also enjoyed the opportunity of performing to critical acclaim with members of the Hagen, Emerson, Cavaliere, and Ying Quartets and members of Orpheus Chamber Orchestra. </p>
<p>Since 2006, Uli has served on the faculty of Eastern Music Festival in Greensboro, NC, teaching alongside great musicians from all over the US and performing with outstanding soloists such as Midori, Joshua Bell, Andre Watts, and Lynn Harrell, among others. He is on faculty at Hartwick College and The College of New Jersey and is music director of the Little Delaware Youth Ensemble.</p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7079840
2022-10-12T11:18:48-04:00
2022-11-02T15:24:36-04:00
Green Places Program Notes
<p>Haydn, Beethoven, Schubert, Schumann, Dvořák, Bruckner, Tchaikovsky, Mahler, Price, et al. composed pieces entitled Symphony. Bach, Mozart, Chopin, Mendelssohn, Liszt, Brahms, Stravinsky, Walker, et al. composed pieces entitled Sonata. Schumann, Gade, Kirchner, Poulenc, Coleridge-Taylor, and a very few others composed pieces entitled Novelletten. So, what is a Novelletten and why aren’t there many of them? </p>
<p>Novelletten (Novella in English) was first used as a musical title by Robert Schumann (1810-1856)<strong> </strong>for his Opus 21. (1838). One of the earliest Romantic composers, Schumann was also a writer and journalist, and his literary interests had a direct influence on his compositions. Many of his character pieces for piano—short works that express a specific moods or non-musical ideas—were inspired and named after his literary creations, such as Eusebius, Florestan, and the Davidsbündler or by things such as butterflies (Papillons, Op. 2). Unsurprisingly, Schumann wrote an entire piece in which each section contained an overt literary reference; that is, a series of novellas, hence Novelletten. Schumann’s poetic and personal approach was influential for generations. But few composers could pack so much into a musical miniature and the few that were not cowed by Schumann’s example were rarely as overt as Schumann with their music’s inner workings. One who did try was <strong>Samuel Coleridge-Taylor (1875-1912). </strong></p>
<p>Coleridge-Taylor’s father, Daniel Taylor, met the Englishwoman Alice Martin when he came to London from Sierra Leone to study medicine. The two never married and Daniel returned to Africa to pursue his career not knowing Alice was pregnant. Naming her child Samuel Coleridge-Taylor (in honor of the poet Samuel Taylor Coleridge), she went to live with her father’s family and raised her mixed-race child to be an Englishman. Growing up in a household that included professional musicians, Coleridge (as he was called), took violin lessons and sang in local church choirs. In 1890, his obvious talents gained the 15-year-old admission to the Royal College of Music where he took an interest in composition, studying beside fellow students Gustav Holst and Ralph Vaughn Williams. The young composer received a thorough Germanic training and started to compose prolifically, writing a symphony, chamber music (a quartet, two quintets, and a nonet), and character pieces (Five Fantasiestücke, Op. 5), solid pieces that reflected his training and attracted the attention of the leaders of English music. </p>
<p>That began to change in the late 1890s. The Englishman Coleridge-Taylor became interested in exploring his African heritage and Pan-Africanism and started to use the materials and themes he discovered in compositions such as The Song of Hiawatha, Op. 30, Four African Dances, Op. 58, and Symphonic Variations on an African Air, Op. 63. These pieces made Coleridge-Taylor an international figure—there was a Coleridge-Taylor Society in Washington D.C., he toured the United States three times (during which he met W.E.B De Bois and President Theodore Roosevelt), and he was the youngest delegate at the first Pan-African Conference in London in 1900. </p>
<p>So, when Coleridge-Taylor composed his Novelletten, Op. 52 for string orchestra and optional percussion in 1903, was he drawing from his European training or his African heritage discoveries? The short answer is both. The four movements are clearly character pieces derived from the Romantic tradition that Schumann epitomized, while their musical vocabulary clearly lives in the same space as Dvořák’s when he incorporated New World inspirations in his European music. (Case in point - Coleridge-Taylor later added an additional movement derived from his Symphony in a minor to his Novelletten and retitled the piece Haitian Dances) The vigorous fourth movement is a virtuosic display of string techniques from a composer who started his career as a violinist. Does the Novelletten No. 4 have a clear literary inspiration as do Schumann’s Novelletens? No. But it clearly has a story to tell. </p>
<p>Composers discover how to compose by composing; that is, they learn on their own how to express their unique musical identity using techniques they were taught. They learn those techniques by going to conservatory (Berlioz, Prokofiev), studying privately (Stravinsky, Copland), or being homeschooled (Mozart, Mendelssohn). But some composers are autodidacts (Telemann, Elgar) who learn both what they wanted to say and techniques to say it without a teacher, a tutor, or a trainer. One such composer is the virtuoso flutist <strong>Gary Schocker (b. 1959).</strong> The Easton, PA native studied with Julius Baker, soloed with both the Philadelphia Orchestra and the New York Philharmonic when he was 15, went to the Juilliard School in New York, won numerous flute competitions, was a last-minute replacement for Jean-Pierre Rampal, and has performed and taught throughout the world. </p>
<p>Yet, for all his accomplishments as an instrumentalist, Schocker, when asked what he was proudest of, said “I am a self-taught composer. Nobody really encouraged that; I just had to do it.” He was 7 when he composed his first piece (Lollipop Waltz), 15 when wrote his first published piece (Scherzo), and, after taking time to focus on performance while attending Juilliard, began, in his late 20’s, to compose in earnest when he penned In Memoriam in 1982. Schocker has since published over 200 pieces (and counting), writing for a wide variety of genres while focusing on music for flute. </p>
<p>Schocker’s working method is as unique as his path to composing. After he finds an inspiration (Bach, Mozart, Debussy, Broadway, natural phenomenon, folk music from Greece, Taiwan, Japan, and Latin America, for starters), he waits. Schocker feels that “…writing is just a question of being patient. I try not to write anything down until I’m sure that’s what I want. And I don’t believe in doing multiple choice when I am composing. I wait until I hear where it should go and then I write it down.” He does this because “As soon as you think about something to write down – in a sense, it loses its electricity.” As a result, when he does commit notes to paper, Schocker writes with single-minded rapidity. </p>
<p>In 1992, Schocker, while writing a piece for flute and piano entitled Nightblooming, had a dinner guest, the Irish flutist James Galway. (“I overcooked the beef…I think I was nervous.”). After dinner, Schocker played Nightblooming for Galway, who was impressed. He “suggested I compose outer movements and orchestrate what I played him…. I am glad he did!” Galway premiered the expanded work, Green Places for solo flute and small orchestra, later that year. Dedicated to Galway, it now had three sections as Galway suggested—Topiary, Nightblooming, and Troll Garden—all inspired by the natural world. Schocker writes “Topiary (is) a formal maze punctuated by fantastic living tableaux. At the hidden center is a secret garden. ‘What is this strange place where blue flowers grow on the cinnamon trees?’ were the words in my head when I wrote that section. Nightblooming: Jasmine, queen of the night, orange blossoms all contribute to the intoxicating atmosphere. Troll Garden (is) a ride through craggy forest. Don’t fall off your horse!” At the American premiere with the New Jersey Symphony in 1993, the critic Michael Redmond wrote “The writing for flute could not be more fluent and attractive. Schocker’s is not a deep piece, true, but it does not aspire to be—the music’s appeal lies in its sincerity and imaginativeness.” Enjoy the ride. </p>
<p>Classical music honors its child prodigies. Mendelssohn, Mozart, Saint-Saëns, and Prokofiev were all seen as preternatural phenoms and were celebrated as composers at an age when most of us are trying to figure out how to ask someone out on a date. The English composer <strong>Ralph Vaughan Williams’ (1872-1958)</strong> development as a composer, on the other hand, was quite different. </p>
<p>Vaughan Williams studied piano (which he disliked) and violin and participated in school musical activities before attending the Royal College of Music, (RCM, 1890-92) then Trinity College, Cambridge (1892-1895), then again, the RCM (1895-96). He received scant encouragement for becoming a musician. His family, thinking he couldn’t make it in music, scotched his ambition to be an orchestral player, pressured him to leave the RCM, and pushed him to attend Trinity for a broader education. At Trinity, behind his back, people referred to him as a “foolish young man” who “was so hopelessly bad at it (music).” But when Vaughan Williams talked shop with fellow students at the RCM, especially Gustav Holst, things clicked. "What one really learns from an Academy or College is not so much from one's official teachers as from one's fellow-students ... [we discussed] every subject under the sun from the lowest note of the double bassoon to the philosophy of Jude the Obscure.” </p>
<p>Leaving academia, Vaughan Williams studied privately with Max Bruch and Maurice Ravel, and supplemented his private income with musical odd jobs—church organist (which he found a burden), editor (for the Purcell Society and of the English Hymnal), writer, and collector of English folk songs. He was the ripe old age of 39 when he produced his first compositions in his own voice (On Wenlock Edge (1909) and Fantasia on a Theme of Thomas Tallis (1910)). While this may seem an unusually long apprenticeship, the odd jobs were seminal in the development of Vaughan Williams’ musical character. His studies with Bruch and Ravel sharpened his (in his words) “amateurish technique,” his time at Trinity sharpened his appreciation for English writers, his church activities sharpened his performance skills and his appreciation of the best (and worst) English church music, his editorial work sharpened his grasp of the English music from the Renaissance and the early Baroque, and his discovery of English folk song sharpened his awareness of musical possibilities beyond the Germanic influences that dominated English musical culture and education. Just as with his RCM classmate Coleridge-Taylor, Vaughan Williams needed to discard the conventions implicit in his training to find his own language. The melodic and harmonic procedures of English folk song and the heyday of early English music (Byrd, Tallis, Gibbons) gave him the means to find that language. The result—a flood of music (symphonies, operas, film and radio scores, cantatas, ballets—over 100 works) bearing his stamp for the rest of Vaughan Williams’ long life (whose sesquicentennial we celebrate this year). Possibly the most famous of those pieces is The Lark Ascending (Romance for Violin and Orchestra) dedicated to and premiered by the violinist Marie Hall in 1920/21. Composed in 1914 (its premiere delayed by Vaughan Williams’ service in WWI), it was inspired by a poem of the same name by the English writer George Meredith (1828-1909). Indeed, Vaughan Williams copied several lines of the poem at the beginning of the score: </p>
<p><span style="color:#bf532c;"><strong>He rises and begins to round, <br>He drops the silver chain of sound, <br>Of many links without a break, <br>In chirrup, whistle, slur and shake…. </strong></span></p>
<p><span style="color:#bf532c;"><strong>For singing till his heaven fills, <br>’Tis love of earth that he instils, <br>And ever winging up and up, <br>Our valley is his golden cup <br>And he the wine which overflows <br>To lift us with him as he goes…. </strong></span></p>
<p><span style="color:#bf532c;"><strong>Till lost on his aërial rings <br>In light, and then the fancy sings. </strong></span></p>
<p>While the piece is a brief fifteen minutes long, it captures all the facets of Vaughan Williams’ artistic outlook. It springs from his interest in English literature, its compositional technique is practical and sure (nothing amateurish about it), and the musical depiction of the lark and its flight over the English landscape uses the melodic and harmonic practices Vaughn Williams absorbed in his study of folk and early English music. Indeed, so complete was Vaughn Williams’ incorporation of those idioms into his musical vocabulary that some thought that the solo violin’s evocation of the high-flying lark, with its chirrup, whistle, slur and shake, was based on an actual folk song. That mistake may be the clearest recognition that Vaughan Williams was, after his long apprenticeship, speaking in his own voice. </p>
<p>In 1806, <strong>Ludwig van Beethoven (1770-1827)</strong> was a busy man. He was working on his Piano Concerto No. 5, Op. 60, his Violin Concerto, Op. 61, his opera that eventually became Fidelio, Op. 72, his three Razumovsky string quartets, Op. 59, his Symphony No. 5, Op. 67, and his Symphony No. 6, Op. 68. Even with this workload (or maybe because of it), Beethoven took to the countryside in the spring and summer of 1806 as a guest at the Silesian summer castle of his patron, Prince Lichnowsky. The prince introduced Beethoven to his summer neighbor, Count Franz von Oppersdorf, an enthusiastic admirer of Beethoven’s music. The Count had his servants perform Beethoven’s Symphony No. 2, Op. 36 for the composer (even the cooks in his establishment had to be proficient on an instrument) and then commissioned a new symphony from him. </p>
<p>Beethoven readily accepted, but what music he responded with is a question. Beethoven’s working method, in which he made copious sketches (there are 10,000 extant pages and many more have been lost) that he would incessantly rework before settling on a final version, was unusual in his day. As he was working on so many pieces at the same time, we know that he had buckets of raw material available to use for this new symphony. But we also know from his sketches that Beethoven did not use any of it; it was used in the Symphonies No. 5 and 6. Indeed, atypically for Beethoven, there are very few surviving sketches for what became the Symphony No. 4, Op. 60. During his stay at the prince’s castle, did Beethoven elect to compose a brand new work for the Count that became the Symphony No. 4? Or, as some letters to Beethoven’s publisher suggest, did Beethoven have part or all of the symphony finished when he went to Silesia? If that is the case, where are those sketches and how far along were they when Beethoven went to Silesia? We probably will never have definitive answers, but we do have the symphony itself. </p>
<p>The symphony premiered in Vienna in 1808. It confounded critics and musicians who, after experiencing the massive Symphony No. 3, Op. 55 Eroica, expected a grand piece in Beethoven’s heroic style. Instead, Beethoven had written a work of modest orchestration and length that seemed more like a stepping stop that should have preceded the Eroica rather than follow it. Beethoven then confounded them even more by following the Fourth with the groundbreaking Symphony No. 5, prompting Robert Schumann’s description of the Fourth symphony as “a slender Grecian maiden between two Nordic giants.” While Symphony No. 4 lacks the massive profile of the Eroica or the scorching intensity of Symphony No. 5 and therefore may seem modest in the shadow of its neighbors (just as your very tall brother would seem like a shrimp standing next to some players from the NBA), it holds its own, being utterly Beethovian in its character and innovations. </p>
<p>The symphony is in four movements, and, like Beethoven’s first two symphonies, the first movement starts with a slow introduction, here marked Adagio (slowly). This introduction is crucially unlike its predecessors. Like Symphony No. 1, Op. 21, it does not start in its home key (here, B-flat Major; it starts in b-flat minor). Like Symphony No. 2, it modulates to extremely remote keys (using a musical pun of rewriting the note G-flat as an F-sharp to get to the key of b minor) and, by avoiding any clear statement of the home key of B-flat Major, heightens the ambiguity and tension of the introduction. But this slow introduction, which ends with a tremendous release of energy, does not, as do its predecessors, arrive at the home key with the beginning of the movement proper, marked Allegro vivace. Rather, the first occurrence of the home chord of B-flat Major happens five measures after the start of the Allegro vivace, setting up a chain of ambiguities that is only resolved at the start of the final section (a coda). This fast section is in sonata form (in which a piece starts in a home key—often signaled with a specific set of tunes—before moving to a different key using different tunes, thereby setting up a tension that is only resolved later when all of the tunes are played in the home key) and uses the simplest materials to set up and resolve its oppositions. The material is so straightforward that the composer Carl Maria von Weber complained that “Every quarter of an hour, we hear three or four notes.” Perhaps. After all, the timpani solos consist of one sustained note. But the boisterous and muscular character of the movement is typical of much of Beethoven’s music of that period. </p>
<p>The lyrical second movement, marked Adagio, combines sonata form with a rondo (in which a recurring idea is sandwiched between a series of contrasting ideas), a rarity in a slow movement. The lively third movement scherzo (Italian for “joke”) creates excitement (and an occasional train wreck in performance) by masking the triple pulses of the meter with duple grouping in the melody and expands the A-B-A (Scherzo-Trio-Scherzo) scheme used in the first three symphonies to an A-B-A-B-A scheme. The last movement, marked Allegro ma non troppo (fast, but not too fast), is a perpetual motion machine that features the bassoons in its lively and witty ending. </p>
<p>© 2022 Ubaldo Valli</p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7075016
2022-10-05T16:15:59-04:00
2022-10-06T10:38:48-04:00
On the Binghamton Philharmonic’s “Walking Distance”
<p><strong>by Paul Cienniwa, Executive Director </strong></p>
<p>Many associate Binghamton with the “Twilight Zone” television show and its creator, former Bennett Avenue resident Rod Serling. Those even more in the know are keenly aware that Serling’s autobiographical Twilight Zone screenplay, “Walking Distance,” was based on his Binghamton and our own Recreation Park. But did you know that the music for “Walking Distance” was created by one of the greatest film and television composers of all time? </p>
<p>Bernard Herrmann is probably most famous for his music for Alfred Hitchcock’s “Psycho.” His score for “Walking Distance” is anything but psychotic! Featuring 18 strings and harp, Herrmann evokes the nostalgia of Rod Serling’s Binghamton through several techniques, including: muted strings (a practice that creates a hazy, impressionist effect); “divisi” (at times, we are hearing nearly 18 separate lines in a lush texture); and, at the climax of the story, a repeated “circle of fifths” (an harmonic pattern that is both recognizable and endearing). </p>
<p>On October 22, conductor Michael McGehee, the Los Angeles-based conductor of the Hollywood Studio Orchestra, will lead the Binghamton Philharmonic. First, we’ll hear the incidental music by itself, arranged as a concert suite by McGee. Next, Southern Tier Actors Read, under the direction of Judy McMahon, will read Serling’s screenplay as the orchestra plays the incidental music in context. This is a perfect marriage of spoken word and music in the perfect setting: the Helen Foley Theatre at Binghamton High School, named for Serling’s drama teacher. </p>
<p>As many of you know, the Rec Park carousel plays a big role in “Walking Distance.” To bring our own performance to life, the Endicott Rotary Foundation will be providing a mechanical carousel organ. In addition, Two Rivers Photography Club will display a pre-concert slideshow of area carousels, using photos from their members. </p>
<p>This <strong><a contents="one-of-a-kind concert" data-link-label="" data-link-type="url" href="https://binghamtonphilharmonic.org/event/4608665/593418014/walking-distance" target="_blank">one-of-a-kind concert</a></strong>, permitted through a special rights agreement with CBS Broadcasting, is not to be missed!</p>
<p><br><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/21d23126139d617d09a7c03ec151d776499ee564/original/signal-2022-09-26-07-01-17-000-4-1.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_left border_none" alt="" /></p>
<p><strong>Michael McGehee, Conductor/Composer</strong> </p>
<p>Conductor/Composer Michael McGehee is the creator of New Discovery Recordings and the Hollywood Studio Orchestra. Founded in 2018, New Discovery Recordings produces recordings of rare concert, radio, and television scores by composer Bernard Herrmann. Michael has led the Hollywood Studio Orchestra in over a dozen recordings which are all available at NewDiscovery.Bandcamp.com. </p>
<p>Michael earned his degree in Music Composition at the University of Alabama (1986) under the tutelage of Harry Phillips and Frederic Goosen. He continued with graduate studies in Film Scoring at the University of Southern California (1987) studying under Fred Steiner, Bruce Broughton, Arthur B. Rubinstein, Buddy Baker, Richard Bellis, and David Raksin and is a graduate of the Earle Hagen Film Scoring Workshop. </p>
<p>Michael began conducting and recording his original music in 1987 and has composed music for numerous short films, industrials, and commercials over the years. Many of his orchestral compositions and scores to film subjects can be heard online at MichaelMcGeheeFilmMusic.bandcamp.com. He is the author of “The Click Track Book”, a technical manual for synchronizing film and music.</p>
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<p><strong><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/2c338443d9d17e99bd4e273dfa23e3f5cefc5810/original/img-7666.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_left border_none" alt="" />Judy McMahon, Director</strong> </p>
<p>Judy McMahon is from Chicago and studied theater at Marquette University and the Yale School of Drama. She began her professional career in New York City, appearing on off-Broadway, children’s theater, The Brooklyn Rep, and in summer stock productions. Marriage and raising a family brought her to rural Pennsylvania, where she and her husband bought The Inn at Starlight Lake. She founded a community theater which toured the area, finally settling at the State Theater in Deposit, where she acted and directed many plays. She also began acting on stages in and around Binghamton, including The Cider Mill, Hangar Theatre, Cortland Rep, Chenango River Theatre, KNOW Theatre, and others. Judy, along with Heidi Weeks, began Southern Tier Actors Read and started “The Hungry Ear” at the Broome County Library, where actors give dramatic readings of short stories.</p>
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<p><strong>Southern Tier Actors (S.T.A.R.) Cast for "Walking Distance":</strong></p>
<p><strong>Serling:</strong> James Michalec <br><strong>Narrator:</strong> Nick De Lucia <br><strong>Martin:</strong> Andy Horowitz <br><strong>Soda Jerk I (Charlie):</strong> Jake Donlin <br><strong>Boy With Marbles: </strong>Cameron Little <br><strong>Woman At Park: </strong>Katherine Boczar <br><strong>Young Martin:</strong> Jack Wolf <br><strong>Mr. Sloan:</strong> Joe Bardales <br><strong>Mrs. Sloan:</strong> Kathleen Cook <br><strong>Old Man Wilson:</strong> Nick De Lucia <br><strong>Teenage with Car: </strong>Jake Donlin <br><strong>Soda Jerk II: </strong>Jake Donlin </p>
<p><span style="color:#bf532c;"><strong>Check out the Endicott Rotary Foundation's carousel organ!</strong></span></p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="wcCZYbHkA78" data-video-thumb-url="https://img.youtube.com/vi/wcCZYbHkA78/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/wcCZYbHkA78?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7070965
2022-09-29T09:22:19-04:00
2022-10-05T13:45:04-04:00
Subscriber Spotlight: Brianna Parker
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/3f19a8742b36d142b7f558b0555de1447e607a94/original/parker-with-text.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_left border_none" alt="" />Brianna Parker has generously shared her thoughts on the benefits of being a new Binghamton Philharmonic subscriber.</p>
<p><strong>What do you like about subscribing to the Binghamton Philharmonic?</strong></p>
<p>I love classical music. Throughout my youth, I either participated in my high school's concert and marching bands or, in college, was able to take in shows at my college and the neighboring universities. As I got older, the opportunities for attending live orchestra shows lessened, or at least the convenience of attending those shows declined. I'm happy to have found a way back into the orchestral world. I like subscribing to the Binghamton Philharmonic because I know that I have tickets to each event already secured and I have the dates for those shows entered into my calendar as firm commitments.</p>
<p><strong>What are some of your concertgoing traditions?</strong></p>
<p>As a new subscriber, I don't have any traditions yet, but I'm looking forward to establishing some! I imagine having the whole family accompany me to the Winter-time show will become a regular tradition.</p>
<p><strong>Our subscribers enjoy some "deep benefits" with and for the Philharmonic. Please share any thoughts you might have on how you enjoy "deep benefits."</strong></p>
<p>I don't know as much about the deep benefits of the Philharmonic as long-time subscribers do, but I do appreciate how much effort the Binghamton Philharmonic puts into making music more accessible to people of all ages and demographics. The first time I heard Dvorak's Symphony No. 9, I was playing it in elementary school as part of the percussion section. At our concert, with all our friends and family in the audience and after weeks of practice, we played it through and something in my brain shifted, or clicked, and I knew I would always love the richness and enveloping feel of this kind of music performed live. I want my child and all children to have the opportunity to experience the same thing, to have the chance to truly be moved by music. So that's how I think the Binghamton Philharmonic benefits the community and the people in it: by being available, always performing, and waiting for the people to come and listen and fall in love with the music.</p>
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<p><em><span style="color:#bf532c;"><strong>"I have to say that a huge part of the reason I chose to become a subscriber this year instead of only buying tickets to one or two shows is the amazing lineup of performances." - Brianna Parker</strong></span></em></p>
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<hr><p><strong>As a subscriber, you have probably found your own way to manage COVID. Please share your thoughts on concert health and safety--and how prospective patrons could be encouraged to attend concerts in spite of lingering COVID concerns.</strong></p>
<p>COVID is going to be around, and we're going to continue to adapt. Vaccinations and boosters as they come out are probably the best defenses we have, along with the same common-sense strategies we use with colds and flus, like regular hand-washing and following proper cough and sneeze etiquette. I hope the use of masks when one is sick or vulnerable becomes a normal part of our culture, since it's a pretty simple way to protect ourselves and our fellow humans. At this point, I think we can start coming out of our forts and reintegrate with a more conscientious world. The ticket exchange feature helped alleviate some of my COVID concerns, as well, because I can hope that if I or any other subscriber becomes ill with a contagious disease, we would utilize the ticket exchange and opt to stay home instead.</p>
<p><strong>Please add any additional comments here.</strong></p>
<p>I have to say that a huge part of the reason I chose to become a subscriber this year instead of only buying tickets to one or two shows is the amazing lineup of performances. It was impossible to choose a couple of shows, and I cannot say enough how excited I am to hear the pieces that were selected, especially those chosen for Green Places. The Lark Ascending is an absolute favorite and I immediately knew I had to buy tickets when I saw it listed. Knowing I'd easily enjoy eight shows, I was glad to take the discount that came with subscribing.</p>
<p><strong>This year, we are offering our subscribers a free "ticket exchange." Is this something you would use (instead of donating tickets)? If so, please tell us how this might have influenced your subscription purchase.</strong></p>
<p>The ticket exchange feature is one of the reasons I decided to become a subscriber. Setting dates in stone months in advance can seem daunting, especially with a family that has an ever-changing schedule. Having the option to exchange tickets if needed is a nice little safety net, should an emergency arise.</p>
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Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7064562
2022-09-20T15:33:26-04:00
2022-09-29T09:20:42-04:00
Fall Giving Campaign
<p><strong>You are more than a concertgoer or contributor. You are the <em>keeper</em> of the Philharmonic.</strong> As we lift the curtain on our 67th Season, the Binghamton Philharmonic is here to not only welcome you back for another year of amazing music ahead—spanning eight electrifying performances—but also to remind you that your loyal patronage and support creates a world of opportunities for our <em>youngest</em> music lovers! </p>
<p><strong>Throughout the year, you may have caught a Philharmonic event designed to educate and enrich, <em>as well as</em> entertain you and a loved one, </strong>including: <em>Quaver in Every Corner</em>, a project fusing live music with storytelling, emphasizing collaborations in marginalized communities; <em>Beethoven Lives Upstairs</em>, two children’s concerts with live orchestra and theatre; <em>Percussion in the Park</em>, a free interactive workshop for neighborhood participants like you at Rec Park’s OurSpace Playground; <em>Summer Chamber Music Camp</em>, a day camp for middle/high school musicians; and our ongoing <em>Community Music School Umbrella</em> and MusicLink referral program, connecting area music educators with low-income students. </p>
<p>We have even worked with our corporate partners to allow both the child in your life, and the community’s most underserved, to enjoy nearly every Philharmonic show for free this season! Why? <strong>Because together you and I can ensure the Southern Tier’s only professional symphony orchestra will serve audience members like you for generations to come. </strong></p>
<p>Of course, none of this would be possible without you and your generous support. <strong>That is why I am asking you to consider making a tax-deductible gift to the Binghamton Philharmonic before November 15, 2022. </strong>No gift is too large or small, but each is priceless. <span style="color:#bf532c;"><strong><a contents="Click here to give today." data-link-label="" data-link-type="url" href="https://binghamtonphilharmonic.app.neoncrm.com/forms/15" target="_blank">Click here to give today.</a> </strong></span></p>
<p>Have a festive and fulfilling autumn, and See You At the Symphony! </p>
<p>With warm regards, </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/b16f31fdbcd174c6078164a45eca12bfe062f353/original/brian-signature.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_left border_none" alt="" /></p>
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<p>Brian Nayor <br>Director of Sales and Development </p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7058453
2022-09-12T11:22:43-04:00
2022-09-14T15:52:42-04:00
American Journey Program Notes
<p><span style="color:#bf542c;"><em><strong>“To me, Seven O’Clock Shout is a declaration of our survival. It is something that allows us our agency to take back the kindness that is in our hearts and the emotions that cause us such turmoil. … We cheer on the essential workers with a primal and fierce urgency to let them know that we stand with them and each other.” –Valerie Coleman </strong></em></span></p>
<hr><p>How does a music ensemble remain relevant or even function during a worldwide pandemic? That was the dilemma orchestras throughout the world faced when COVID-19 brought the world to a “socially distanced” halt. The Philadelphia Orchestra’s answer was to commission Valerie Coleman to compose a piece that she entitled Seven O’Clock Shout. </p>
<p>Flutist and composer Valerie Coleman was born and raised in Louisville, Kentucky and started her musical studies when she was 11 years old. She pursued parallel interests in flute and composition, receiving degrees in composition and flute performance while studying in Boston and New York. In 1997, she founded Imani Winds, a wind quintet with the dual mission of presenting music by composers from backgrounds under-represented in the Western art canon and providing role models for young musicians from minority groups. Coleman was the quintet’s flutist and honed her compositional chops as its resident composer and arranger. As Imani Winds’ reputation grew, so did Coleman’s, and she began to receive commissions from ensembles such as the Philadelphia Orchestra, the Library of Congress, the Orchestra of St. Luke’s, American Composers Orchestra, and the National Flute Association. She left Imani Winds in 2018 to focus on her compositional and solo careers and is presently on the flute and composition faculty at her alma mater, the Mannes School of Music in New York. </p>
<p>In September 2019, the Philadelphia Orchestra, conducted by their music director Yannick Nézet-Séguin, premiered a new work by Coleman, UMOJA: Anthem of Unity!, that they had commissioned. In early 2020, while brainstorming ways for the orchestra to remain active at the height of the pandemic, Nézet-Séguin, remembered that performance and thought that Coleman would be just the composer to write a new piece for the “Fabulous Philadelphians” to premiere virtually. He contacted her and gave her two weeks to write it! And she wrote it! The special character of the orchestra’s players and the celebrations of COVID-19 first-responders at “that moment at 7pm, when cheers, claps, clangings of pots and pans, and shouts ring through the air of cities around the world!” moved Coleman to write “an anthem inspired by the tireless frontline workers during the COVID-19 pandemic, and the heartwarming ritual of evening serenades that brings people together amidst isolation to celebrate life and the sacrifices of heroes.” </p>
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<p>The online premiere by the Philadelphia Orchestra was on June 6, 2020 and unsurprisingly, presented the orchestra with unique challenges as each player recorded his or her part in isolation. Coleman anchors the disparate sections of the piece (which starts with solos suggesting the isolation at the beginning of the pandemic, moves to a lush section suggesting both the generosity of spirit of first-responders as well as the regeneration of nature, and ends with an evocation of those noisy celebrations) by using repeating rhythmic figures (ostinatos or, as Coleman puts it, grooves) in the bass of the orchestra, allowing upper voices to ride the groove to the music’s finale just as a surfer rides a wave to shore. </p>
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<p><span style="color:#bf542c;"><em><strong>“Oh no! ... I don’t want to do another cowboy ballet!” </strong></em></span></p>
<p><span style="color:#bf542c;"><em><strong>“Well, it isn’t Hamlet, but it can have what Martha Graham calls ‘an aura of race memory.’” </strong></em></span></p>
<p><span style="color:#bf542c;"><em><strong>“Couldn’t we do a ballet about Ellis Island?” </strong></em></span></p>
<p><span style="color:#bf542c;"><em><strong>“You go to hell!” –Aaron Copland and Agnes De Mille </strong></em></span></p>
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<hr><p>Returning to America in 1926 after studying music and composition with the French pedagogue and mentor Nadia Boulanger (1887-1979), Aaron Copland (1900-1990) made a conscious decision to make a living in America as a composer rather than as a full time academic who composed on the side. Furthermore, he would make a living as a composer by writing the type of music he wanted to write – edgy music informed by Stravinsky, jazz, and other influences that were anathema to the musical establishment of the day. (The Dean of the Yale Music School had written that listening to Claude Debussy’s tone poem La Mer was like listening to an oyster bank.) </p>
<p>Copland realized that this living would not just happen; he would have to build it. So Copland accepted the responsibility of not just getting his own music performed, but of proselytizing for an American musical culture for his country. He worked ceaselessly as an advocate, organizer, and mentor, always asking audiences to “take off the earmuffs.” </p>
<p>However, the arrival of the Great Depression, combined with Copland’s leftist political leanings, changed Copland’s emphasis. He still wanted audiences to take off their earmuffs and still wrote music that caused some audience members to reach for those earmuffs. But he felt that “we composers (are) in danger of working in a vacuum … I (feel) it is worth the effort to see if I couldn’t say what I had to say in the simplest possible terms.” To meet audiences halfway, Copland began using American folk music such as cowboy tunes, spirituals, and the blues as source material. The results – movie scores, ballets, music for schools, and popular concert works. The resulting income didn’t hurt either. </p>
<p>Take the ballet Rodeo (1942). Copland had written the successful cowboy ballet Billy the Kid in 1938, which led to that unpromising meeting quoted above in 1942 with the dancer/choreographer Agnes DeMille (1905-1993). After realizing DeMille’s ballet would be very different from Billy the Kid, Copland set to work, using cowboy songs and fiddle tunes in his own musical voice while closely following DeMille’s extremely specific scenario. Rodeo’s premiere in New York by the Ballet Russe de Monte Carlo was a triumph (DeMille, who danced the leading role, received 22 curtain calls) and Copland subsequently arranged the score in 1943 as a concert suite entitled Four Dance Episodes from Rodeo. </p>
<p>The ballet’s subtitle, "The Courting at Burnt Ranch," tells you what the ballet is about – the age-old saga of the need and search for love. It follows the story of a lonely cowgirl (danced by DeMille) working at a remote ranch as she tries to find someone to love who will love her in return. While it is a bumpy journey (in five scenes), she succeeds by the final curtain. In arranging Dance Episodes, Copland omitted the second scene (“Ranch House Party”) and cut a few honky-tonk piano solos (rumored to have been written by Leonard Bernstein). The remaining sections – “Buckaroo Holiday,” “Corral Nocturne,” “Saturday Night Waltz,” and “Hoe- Down.” </p>
<p> Copland wrote the following note about the Dance Episodes: “The first section (“Buckaroo Holiday”) is the most complex. Included are variations on two folk tunes, “If He Be a Buckaroo by His Trade”, and “Sis Joe.” The second section, “Coral Nocturne,” is characterized by woodwind solos in 5/4 time. I was striving here for a sense of the isolation felt by the heroine. In “Saturday Night Waltz,” country fiddlers are heard tuning up, followed by hints of the tune “Old Paint.“ The final movement, “Hoe Down,” is the best-known and most frequently performed episode. Two square dance tunes are included: “Bonyparte” and a few measures of “McLeod’s Reel” played in folk fiddle style. Pizzicato strings and a xylophone add a comic effect to “Bonyparte,” and the music winds down like a clock before the tune returns for the last time.” </p>
<p>Copland’s penchant for understatement is on full display here. “Hoe Down” is not merely “the best known and most frequently performed episode.” It has permeated our popular culture and has been used by the rock group Emerson, Lake & Palmer, Béla Fleck and the Flecktones, Bob Dylan, the 2002 Winter Olympics, movies such as Titanic, and, last but not least, as background music for the “Beef. It's What's for Dinner” commercials. Copland, who worked to make American classical music part of the broader culture, was successful beyond his fondest hopes. </p>
<hr><p> </p>
<p><span style="color:#bf542c;"><em><strong>"Many musicians do not consider George Gershwin a serious composer. But they should understand that, serious or not, he is a composer – that is, a man who lives in music and expresses everything, serious or not, sound or superficial, by means of music, because it is his native language…An artist is to me like an apple tree: When his time comes, whether he wants it or not, he bursts into bloom and starts to produce apples. And as an apple tree neither knows nor asks about the value experts of the market will attribute to its product, so a real composer does not ask whether his products will please the experts of serious arts. He only feels he has to say something; and says it….I do not speak here as a musical theorist, nor am I a critic, and hence I am not forced to say whether history will consider Gershwin a kind of Johann Strauss or Debussy, Offenbach or Brahms, Lehar or Puccini….But I know he is an artist and a composer; he expressed musical ideas; and they were new – as is the way in which he expressed them." </strong></em></span></p>
<p><span style="color:#bf542c;"><em><strong>–Arnold Schoenberg </strong></em></span></p>
<p> </p>
<hr><p>Consider the curious case of George Gershwin (1898-1937). Born in Brooklyn to immigrant parents, he grew up in lower Manhattan in the tenements around the Yiddish Theater District. He showed no signs of an interest in music until his parents bought a piano for Gershwin’s older brother Ira (1896-1983) to use. When it arrived at the Gershwin’s apartment, the 11-year-old George surprised everyone when he sat down at the keyboard and played a popular song he had learned by watching the keys of a neighbor’s player piano. Ira was off the hook (he wasn’t very interested in playing the piano) and George started taking lessons. His talent was so obvious that his teacher, Charles Hambitzer (1878/81?-1918) gave George lessons for free and his progress so extraordinary that George quit school at age 15 to work in Tin Pan Alley as a song plugger, promoting sales of new sheet music by playing it for prospective customers. </p>
<p>It wasn’t long before Gershwin was writing his own songs to plug. While the 17-year-old earned a princely 50 cents on the sale of his first song, the 20-year-old earned a lot more when the sheet music for Gershwin’s song Swanee sold over 1,000,000 copies. With Ira joining George as his lyricist, a career was born, starting on Broadway with shows such as Lady Be Good (1924), Oh, Kay! (1926), Girl Crazy (1930) and Of Thee I Sing (1931 – the first musical to win a Pulitzer Prize for Drama) and leading to Hollywood (Shall We Dance -1937/ Fred Astaire and Ginger Rodgers). But Gershwin had other ambitions. He wanted to write for the “serious” concert audience. </p>
<p> </p>
<p>This was not an easy thing for a song plugger to do. Gershwin always downplayed the depth of his musical education and regretted his lack of systematic training as a composer (his time taken up with his Broadway successes). Even after writing successful concert works, he asked European composers such as Maurice Ravel (1875-1937) as well as the renowned French pedagogue Nadia Boulanger for lessons. They all refused, seeing Gershwin as a composer with his own voice with something to say – after all, Ravel wrote music inspired by Gershwin! But some American composers did take Gershwin to task for his perceived lack of training. For example, Aaron Copland, the most prominent point man for American music of the time said “Gershwin is serious up to a point. My idea was to intensify it (the use of jazz). Not what you get in the dance hall but to use it cubistically – to make it more exciting than ordinary jazz.” And that was one of the nicest critiques. How could Gershwin convince the doubters in the American musical establishment and break into concert music on his home turf? </p>
<p>He got his first opportunity when Paul Whiteman (1890-1967), the conductor of one of Gershwin’s shows that flopped, asked Gershwin in 1923 to write an instrumental piece for his orchestra’s “An Experiment in Modern Music” concert at New York’s Aeolian Concert Hall. The premiere of Rhapsody in Blue for solo piano and jazz band (not quite finished in time for the February 1924 premiere with the 25-year-old Gershwin improvising music to cover over incomplete passages) was attended by classical music luminaries such as John Philip Sousa, Jascha Heifetz, Fritz Kreisler, Leopold Stokowski, Serge Rachmaninov, and Igor Stravinsky. The Rhapsody created a sensation and overnight Gershwin became world famous. </p>
<p>The success of Whiteman’s concert resulted in a series of prestigious commissions for Gershwin. One of the first was offered the day after the premiere of Rhapsody in Blue from an attendee of the concert, the conductor Walter Damrosch (1862-1950). He asked Gershwin to write a piano concerto for concerts featuring Gershwin as soloist. Gershwin accepted, in part to prove the naysayers wrong. “Many persons had thought that the Rhapsody was only a happy accident. Well, I went out, for one thing, to show them that there was more where that had come from.” </p>
<p>Gershwin wrote the Concerto in four months and the Concerto in F premiered in Carnegie Hall on December 3, 1925. The critics were divided – “a dubious experiment… (Gershwin has) neither the instinct nor the technical equipment to be at ease in … a work of symphonic dimensions.” The work showed “the lifelessness of its melody and harmony, so derivative, so stale, so inexpressive.” On the other hand: “He gave us something really new in music. Not more than a dozen composers out of the hundreds on the honor list since composing began have succeeded in doing that.” “…the whole of America was blossoming into beauty before me.” – but the public loved it and the work has remained in the active repertoire ever since. </p>
<p>Fitting for a piece drawing from two different musical worlds, the Concerto takes its formal structure from the classical tradition (three movements – fast/slow/fast, movements connected by the reuse of melodies, structural devices), while using the vocabulary of popular musics (jazz, blues, ragtime, popular dance rhythms such as the Charleston), all the while giving the solo pianist the opportunities to show off, as Gershwin himself often did at parties. </p>
<p>Gershwin was very aware of using this synthesis. He wrote the following short description of the concerto for the premiere, which mentions elements of both classical and popular music: </p>
<p>I. Allegro. The first movement employs a Charleston rhythm. It is quick and pulsating, representing the young, enthusiastic spirit of American Life. It begins with a rhythmic motif given out by the kettledrums, supported by other percussion instruments, and with a Charleston motif introduced by bassoon, horns, clarinets and violas. The principal theme is announced by the bassoon. Later, a second theme is introduced by the piano. </p>
<p>II. Adagio. Andante con moto. The second movement has a poetic nocturnal atmosphere which has come to be referred to as the American blues, but in a purer form than that in which they are usually treated. </p>
<p>III. Allegro agitato. The final movement reverts to the style of the first. It is an orgy of rhythms, starting violently and keeping the same pace throughout. </p>
<p>Before his tragically early death from a brain tumor, Gershwin went on to compose such iconic works as An American in Paris and perhaps the great American opera, Porgy and Bess. There indeed was more where that had come from! </p>
<hr><p> </p>
<p><strong><em><span style="color:#bf542c;">“So much the better if our tradition is richer and multiple, deriving from native as well as Western culture. We are just as much the owners of our ancestral Tlacuilos as we are of our Florentine Renaissance grandfathers. To circumscribe ourselves, to fix on one thing or the other, is to impoverish ourselves.” – Carlos Chavez.</span></em> </strong></p>
<p> </p>
<hr><p>When most people talk about classical music from the New World, the discussion tends to focus on composers such as Copland, Gershwin, John Adams, Philip Glass – that is to say, American composers. Fine composers all. But it ignores composers such as R. Murray Schafer, Carlos Chavez, Silvestre Revueltas, Heitor Villa-Lobos, Alberto Ginastera, Leo Brower, Astor Piazzolla – that is to say, composers from Canada, Mexico, and the entire continent of South America! We can gain a lot by having their sound worlds in our ears. Their music offers unique perspectives in their blending of European classical music with distinct regional traditions. </p>
<p>Take, for example, the music of the Mexican composer Arturo Márquez (b.1950). Born in Mexico, raised and educated in both Mexico and the United States, he heard Mexican folk music performed by his grandfather and mariachi music performed by his father as well as the sounds of Mexican salon music and works from the European classical tradition. All of these influences can be heard in Márquez’s compositions, the best known of which is his Danzón No. 2 (1994). </p>
<p>Derived from European dance styles introduced in Cuba during the Spanish occupation, the danzón is a distinct Cuban dance that absorbed cross-cultural currents (such as African music) that were widespread on the island. In the early 20th century, it hopped over the Yucatan Channel to take root in Mexico becoming particularly popular in Veracruz and has inspired Márquez to compose nine danzóns (so far). Danzón No. 2 was composed in 1994 on a commission from the National Autonomous University of Mexico. </p>
<p>Marquez wrote the following for the premiere of Danzón No. 2: </p>
<p>The idea of writing the Danzón 2 originated in 1993 during a trip to Malinalco with the painter Andrés Fonseca and the dancer Irene Martínez, both of whom [have] a special passion for the danzón, which they were able to transmit to me from the beginning, and also during later trips to Veracruz and visits to the Colonia Salon in Mexico City. From these experiences onward, I started to learn the danzón’s rhythms, its form, its melodic outline….I was fascinated and I started to understand that the apparent lightness of the danzón is only like a visiting card for a type of music full of sensuality and qualitative seriousness, a genre which old Mexican people continue to dance with a touch of nostalgia and a jubilant escape towards their own emotional world…..Danzón 2 ... endeavors to get as close as possible to the dance, to its nostalgic melodies, to its wild rhythms, and although it violates its intimacy, its form and its harmonic language, it is a very personal way of paying my respects and expressing my emotions towards truly popular music. </p>
<p> Danzón No. 2 is not only Márquez’ most popular work, but also one of the most performed concert pieces from all of Latin America and its infectious character belies its sophisticated compositional techniques. Try not to dance in the aisles as you listen! </p>
<p>© 2022 Ubaldo Valli</p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7056952
2022-09-09T14:18:19-04:00
2022-09-09T14:27:05-04:00
Subscriber Spotlight: James and Maggie Gregory
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/239ad4bdbc99dcab8ba340c23e3b8c7ffacfaffa/original/gregorys-2.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_left border_none" alt="" />James and Maggie Gregory have generously shared their thoughts on the benefits of being a new Binghamton Philharmonic subscriber.</p>
<p><strong>What do you like about subscribing to the Binghamton Philharmonic? </strong></p>
<p>We moved to Binghamton in January 2022 and almost immediately attended a "listening" at the Wallenberg Festival Fundraiser at the Kilmer Mansion. It was like coming home; such a clear affirmation that we had made the right choice to move to Binghamton. We were lucky to attend the rest of the spring season shows, and becoming subscribers now that we will be here for the full season just made sense.</p>
<p><strong>What are some of your concertgoing traditions?</strong></p>
<p>We love to go with friends and have invited friends and family to join us. We love to go out to eat first, but when that's not possible we don't suffer by ordering Paul & Sons pizza to eat at home before the show!</p>
<p><strong>Our subscribers enjoy some "deep benefits" with and for the Philharmonic. Please share any thoughts you might have on how you enjoy "deep benefits."</strong></p>
<p>We don't know yet what the "deep benefits" will be, but we agreed after a wonderful introduction to the Binghamton Philharmonic that we want to do all we can to encourage and sustain such an important cultural piece of the greater Binghamton community. We are proud and enthusiastic supporters of the arts, and this is such a special and rewarding way to affirm that commitment.</p>
<hr><p> </p>
<p><span style="color:#bf532c;"><strong><em>"It was like coming home; such a clear affirmation that we had made the right choice to move to Binghamton.</em></strong></span><span style="color:#bf532c;"><strong><em>" - James and Maggie Gregory</em></strong></span></p>
<p> </p>
<hr><p><strong>Have you ever donated your tickets back to the Philharmonic?</strong></p>
<p>Not yet, but invariably life will happen, and we will happily give back.</p>
<p><strong>As a subscriber, you have probably found your own way to manage COVID. Please share your thoughts on concert health and safety--and how prospective patrons could be encouraged to attend concerts in spite of lingering COVID concerns. </strong></p>
<p>Not to be trite, but life is short. And the ongoing restrictions as we navigated a pandemic made us realize that music and the arts are a huge part of what makes life so beautiful. We are fully vaxxed and boosted, and we mask if/as appropriate according to community transmission rates. Music is transcendent; even masked and distanced in a theater, it is hard to feel isolated and alone when the orchestra begins to play. </p>
<p><strong>This year, we are offering our subscribers a free "ticket exchange." Is this something you would use?</strong></p>
<p>This was a deciding factor in our choice to commit to a full season; the ability to exchange tickets if we realize there is a performance we cannot attend made it feel like an obvious choice to commit to the intention to attend every performance.</p>
<p><strong>Do you have any final comments? </strong></p>
<p>Thank you for all you do! We are so very lucky to be part of this community.</p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7050133
2022-08-31T12:21:25-04:00
2022-08-31T14:17:21-04:00
Season Preview Recital Musician Bios and Program
<h3><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/030da7d7f3c6350f90900bd518d8b300baf78a91/original/uli-speth-violin-small.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_left border_none" alt="" />Uli Speth, violin </h3>
<p>German violinist Uli Speth, concertmaster of the Binghamton Philharmonic Orchestra since 2005, has performed extensively with New York City Opera, American Symphony Orchestra, and the Florida Orchestra. He also serves as concertmaster for The Chappaqua Orchestra and Fenimore Chamber Orchestra and has performed under the direction of distinguished conductors James Levine, Kurt Masur, Gerard Schwarz, JoAnn Falletta, Marin Alsop, among others. </p>
<p>As a chamber musician, Uli has played concerts throughout the U.S., has commissioned and premiered new pieces for string quartet, and has performed live on Vermont Public Radio and KMFA of Texas. He has recorded for Public Radio of Austria and Italy (ORF and RAI). Mr. Speth has also enjoyed the opportunity of performing to critical acclaim with members of the Hagen, Emerson, Cavaliere, and Ying Quartets and members of Orpheus Chamber Orchestra. </p>
<p>Since 2006, Uli has served on the faculty of Eastern Music Festival in Greensboro, NC, teaching alongside great musicians from all over the US and performing with outstanding soloists such as Midori, Joshua Bell, Andre Watts, and Lynn Harrell, among others. He is on faculty at Hartwick College and The College of New Jersey and is music director of the Little Delaware Youth Ensemble.</p>
<p> </p>
<h3><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/f5808a5babca2483b52812fe768cc533a3d17767/original/tomoko-kanamaru-piano.jpeg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpeg" class="size_m justify_left border_none" alt="" />Tomoko Kanamaru, piano </h3>
<p>Since her U.S solo debut with the Savannah Symphony in 2000, Tomoko Kanamaru has been the featured soloist for National Repertory Orchestra, Toledo Symphony, Annapolis Symphony, and the Symphony of Southeast Texas. Most recently, she performed Beethoven’s Triple Concerto with the Ambler Symphony, Chorale Fantasy with Symphony in C and Mendelssohn Chorus of Philadelphia, and de Falla’s Noches en los jardines de España with the Music in the Mountains Festival Orchestra in Durango, Colorado. She was a guest artist for the New York Philharmonic Ensembles Series, Red Rocks Music Festival (Arizona), and New York Chamber Music Festival, for which her performance was described as “focused” and “energetic” by Allan Kozinn in the New York Times. She has recorded CDs for Nippon Columbia, MSR Classics, Mark Records, and Urlicht AudioVisual. While maintaining an active performance schedule, Kanamaru has devoted herself to teaching piano and collaborative arts and is a sought-after lecturer, guest speaker, adjudicator, and master class instructor. Her workshop at the National Conference on Keyboard Pedagogy in Chicago was featured in The Washington Post and the BBC’s The World Today. Having received an Advanced Certificate from The Juilliard School and DMA from the University of Cincinnati College-Conservatory of Music, she currently serves as Associate Professor for The College of New Jersey.</p>
<h3> </h3>
<h3>Program</h3>
<p>Sonata in E-flat Major, Op. 12, No. 3 — Ludwig van Beethoven (1770-1827)<br> I. Allegro con spirito <br> II. Adagio con molta espressione <br> III. Rondo: Allegro molto </p>
<p>Sonata No. 2, Op. 63, “September 11” (2001) — Lera Auerbach (b. 1973)<br> <br>L’Alouette (The Lark) — Mikhail Glinka (1804-1857) transc. Leopold Auer </p>
<p>Solvejgs Lied — Edvard Grieg (1843-1907) transc. Émile Sauret </p>
<p>Souvenir d’un lieu cher, Op. 42 — Pyotr Ilyich Tchaikovsky (1840-1893)<br> Mélodie <br> Scherzo </p>
<p>The Second Waltz — Dmitri Shostakovich (1906-1975) transc. Diego Marani </p>
<p>“Somewhere” from West Side Story — Leonard Bernstein (1918-1900) transc. Raimundo Penaforte </p>
<p>Porgy and Bess — George Gershwin (1898-1937) transc. Jascha Heifetz<br> Summertime/A Woman is a Sometime Thing <br> It ain’t Necessarily So</p>
<p><strong>The Season Preview Recital and Fundraiser will held be on Sunday, September 11, 2022 at 3pm at the Phelps Mansion Museum. Come join us as we celebrate a new season of symphonic music in Binghamton! </strong></p>
<p><a contents="Click Here to Buy Tickets!" data-link-label="" data-link-type="url" href="https://binghamtonphilharmonic.org/event/4723537/603752681/season-preview-recital-and-fundraiser" target="_blank"><b>Click Here to Buy Tickets!</b></a></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7040006
2022-08-17T14:06:22-04:00
2022-08-18T09:55:06-04:00
Subscriber Spotlight: Joan Kellam
<p><strong><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/12eab86d88e60a92d578902c930fb7b9aa19b385/original/joan-2016.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_left border_none" alt="" /></strong>Joan Kellam has generously shared her thoughts on the benefits of being a Binghamton Philharmonic subscriber for about 14 years. </p>
<p><strong>What do you like about subscribing to the Binghamton Philharmonic? </strong></p>
<p>We put all the dates for concerts we'd enjoy on the calendar so nothing else creeps in and prevents our going. </p>
<p><strong>Subscriptions are about much more than tickets, and our subscribers enjoy some “deep benefits.” Tell us about one of your Philharmonic deep benefits. </strong></p>
<p>Being a musician I am happy to see the Philharmonic reaching out to children and other audiences that wouldn't necessarily be interested. I'm also glad that there are opportunities for small chamber music groups. </p>
<p><strong>You are one of our subscribers who has donated tickets when unable to attend a performance.. Why would you do that? </strong></p>
<p>We have donated our tickets back. Our thought is that we have already paid for the tickets and when something else comes up so that we can't attend, we are happy to let the Binghamton Philharmonic keep the money. However sometimes we ask for credit toward another concert. </p>
<hr><p> </p>
<h3 style="text-align: center;"><span style="color:#bf532c;"><em>"I was amazed and thankful that we live in such a close community." Joan Kellam</em></span></h3>
<p> </p>
<hr><p><strong>As a subscriber, you have probably found your own way to manage COVID. Please share your thoughts on concert health and safety--and how prospective patrons could be encouraged to attend concerts in spite of lingering COVID concerns. </strong></p>
<p>Either of us could get COVID from anywhere that we go. The lockdown was damaging to the psychological, emotional, and social life of everyone but it was the right thing to do at that time. Now we have to live with the possibility of our getting sick again but we have been vaccinated and boosted and keep current with what we should do. I am still wearing a mask most places I go and I don't mind it. </p>
<p><strong>Do you have any final comments? </strong></p>
<p>I can't believe this! When I broke my wrist, my husband mentioned it on Facebook. In a few days I received a get-well card with personal notes written by both Brian and Paul, the executive director! I was amazed and thankful that we live in such a close community. </p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7040578
2022-08-11T10:00:00-04:00
2022-08-18T09:55:06-04:00
Requiescat in Pace: Daniel Fabricius
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/3438588d596ca8bb4062ee9a1a75c63ae9c7ab73/original/daniel-fabricius-percussion.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_left border_none" alt="" />Dear Friends of the Binghamton Philharmonic Orchestra, </p>
<p>We learned yesterday of the death of percussionist Daniel Fabricius, one of our longest serving musicians. As a musician, educator, and all-around great guy, Daniel was deeply connected to the community, and his passing will be felt very hard by all who knew him. We extend our love and support to Daniel's family and to the entire community as we grieve his death. </p>
<p>Sincerely, </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/aa58abb62adfb127f2aff9ec37ac3408cb1b7bd8/original/paul-cienniwa-signature.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsInNtYWxsIl1d.png" class="size_s justify_left border_none" alt="" /></p>
<p> </p>
<p> </p>
<p>Dr. Paul Cienniwa <br>Executive Director</p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7035008
2022-08-10T15:43:54-04:00
2022-08-17T14:06:47-04:00
Subscriber Spotlight: Olwen and Rick Searles
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/94dad9f3b3d38987c7cf364b3b6422e2222b5160/original/searles-3.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_left border_none" alt="" />Olwen and Rick Searles have generously shared their thoughts on the benefits of being a Binghamton Philharmonic subscriber for the past three years. </p>
<p><strong>What do you like about subscribing to the Binghamton Philharmonic? </strong> </p>
<p>The Binghamton Philharmonic is a world class orchestra!</p>
<p><strong>What are some of your concertgoing traditions?</strong></p>
<p>After concerts, we love to go to The Shop for coffee and dessert.</p>
<p><strong>Subscriptions are about much more than tickets, and our subscribers enjoy some “deep benefits.” Tell us about one of your Philharmonic deep benefits. </strong> </p>
<p>The availability to engage with all members of the Philharmonic family and the events offered are ones, we feel, that can only be experienced by subscribers in a city of our size. It is a gem that I wish younger generations could learn to appreciate.</p>
<p><strong>You are two of our subscribers who have donated tickets when unable to attend a performance.. Why would you do that? </strong></p>
<p>It’s important to encourage more people to experience the joys of our Philharmonic.</p>
<hr><h3> </h3>
<h3><span style="color:#bf532c;"><em>"The availability to engage with all members of the Philharmonic family and the events offered are ones, we feel, that can only be experienced by subscribers in a city of our size." - Olwen and Rick Searles</em></span></h3>
<p> </p>
<hr><p><strong>As a subscriber, you have probably found your own way to manage COVID. Please share your thoughts on concert health and safety--and how prospective patrons could be encouraged to attend concerts in spite of lingering COVID concerns. </strong></p>
<p>We worry less about COVID now that there are vaccines and boosters. We can’t wait to start enjoying the live experiences at the Forum!</p>
<p><strong>Do you have any final comments? </strong></p>
<p>Brian and Paul and everyone behind the scenes at the Philharmonic make it the treasure that it is!</p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7025741
2022-07-28T14:27:22-04:00
2022-07-29T10:54:13-04:00
Subscriber Spotlight: Jeff Kellam
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/6c26d5a5b568e7fb2bd44f7e3933dfc0b1480f07/original/kellam-photo.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_left border_none" alt="" />Jeff Kellam has generously shared his thoughts on the benefits of being a Binghamton Philharmonic subscriber for the past five years. </p>
<p><span style="color:#000000;"><strong>What do you like about subscribing to the Binghamton Philharmonic? </strong></span></p>
<p>We enjoy entering the subscription concerts into our calendars so we have serious music encounters to look forward to as each month comes. And we DO look forward to each concert! </p>
<p><strong>Subscriptions are about much more than tickets, and our subscribers enjoy some “deep benefits.” Tell us about one of your Philharmonic deep benefits.</strong> </p>
<p>One deep benefit is the very idea of a city the size of Binghamton having, supporting, and sustaining a full-fledged symphony orchestra. There are deep musical traditions here, and with more recent extensions of symphony players into smaller, more intimate and accessible venues (parks, churches, historic places) that tradition breeds creative sparks among young and older alike. </p>
<p><strong>You are one of our subscribers who has donated tickets when unable to attend a performance.. Why would you do that? </strong></p>
<p>It seems a small contribution (in addition to larger gifts we try to make regularly), but we'd love to see our seats filled by others when we have to be absent. </p>
<hr><h3 style="text-align: center;"> </h3>
<h3 style="text-align: center;"><em><span style="color:#bf532c;">"The Binghamton Philharmonic is a musical treasure for our region." - Jeff Kellam</span></em></h3>
<p> </p>
<hr><p><strong>As a subscriber, you have probably found your own way to manage COVID. Please share your thoughts on concert health and safety--and how prospective patrons could be encouraged to attend concerts in spite of lingering COVID concerns. </strong></p>
<p>Vaxed and double boosted, we nonetheless (or all the more?) have gotten used to masking up for indoor performances. As COVID restrictions decline and mandates lift, we may still find times that being extra careful is necessary. None of that will keep us homebound when good music can bring healing, a refreshing escape, or even a sense of adventure in these new normal times. </p>
<p><strong>Do you have any final comments? </strong></p>
<p>The Binghamton Philharmonic is a musical treasure for our region. We are happy to support it financially, yes, but also by our regular presence in an appreciative audience of music lovers.</p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7024938
2022-07-27T15:04:41-04:00
2022-07-29T10:54:13-04:00
Becoming a Binghamton Philharmonic Subscriber
<p><strong>By Dr. Paul Cienniwa, Executive Director</strong></p>
<p>If you are not already a Philharmonic subscriber, you might wonder why you would ever subscribe. Our current subscribers already know why they subscribe, and I am sure they would tell you that it is about much more than getting a discount on tickets. But what are some of those tangible benefits? </p>
<ul> <li>10-15% discount on concert tickets and waiving of pesky ticketing fees </li> <li>The ability to add more tickets at the same discount throughout the season </li> <li>Concierge service: personalized service, year-to-year seating guarantee </li> <li>Free ticket exchange: Can't attend an upcoming concert for which you have subscription tickets? Give us a call up to the Thursday before the concert, and you can exchange your tickets to a different upcoming concert at no charge.</li> <li>Ticket insurance: post-concert ticket exchange if you have a last-minute conflict (one per season allowed) </li> <li>Subscriptions start at just three concerts for as low as $54. You don’t have to subscribe to the entire season to enjoy all of the subscriber benefits. </li>
</ul>
<p><strong>There are also some hidden benefits: </strong></p>
<ul> <li>Buying in advance allows you to pick seats long before the general public–including coveted aisle seats. </li> <li>Patrons can plan far ahead, from dinner reservations to family outings–and don’t forget that subscribers can add additional tickets at the same discount level throughout the season. </li> <li>Romance: by subscribing and putting date nights on the calendar, you have already set aside time for you and your significant other and/or friends. With our restaurant partners, you’ll have no trouble enjoying culturally rich nights on the town. </li> <li>Meeting others: with special events, like our <a contents="Subscription Pickup Party" data-link-label="" data-link-type="url" href="https://binghamtonphilharmonic.org/event/4683461/599740905/subscription-pickup-party" target="_blank">Subscription Pickup Party</a>, you have an opportunity to meet other subscribers who are passionate about great music.</li>
</ul>
<p><b>We really take care of our subscribers!</b></p>
<p><strong>On an entirely different level, subscribers help out the Philharmonic by building up its resources early in the season. This helps us to: </strong></p>
<ul> <li>Further our educational mission </li> <li>Plan more freely for future seasons </li> <li>Invest in our future </li> <li>Save on marketing expenses </li> <li>Respond to grantors and sponsors who expect a large subscriber base</li>
</ul>
<p>All in all, our subscribers enjoy numerous deep benefits, from community, education, romance, and prestige, while also helping the Philharmonic to be financially stable as we work to remain competitive with other cities, both economically and culturally. <strong>Your subscription to the Binghamton Philharmonic is key to our success and the success of Binghamton’s cultural community! </strong></p>
<p><span style="color:#bf532c;"><strong>Call the Box Office to subscribe today! 607-723-3931</strong></span></p>
<p style="text-align: center;"><iframe class="justify_inline" data-video-type="youtube" data-video-id="Wv2Unk4BhIo" data-video-thumb-url="https://img.youtube.com/vi/Wv2Unk4BhIo/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/Wv2Unk4BhIo?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="360" width="640" allowfullscreen="true"></iframe></p>
<p> </p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7019389
2022-07-21T10:22:29-04:00
2022-11-28T13:33:21-05:00
Announcing the Binghamton Philharmonic’s 2022-2023 Sponsored Nonprofits!
<p>At each of its season concerts, the Binghamton Philharmonic provides an opportunity for an area nonprofit to table, give a promotional handout, and speak to the audience. Tickets are provided to nonprofit staff, board members, and constituents through the Philharmonic’s “Musical Gifts” program. Both Sponsored Nonprofits and Musical Gifts are offered through the generous support of IBM, the Binghamton Philharmonic’s Community Engagement and Education Sponsor.</p>
<p><a contents="" data-link-label="" data-link-type="url" href="https://www.ibm.com/us-en?utm_content=SRCWW&p1=Search&p4=43700050478179489&p5=e&gclid=086e438affd710f08ca12153a73f67ae&gclsrc=3p.ds" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/aa33c542b34016d89d421e730515761de9972195/original/ibm-sponsor.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_center border_none" alt="" /></a></p>
<h3 style="text-align: center;">We are pleased to announce this year’s roster of sponsored nonprofits: </h3>
<p style="text-align: center;"><a contents="American Journey, Saturday, September 24, 2022, 7:30pm, Forum Theatre&nbsp;" data-link-label="" data-link-type="url" href="https://binghamtonphilharmonic.org/event/4608659/593418008/american-journey" target="_blank"><strong>American Journey, Saturday, September 24, 2022, 7:30pm, Forum Theatre </strong></a></p>
<p><a contents="" data-link-label="" data-link-type="url" href="https://thestcc.org/" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/f249af176d390da1484300506747d286e7f1f2db/original/southern-tier-community-center.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_center border_none" alt="" /></a></p>
<p> </p>
<p style="text-align: center;"><a contents="Walking Distance, Saturday, October 22, 2022, 7:30pm, Helen Foley Theatre" data-link-label="" data-link-type="url" href="https://binghamtonphilharmonic.org/event/4608665/593418014/walking-distance" target="_blank"><strong>Walking Distance, Saturday, October 22, 2022, 7:30pm, Helen Foley Theatre</strong></a></p>
<p><a contents="" data-link-label="" data-link-type="url" href="http://www.rise-ny.org/" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/f80bce6b7ef65fc355f50c4558535db9fba3b075/original/riselogo2.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_center border_none" alt="" /></a></p>
<p style="text-align: center;"><strong><a contents="Green Places, Saturday, November 12, 2022, 7:30pm, Forum Theatre" data-link-label="" data-link-type="url" href="https://binghamtonphilharmonic.org/event/4608670/593418019/green-places" target="_blank">Green Places, Saturday, November 12, 2022, 7:30pm, Forum Theatre</a> </strong><br><a contents="" data-link-label="" data-link-type="url" href="https://www.ywca.org/" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/087132e58dc72bd30f39a632c33bb89c7271f08f/original/ywca-2.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_center border_none" alt="" /></a></p>
<p> </p>
<p style="text-align: center;"><strong><a contents="Winter Wonderland, Saturday, December 10, 2022, 3:00pm, Forum Theatre" data-link-label="" data-link-type="url" href="https://binghamtonphilharmonic.org/event/4608672/595046233/winter-wonderland" target="_blank">Winter Wonderland, Saturday, December 10, 2022, 3:00pm, Forum Theatre</a> </strong></p>
<p><a contents="" data-link-label="" data-link-type="url" href="http://www.clearpath4vets.com/" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/e73b30b640ae01482bdc519a593ecb009a4f88a0/original/clear-path-for-veterans-new-logo.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_none" alt="" /></a></p>
<p style="text-align: center;"><a contents="Wallenberg Festival, Saturday, January 28, 2023, 7:30pm, Forum Theatre" data-link-label="" data-link-type="url" href="https://binghamtonphilharmonic.org/event/4608674/593418023/wallenberg-festival" target="_blank"><strong>Wallenberg Festival, Saturday, January 28, 2023, 7:30pm, Forum Theatre</strong></a></p>
<p><a contents="" data-link-label="" data-link-type="url" href="https://www.southerndoorclt.com/" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/d6862872806cafb66b54fead124ec4dc65d34b85/original/southern-door-community-land-trust.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_center border_none" alt="" /></a></p>
<p style="text-align: center;"><a contents="Pops at the Forum, Saturday, March 25, 2023, 3:00pm, Forum Theatre" data-link-label="" data-link-type="url" href="https://binghamtonphilharmonic.org/event/4608680/595046232/pops-at-the-forum" target="_blank"><strong>Pops at the Forum, Saturday, March 25, 2023, 3:00pm, Forum Theatre</strong></a></p>
<p><a contents="" data-link-label="" data-link-type="url" href="https://foundation.ascension.org/newyork/lourdes-hospital-foundation" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/ec897e4cd983d123f8934ede69a6f263e8ff5892/original/lourdes-foundation-logo-blue.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_center border_none" alt="" /></a></p>
<p style="text-align: center;"><a contents="Northern Lights, Saturday, April 29, 2023, 7:30pm, Forum Theatre" data-link-label="" data-link-type="url" href="https://binghamtonphilharmonic.org/event/4608683/593418175/northern-lights" target="_blank"><strong>Northern Lights, Saturday, April 29, 2023, 7:30pm, Forum Theatre</strong></a></p>
<p><a contents="" data-link-label="" data-link-type="url" href="https://stic-cil.org/" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/e0d313d51dbc5ca78962851af28d1e506fd96264/original/southern-tier-independence-center.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.jpg" class="size_l justify_center border_none" alt="" /></a></p>
<p> </p>
<p style="text-align: center;"><a contents="May the Fourth Be With You, Thursday, May 4, 2023, 7:30pm, Anderson Center for the Performing Arts" data-link-label="" data-link-type="url" href="https://binghamtonphilharmonic.org/event/4608760/593418296/may-the-fourth-be-with-you" target="_blank"><strong>May the Fourth Be With You, Thursday, May 4, 2023, 7:30pm, Anderson Center for the Performing Arts</strong></a></p>
<p><a contents="" data-link-label="" data-link-type="url" href="https://www.bbbstwintiers.org/" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/cc21dff949c2f8874b6e0510083622e260cae663/original/big-brothers-big-sisters-of-the-twin-tiers.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_center border_none" alt="" /></a></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7010357
2022-07-08T10:36:42-04:00
2022-07-12T11:35:17-04:00
Philharmonic’s take on summer fun: Readings with music
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/2655fd1f50b3cb64418edc72e3f58aa7e536de71/original/dsc-3315.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.jpg" class="size_l justify_center border_none" alt="Classical Music Education Event" /></p>
<p><strong>By George Basler, Broome Arts Mirror</strong></p>
<p>July 7, 2022 </p>
<p>As part of its efforts to reach out to the community and expose children to classical music, the Binghamton Philharmonic Orchestra this summer is presenting a series of live readings, with music, of the children’s book <em><a contents="Quaver Has a Feeling" data-link-label="" data-link-type="url" href="https://binghamtonphilharmonic.org/community-music-school-umbrella/blog/quaver-has-a-feeling" target="_blank">Quaver Has a Feeling</a></em>. </p>
<p>The book, written and illustrated by local children’s author Debbie Honas, takes readers on the journey of Quaver, the eighth note in music, as the character deals with a wide range of emotions from anger to happiness to sadness to thankfulness. </p>
<p>Honas, writing under the pen name Lenora Riegel, hopes the book helps children deal with them own emotions. “It’s important for kids to know they have different feelings, and it’s OK to have them. We all have them,” she said. </p>
<p>The next reading will take place <a contents="1 p.m. Tuesday (July 12) at Broome County Public Library, 185 Court St., Binghamton" data-link-label="" data-link-type="url" href="https://binghamtonphilharmonic.org/event/4688661/600285809/quaver-has-a-feeling-reading" target="_blank">1 p.m. Tuesday (July 12) at Broome County Public Library, 185 Court St., Binghamton</a>. The Philharmonic also has scheduled readings at <a contents="1 p.m. and 2 p.m. Aug. 6 at the Spiedie Fest in Otsiningo Park." data-link-label="" data-link-type="url" href="https://binghamtonphilharmonic.org/event/4688665/600285813/spiedie-fest-quaver-has-feeling-reading" target="_blank">1 p.m. and 2 p.m. Aug. 6 at the Spiedie Fest in Otsiningo Park.</a> The Spiedie Fest readings will take place near the south entrance restrooms by the playground, directly across from the NYSEG tent. NYSEG is sponsoring all the programs, which are free of charge. </p>
<p>The readings are multi-faceted. Erika Dentinger, director of operations for the Philharmonic, will read <em>Quaver Has a Feeling</em> while Philharmonic musician April Lucas accompanies her on the clarinet and saxophone. </p>
<p>The book has QR codes throughout its pages that readers can access with their phone cameras to listen to 30- to 45-second snippets of classical music. The snippets, taken from Philharmonic recordings in the Wallenberg Legacy Recording Archive, reflect the emotions covered in the book. For example, the reading about happiness is linked to a snippet from the overture to Mozart’s opera The Magic Flute. </p>
<p>The goal is to use a combination of words, illustrations and music to engage children, pique their interest and have them understand a variety of feelings, organizers said. </p>
<p>The idea for readings grew out of “pop-up” concerts that Philharmonic musicians played in the community over the past two summers during COVID. “We decided to change it to live readings with music,” Dentinger said. The aim was to make a smooth transition to a program aimed at a younger age group “to introduce them to the world of classical music,” she added. </p>
<p>“I think it’s great,” Honas said. “The whole idea is to bring things to the community.” </p>
<p>The Owego author began writing children’s books after retiring from a 35-year career as a design engineer. “It’s my first love,” she said. She has now written seven books, all set in the Finger Lakes region. They are published and distributed by Honas’ company, Siphre Books (<a contents="www.siphrebooks.com" data-link-label="" data-link-type="url" href="http://www.siphrebooks.com/" target="_blank">www.siphrebooks.com</a>). </p>
<p>The series of readings began in May and June with well-attended programs at the Vestal Public Library and Discovery Center of the Southern Tier. They are part of the Philharmonic’s efforts to stay active in the summer months. </p>
<p>“Summer is great for us to get a chance to do community outreach,” Dentinger said.</p>
<p><a contents="Click here to read the original article by Broome Arts Mirror." data-link-label="" data-link-type="url" href="https://broomearts.org/philharmonics-take-on-summer-fun-readings-with-music/" target="_blank">Click here to read the original article by Broome Arts Mirror.</a></p>
<p><a contents="Click here to see our upcoming Quaver Has a Feeling events, along with other educational events." data-link-label="Educational Events" data-link-type="page" href="/educational-events" target="_blank">Click here to see our upcoming <em>Quaver Has a Feeling</em> events, along with other educational events.</a></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/7003344
2022-06-28T14:50:33-04:00
2022-07-12T10:10:25-04:00
Scenes from Our Summer Chamber Music Camp
<p style="text-align: center;">We're so excited to kick off our first ever <a contents="Summer Chamber Music Camp" data-link-label="Summer Chamber Music Camp" data-link-type="page" href="/summer-chamber-music-camp" target="_blank">Summer Chamber Music Camp</a> for middle and high school students! Scroll down to see behind-the-scenes images from our Summer Camp! </p>
<p style="text-align: center;"><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/bb511b1275a0c1395011d136d223918d20a840d0/original/20220628-110544.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.jpg" class="size_l justify_center border_none" alt="Classical Music Summer Camp" /><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/420b74fac27f9deb2095273a95218c5604b67564/original/20220628-113621.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.jpg" class="size_l justify_center border_none" alt="Classical Music Summer Camp" /><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/00294d71f4f77e86ecad3f5e39d1d9a71b3e1036/original/20220628-110624.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.jpg" class="size_l justify_center border_none" alt="Classical Music Summer Camp" /><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/b2b966f741c0d31051917153f10d69e6ac68fb9f/original/20220628-113606.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.jpg" class="size_l justify_center border_none" alt="Classical Music Summer Camp" /><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/0d8e481dd042384401f3aab034c18a2892eba827/original/20220628-124449.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.jpg" class="size_l justify_center border_none" alt="Classical Music Summer Camp" /><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/d636e25d8045caf97e8a87cd62b5ef2fcba3493f/original/20220628-124411.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.jpg" class="size_l justify_center border_none" alt="Classical Music Summer Camp" /><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/7722249beb32428bf5fa75ed3248865227e5cc77/original/20220628-113617.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.jpg" class="size_l justify_center border_none" alt="Classical Music Summer Camp" /><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/aca5962e40231620aff0768d7aed74c0e0c25263/original/20220628-124622.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.jpg" class="size_l justify_center border_none" alt="Classical Music Summer Camp" /><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/8395e0000b2c4872b6096fc5ed217cd26439aad9/original/20220628-124614.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.jpg" class="size_l justify_center border_none" alt="Classical Music Summer Camp" /></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/6989372
2022-06-08T11:03:50-04:00
2022-07-12T10:09:17-04:00
Binghamton Philharmonic Percussion Trio: Program and Bios
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/a0ffcf862b1a4f37ad72421c04ae04b241ef485a/original/summer-chamber-music-eblast5.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.png" class="size_l justify_center border_none" alt="classical musicians" /></p>
<h3>Program</h3>
<p>Hands Up (2005) — Josh Gottry (b.1974) </p>
<p>Ancient Rudimental Drum Solos (c.1776) — Traditional <br> Three Camps <br> Downfall of Paris </p>
<p>Recuerdos De La Alhambra (Memories of Alhambra) — Francisco Tárrega (1852-1909) arr. Steve Mathiesen </p>
<p>Variations on a Ghanaian Theme (1981) — Daniel Levitan (b.1953) </p>
<p>Marimba on the Mexican Streets — Traditional, arr. Terry Baldridge <br> Evanelina <br> Tapachol <br> Aires de Cohatan </p>
<p>Click Track Trio (2018) — Daniel Fabricius (b.1957) </p>
<p>Stinkin’ Garbage (1997) — Ed Argenziano (b.1958) </p>
<p>Six Slick Stick Click Licks (2001) — Paul Goldstaub (1947-2014) </p>
<p>Round and Round (2020) — Joel Smales (b.1967) </p>
<p>Improvisation # 18,937,118,959.25 (2022) — Binghamton Philharmonic Percussion Trio </p>
<p>The Last Game (2019) — Daiki Kato (b.1987) </p>
<p>Xylophonia (1925) — Joe Green (1892-1939)</p>
<p> </p>
<h3><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/687b94c1cc851d245c38fd8201d529b7e30891d0/original/joel-smales-percussion-b-w.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_left border_none" alt="classical musician" style="margin-right: 10px; margin-left: 10px;" />Joel Smales </h3>
<p>Joel, a teacher who performs and a performer who teaches, is Director of Bands at <a contents="Binghamton High School’s Rod Serling School of Fine Arts" data-link-label="" data-link-type="url" href="https://www.binghamtonschools.org/district/departments/fine_arts" target="_blank">Binghamton High School’s Rod Serling School of Fine Arts</a> and is Director of the Percussion Program at Binghamton University. He holds music degrees from the <a contents="Crane School of Music" data-link-label="" data-link-type="url" href="https://www.potsdam.edu/academics/crane-school-music" target="_blank">Crane School of Music</a> (BM) and <a contents="Binghamton University" data-link-label="" data-link-type="url" href="https://www.binghamton.edu/" target="_blank">Binghamton University</a> (MM). </p>
<p>As a performer, Mr. Smales is active in the upstate NY region where he regularly performs solo percussion, Principal Percussion with the <a contents="Tri-Cities Opera Orchestra" data-link-label="" data-link-type="url" href="https://www.tricitiesopera.com/" target="_blank">Tri-Cities Opera Orchestra</a>, with the Binghamton Philharmonic Orchestra, eNeRJee Jazz Trio, Caribbean steel band ISLAND HOPPERS and as a freelance drummer/percussionist. He has performed on over thirty professional CD recordings and runs an annual Summer Percussion Camp in Binghamton for area school students. His compositions include solos, ensembles, books and method books published by Kendor, HoneyRock, Drop6, House Panther Press and Phantom Music Publishing. </p>
<p>His school ensembles have performed for Bands of America in Indianapolis, NYS School Music Association Winter Conference, New York State Band Directors Association Winter Conference, Music Educators National Conference in Minneapolis, Percussive Arts Society International Convention in Nashville, First Night Virginia, First Night International, the World Physics Conference, and numerous Steel Drum Festivals. </p>
<p>Mr. Smales has presented clinics for MENC, NYSSMA, NYSBDA and the NJMEA and his articles on music and percussion have appeared in Percussive Notes, School Band and Orchestra, School Music News, The Instrumentalist, Vermont Music Educator and Band World magazines. </p>
<p>Smales has served as the Percussion Chair for the <a contents="New York State School Music Association" data-link-label="" data-link-type="url" href="https://www.nyssma.org/" target="_blank">New York State School Music Association</a> and V.P. for the NYS Percussive Arts Society and currently serves NYSSMA as a Percussion adjudicator and is the Snare Drum and Mallet Percussion editor for the NYSSMA Manual. Joel and his wife Athena have 4 children and live in Kirkwood, NY. </p>
<p> </p>
<h3><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/34d2ff0d3ec773ec0139cd939e5fe096616f0ace/original/daniel-fabricius-percussion-b-w.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_left border_none" alt="classical musician" style="margin-right: 10px; margin-left: 10px;" />Daniel Fabricius </h3>
<p>Daniel is highly regarded in the region as a percussionist, conductor, and music educator. He has been a member of the Binghamton Philharmonic since 1982. He is now retired from his position as Director of Bands at <a contents="Owego Free Academy" data-link-label="" data-link-type="url" href="https://www.oacsd.org/o/ofa" target="_blank">Owego Free Academy</a> where he developed one of the finest instrumental music programs in the state. He is still currently teaching at Binghamton University, where after twenty years in the percussion studio he was appointed conductor of the University Wind Symphony in 2012. He is also an adjunct professor at <a contents="Ithaca College" data-link-label="" data-link-type="url" href="https://www.ithaca.edu/" target="_blank">Ithaca College</a>, where he instructs and supervises music education students. Throughout his professional life he has served the New York State School Music Association in many roles, among them, All-State adjudicator, Major Organization Adjudicator, and All-State Jazz Ensemble Chairperson. He is currently serving on the Adjudication Festival Committee as NYSSMA Jazz Coordinator. </p>
<p>As a freelance percussionist he has played in many regional ensembles and has also accompanied national touring artists such as Michael W. Smith, Tommy Tune, Jerry Vail, Lorrie Morgan, Ringling Brothers Circus, the Smothers Brothers, and Ella Fitzgerald. In addition to a full schedule as a performer and teacher he has presented many clinics at music conventions and conferences and often serves as a guest conductor at festivals for student musicians. </p>
<p> </p>
<h3><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/fd4405f7b21f8ae7857924cf669ec42bbd731b55/original/steven-mathiesen-principal-img-2605.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_left border_none" alt="classical musician" style="margin-right: 10px; margin-left: 10px;" />Steven Mathiesen </h3>
<p>Steven has been the principal timpanist of the Binghamton Philharmonic since 1996 and performed in the percussion section from time to time prior to that date. In January 2002, he was a featured soloist with the Philharmonic, performing Harmonic Rhythm, a timpani concerto composed by Russell Peck and jointly commissioned by the Binghamton Philharmonic and 38 other orchestras. </p>
<p>Mr. Mathiesen is also a member of the percussion section of the <a contents="Northeastern Pennsylvania Philharmonic" data-link-label="" data-link-type="url" href="https://nepaphil.org/" target="_blank">Northeastern Pennsylvania Philharmonic</a> and is principal timpanist with the Pennsylvania Sinfonia Orchestra in Allentown, Pa. He has also performed with the Bethlehem Bach Festival Orchestra, Cayuga Chamber Orchestra, Lehigh Valley Chamber Orchestra, Allentown Symphony and Reading Symphony. He has accompanied many professional entertainers in their appearances at area venues. </p>
<p>Mathiesen has appeared on recordings with the Bach Choir of Bethlehem, the Pennsylvania Sinfonia Orchestra and the Mainstreet Brass, as well as numerous studio recordings for Shawnee Press and Alfred Publishing. He played timpani in Don’t Be a Carbon Sasquatch, a part of the recently released Disney DVD Schoolhouse Rock: Earth. His compositions and arrangements are published by Shawnee Press, Honeyrock Publications, C-Alan Publications and Permus Publications. </p>
<p>Steven received the Master of Music degree from the <a contents="Cincinnati College-Conservatory of Music" data-link-label="" data-link-type="url" href="https://ccm.uc.edu/" target="_blank">Cincinnati College-Conservatory of Music</a> and a Bachelor of Music degree from the Ithaca College School of Music. His principal teachers were William Youhass and Allen Otte. He teaches at Marywood University, Moravian College and Lehigh University. He is a graduate of the East Stroudsburg (Pa.) Area High School and was inducted into the school district’s Music Hall of Fame in 2005. He and his family live in the Pocono Mountain region of Pennsylvania</p>
<p> </p>
<h3>Upcoming Performances For Binghamton Philharmonic Percussion Trio</h3>
<p><strong><a contents="Preview Performance" data-link-label="" data-link-type="url" href="https://binghamtonphilharmonic.org/event/4655933/597326607/preview-performance-binghamton-philharmonic-percussion-trio" target="_blank">Preview Performance</a></strong><br>Friday, June 17 at 7:00PM<br>St. Paul's Episcopal Church, 276 Church Street, Montrose, PA</p>
<p><a contents="Summer Chamber Music Series" data-link-label="" data-link-type="url" href="https://binghamtonphilharmonic.org/event/4600655/592769532/summer-chamber-music-series-binghamton-philharmonic-percussion-trio" target="_blank"><strong>Summer Chamber Music Series</strong></a><br>Saturday, June 18 at 7:30PM <br>St. Patrick's Church, 9 Leroy St, Binghamton, NY</p>
<p><strong><a contents="Encore Performance" data-link-label="" data-link-type="url" href="https://binghamtonphilharmonic.org/event/4645975/597326053/encore-performance-binghamton-philharmonic-percussion-trio" target="_blank">Encore Performance</a></strong><br>Sunday, June 19 at 3:00PM<br>Bainbridge Town Hall Theatre, 15 N. Main Street, Bainbridge, NY</p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/6984343
2022-06-01T12:30:34-04:00
2022-07-12T10:08:41-04:00
Parlor City Celli: Program and Bios
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/0e4d71314f9e73db0287400cc887c2f347dba698/original/img-3470.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.png" class="size_l justify_center border_none" alt="classical musicians" /></p>
<h3>Program </h3>
<p><em>Game of Thrones</em> Medley — Ramin Djawadi (b.1974); arr. Steven Sherrill </p>
<p><em>Succession</em> Medley— Nicholas Britell (b.1980); arr. Steven Sherrill </p>
<p>400: An Afrikan Epic (2019) — Mark Lomax II <br> Four Women for Cello Quartet: “Ma'afa: Portrait of Ida B. Wells” </p>
<p>Theme and Variations for Cello Quartet, Op. 28 — Julius Klengel (1859-1933) </p>
<p>Serenade for Cello Quartet, Op. 119, No. 2 — Georg Goltermann (1824-1898) </p>
<p>English Suite #3 BWV 808 — J.S. Bach (1685-1750); arr. Stephen Watkins </p>
<p><em>Power of the Dog </em>Medley — Jonny Greenwood (b.1971); arr. Steven Sherrill </p>
<p><em>The Joke </em>Medley — Brandi Carlile (b.1981); arr. Steven Sherrill </p>
<p>Spanish Dances, Opus 12 — Moritz Moszkowski (1854-1925); arr. Joanne Martin <br> No. 2, Moderato </p>
<p>Libertango — Astor Piazzolla (1933-1990)</p>
<h3> </h3>
<h3><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/b2980ca0b0bcb2e954e7f5f90848d066dce2efb1/original/ruth-berry-cello-b-w.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_left border_none" alt="classical musician" />Ruth Berry </h3>
<p>Ruth recently moved back to her hometown of Hamilton, NY after living in Augusta, GA for many years (where she worked as principal cello of the <a contents="Augusta Symphony and Opera" data-link-label="" data-link-type="url" href="https://augustasymphony.com/" target="_blank">Augusta Symphony and Opera</a>, and served as an artist in residence with the Magellan String Quartet at <a contents="Georgia Southern University" data-link-label="" data-link-type="url" href="https://www.georgiasouthern.edu/" target="_blank">Georgia Southern University</a>). She is a founding member of several chamber ensembles, including the Castalia and Fenimore String Quartets, and the Parlor City Celli. </p>
<p>Since 1986, Ruth performs during the summers with the <a contents="Glimmerglass Festival Orchestra" data-link-label="" data-link-type="url" href="http://www.glimmerglassorchestra.com/" target="_blank">Glimmerglass Festival Orchestra</a> where she specializes in solo continuo work for 17th and 18th century repertoire. During the "off summer" months, Ruth travels regularly to perform with arts organizations throughout the North and Southeastern USA--including the Binghamton Philharmonic and the South Carolina Philharmonic. She teaches cello at Colgate University, Hartwick College, and SUNY Oneonta. </p>
<p>Ruth went to college at <a contents="Boston University" data-link-label="" data-link-type="url" href="https://www.bu.edu/" target="_blank">Boston University</a> (where she studied cello with Leslie Parnas and received the Edwin E. Stein Award for Excellence in the Arts). Her graduate degree and studies at <a contents="Cornell University" data-link-label="" data-link-type="url" href="https://www.cornell.edu/" target="_blank">Cornell University</a> were in musicology, analytical techniques, performance practice and labor relations. Ruth was mentored by string quartet members in residence at Colgate University during her youth (The Amici/Madison and Manhattan Quartet), especially the late Binghamton resident Stephen Stalker with whom she studied. </p>
<p>Ruth is the proud owner of the historic Kitt Shipman Memorial Chapel in Springfield Center NY; she stays there whenever she can to practice, work on creative projects, and to go on hikes in the beautiful hills of Otsego County, NY </p>
<p> </p>
<h3><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/3e02c13d03d5ee22e5e4379df1951a2489586ef9/original/laura-cricco-lizza-cello.jpeg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpeg" class="size_m justify_left border_none" alt="classical musician" />Laura Cricco-Lizza </h3>
<p>Laura lives in New York City and teaches cello and orchestra at Trinity School on the Upper West Side. She is currently a section cellist with the Binghamton Philharmonic Orchestra and is a founding member of the Parlor City Celli. </p>
<p>A native Midwesterner, Laura began playing cello at the age of 10, and by the time she was in high school, she was already teaching private and group cello lessons. Laura has studied with cellists Hans Jørgen Jensen, Wei Yu, Rupei Yeh, Jeffrey Zeigler, and Jeffrey Solow. She has toured internationally throughout South America, Europe, and the United States. In New York, she has performed at Carnegie Weill Recital Hall, Carnegie Stern Auditorium, David Geffen Hall, Riverside Church, St. John the Divine, and Alice Tully Hall. </p>
<p>In 2013, Laura completed a Bachelor of Arts with a major in Music and a minor in Russian at <a contents="Barnard College" data-link-label="" data-link-type="url" href="https://barnard.edu/" target="_blank">Barnard College</a>, Columbia University, where she was awarded the Dolan Prize Scholarship for excellence in music performance and the Star Award for outstanding leadership. As a result of winning the Columbia University chamber competition, she was invited to perform at Carnegie’s Weill Recital Hall. Laura received her Master of Music in Cello Performance from Mannes School of Music in 2016. After a year with Carnegie Hall’s Artist Training Program, Laura completed her Suzuki cello teacher training from the School for Strings and the Chicago Suzuki Institute of Music. </p>
<p>Laura loves going on outdoor adventures, learning new languages, and playing strategic board games. </p>
<p> </p>
<h3><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/27823d7ad989be7d93d2be3b629c7104d6259ecb/original/michael-newman-cello-b-w.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_left border_none" alt="classical musician" />Michael Newman </h3>
<p>Michael serves as the assistant principal cellist in the Binghamton Philharmonic Orchestra and is a founding member of the Parlor City Celli. He is from Southampton, PA, and travels to play with several community orchestras, including the Warminster Symphony Orchestra, Southeastern Pennsylvania Symphony Orchestra, Capital Philharmonic of New Jersey and Bryn Athyn Orchestra. </p>
<p>An avid chamber musician, Michael was a member of the Vernon String Quartet, which was selected as Peabody’s Honors Ensemble for the 2017-2018 season. They performed at the Society of Four Arts in Florida and had the pleasure of collaborating with Michael Kannen, former cellist of the Brentano String Quartet, in Baltimore. In the summer of 2018, Michael attended the Manchester Music Festival as a cello fellowship recipient in the Young Artists Program. Additionally, Michael was a member of the Peabody String Sinfonia, a conductor-less string ensemble that performs exclusively at community venues with a mission to bring the beauty of music to people in challenging situations. </p>
<p>Michael also enjoys performing and collaborating as a recording artist. As a soloist, he premiered two separate works for cello, written by composer Zach Gulaboff Davis. </p>
<p>Michael earned his master’s degree in cello performance from the <a contents="Peabody Institute at Johns Hopkins University" data-link-label="" data-link-type="url" href="https://peabody.jhu.edu/" target="_blank">Peabody Institute at Johns Hopkins University</a>. He was a recipient of the Marc von May Cello Scholarship and studied with distinguished cellist, Alan Stepansky. Michael received his bachelor’s degree from the Boyer College of Music at Temple University, under the tutelage of Udi Bar-David, a cellist in the Philadelphia Orchestra. </p>
<p>An avid car enthusiast, Michael has a collection of unique and rare Mustangs which he enjoys driving and taking to car shows. </p>
<p> </p>
<h3><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/d163df706cc519ac4bc6bbe3f967c068f74b1456/original/hakan-tayga-horomek-principal-cello-img-2625.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_left border_none" alt="classical musician" />Hakan Tayga </h3>
<p>Hakan is Principal Cellist of Binghamton Philharmonic and founding member of the Parlor City Celli. A native of Binghamton, Hakan has wonderful opportunities to collaborate with artists locally and in the Central NY region and in NYC including- Ensemble Concord at the Kilmer Mansion, Pej Reitz, Contemporary Music at Cornell, SUNY Binghamton Faculty novo4tet, DeVere String Quartet, Cypress Willow Quartet, Bach Works NYC, 92nd Street Y Chamber Music Program. Hakan has performed with many regional arts organizations, including the Tri-Cities Opera, Cayuga Chamber Orchestra, Catskill Symphony, Syracuse Symphony, Orchestra of the Southern Finger Lakes. </p>
<p>Hakan’s creative collaborations in the role of resident artist, curator and cellist have helped initiate, along with the Orchestra of the Southern Finger Lakes, the Musicians Choice series at the Arnot and Rockwell Museums. His imaginative partnerships have also found nourishment at the SPOOL MFG (Spool Contemporary Art Space), the not-for-profit organization founded by Binghamton University Professor Don DeMauro. </p>
<p>Hakan attended Ithaca College, SUNY Purchase, and SUNY Binghamton. He has studied cello with many great musicians, including Peter Wiley, Daniel Phillips, Marion Feldman, Stephen Stalker, Einar J. Holm and Fritz Wallenberg. </p>
<p>Hakan is also a gifted gardener and chef. </p>
<p> </p>
<h3>Upcoming Performances For Parlor City Celli</h3>
<p><a contents="Preview Performance" data-link-label="" data-link-type="url" href="https://binghamtonphilharmonic.org/event/4655929/597326608/preview-performance-parlor-city-celli" target="_blank"><strong>Preview Performance</strong></a><br>Friday, June 10 at 7:00PM <br>St. Paul's Episcopal Church, 276 Church Street, Montrose, PA </p>
<p><a contents="Summer Chamber Music Series" data-link-label="" data-link-type="url" href="https://binghamtonphilharmonic.org/event/4600651/592769528/summer-chamber-music-series-parlor-city-celli" target="_blank"><strong>Summer Chamber Music Series</strong></a><br>Saturday, Jun 11 @ 7:30PM <br>St. Patrick's Church, 9 Leroy St, Binghamton, NY</p>
<p><strong><a contents="Encore Performance: Parlor City Celli&nbsp;" data-link-label="" data-link-type="url" href="https://binghamtonphilharmonic.org/event/4655736/597326331/encore-performance-parlor-city-celli" target="_blank">Encore Performance</a></strong><br>Sunday, June 12 @ 3:00PM <br>Church of the Immaculate Conception, 1180 State Highway 206, Greene, NY</p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/6980303
2022-05-26T16:18:26-04:00
2022-06-03T11:14:21-04:00
Top Six Reasons to Subscribe to the 2022-2023 Season Now!
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/917254ff0072f3d1bd0916a0885b0147ae2ab5ad/original/hhh13-temu4lzal0w-unsplash.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_none" alt="" /></p>
<p style="text-align: center;"><strong><span class="font_large">6. You hate paying those obnoxious $4 per-ticket ticketing fees.</span> </strong></p>
<p style="text-align: center;">All ticketing fees are waived for subscribers. (Regardless, we’re way cheaper than Ticketmaster!) </p>
<p style="text-align: center;"> </p>
<p style="text-align: center;"><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/a3a882aa84232aae56a04c3c3cdc449b23c84150/original/afraid.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_center border_none" alt="" /></p>
<p style="text-align: center;"><span class="font_large"><strong>5. Fear of commitment.</strong></span></p>
<p style="text-align: center;">Subscriptions start at just three concerts! Best yet, you can exchange tickets to a different concert free of charge. </p>
<p style="text-align: center;"> </p>
<p style="text-align: center;"><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/580b0b6ffe60e40c208878a276895272c4b2892e/original/kristine-wook-d337postcem-unsplash.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_none" alt="" /></p>
<p style="text-align: center;"><span class="font_large"><strong>4. Fear of pandemics.</strong></span></p>
<p style="text-align: center;">We offer ticket insurance. If you missed a concert due to a last-minute conflict, you may exchange your ticket to another concert. (Limited to one concert per season.) </p>
<p style="text-align: center;"> </p>
<p style="text-align: center;"><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/53deebca04283a5a031ee60e98d62d89c05d2e64/original/markus-winkler-wpoa2i3mury-unsplash.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_none" alt="" /></p>
<p style="text-align: center;"><strong><span class="font_large">3. Indecisiveness.</span> </strong></p>
<p style="text-align: center;">Don’t know what concerts to attend? Build a small, three-concert subscription and qualify for the same subscription discount for any additional concerts during the season. (Ticketing fees apply.) <br> </p>
<p style="text-align: center;"><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/d5219b37f4425bdfe150a41e1cbe0a188dc769bf/original/pexels-sam-lion-5731898.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_none" alt="" /></p>
<p style="text-align: center;"><span class="font_large"><strong>2. You love to party. </strong></span></p>
<p style="text-align: center;">All subscribers are invited to the Subscription Pickup Party on September 8, 4:30-6:30pm at the Binghamton Club. Enjoy complimentary cocktails, appetizers, and live music, courtesy of IBM, our 2022-2023 Community Engagement and Education Sponsor. </p>
<p style="text-align: center;"><strong>And the number one reason to subscribe now… </strong></p>
<p style="text-align: center;"> </p>
<p style="text-align: center;"><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/116078869177d33f44b3c6175aad83ff5a4bfc99/original/brian-photo.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_none" alt="" /></p>
<p style="text-align: center;"><span class="font_large"><strong>Brian Nayor.</strong></span> </p>
<p style="text-align: center;">Enjoy concierge ticketing services with any of the Philharmonic staff, including our unique and charming Director of Sales and Development, Brian Nayor! Brian saves subscribers’ seats from season to season, so returning subscribers are invited to keep their seats or choose new seats before single tickets go on sale. </p>
<p style="text-align: center;"><strong>Want to learn more about the excellent 2022-2023 Season? <a contents="Click here to watch our Season Preview Video!&nbsp;" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=Wv2Unk4BhIo" target="_blank">Click here to watch our Season Preview Video! </a> </strong></p>
<p style="text-align: center;"><strong>To order subscriptions, call the Box Office at 607-723-3931 or download our <a contents="subscription form." data-link-label="2022-2023-subscriptions.pdf" data-link-type="file" href="/files/1172133/2022-2023-subscriptions.pdf" target="_blank">subscription form.</a></strong></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/6974198
2022-05-18T15:06:20-04:00
2022-07-12T11:35:17-04:00
End of Season Giving Campaign
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/e4f8806936fa3324f031737057791fc8e156f11f/original/hege8-high.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.jpg" class="size_l justify_center border_none" alt="Music Director, Daniel Hege" /></p>
<p><strong><span style="color:#bf532c;">Dear Philharmonic Music Lover, </span> </strong></p>
<p>Thank you so much for your wonderful show of support throughout this past season! </p>
<p>Returning to the stage and performing a full concert series of marvelous masterworks with the brilliant <a contents="Binghamton Philharmonic musicians" data-link-label="Musicians" data-link-type="page" href="/musicians" target="_blank">Binghamton Philharmonic musicians</a> and so many amazing guest artists has been both a wonderful joy and a healing salve after being separated for many months. </p>
<p>And I am even more appreciative of this opportunity to share music with you after the challenging time away from each other. It is with your continued patronage and generosity that each of our performances was made possible. <strong>That is why I am asking you to consider making a tax-deductible contribution to the Binghamton Philharmonic before June 30, 2022.</strong> Your gift will not only help us successfully conclude our 2021-2022 Season, but also ensure an equally vibrant and impactful 2022-2023 Season! <em>(If you donate online, you can easily make a recurring contribution that will help sustain us throughout the year. <a contents="Click here to give today." data-link-label="" data-link-type="url" href="https://binghamtonphilharmonic.app.neoncrm.com/forms/4" target="_blank">Click here to give today.</a>) </em></p>
<p>Thank you so much again for your attendance and support to help make the Binghamton Philharmonic thrive in our community. We couldn’t do it without you! </p>
<p> </p>
<p>Happy Listening! </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/afacf4f6b52a55ac630c45b14c2912fe9dffa8fc/original/daniel-hege-signature.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_left border_none" alt="" /></p>
<p> </p>
<p> </p>
<p> </p>
<p>Daniel Hege <br>Music Director</p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/6958357
2022-04-29T14:31:36-04:00
2022-07-12T11:32:27-04:00
The Binghamton Philharmonic Welcomes New Musicians!
<p>Two weeks ago, the Philharmonic held auditions for open principal trombone, cello, and bass positions. 15 competed for the trombone positions, 8 competed for the cello positions, and 9 competed for the bass positions. Auditions are "blind," meaning that the panel of judges, made up of Maestro Hege and principal string and brass players, can see neither the auditioning musicians nor their resumes. Out of those who auditioned, one principal trombonist, one cellist, and one bassist were taken on as new members of our orchestra! </p>
<p>We are happy to announce the names of our new musicians:</p>
<h3><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/a12df2ee7b4629a40a19a46692aaafd50590ae72/original/felix-regalado-trombone.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_left border_none" alt="classical musician" />Felix Regalado, Principal Trombone </h3>
<p>Felix Regalado, Florida native, has been part of a great variety of different ensembles and music groups. Currently residing in Chicago, IL, Mr. Regalado is completing his Masters of Music degree at <a contents="Northwestern’s Bienen School of music " data-link-label="" data-link-type="url" href="https://music.northwestern.edu/" target="_blank">Northwestern’s Bienen School of music </a>and is expected to graduate in 2022. He was also recently appointed as a Regular Member of the Civic Orchestra of Chicago, the Chicago Symphony’s training orchestra, in 2021. </p>
<p>Prior to moving to Chicago, Mr. Regalado lived in San Francisco, CA, where he completed his Undergraduate studies at the <a contents="San Francisco Conservatory of Music" data-link-label="" data-link-type="url" href="https://sfcm.edu/" target="_blank">San Francisco Conservatory of Music</a>. During his time in San Francisco he had the opportunity to perform with ensembles such as the San Francisco Opera and Opera San Jose. As well as a couple of new music groups named “After Everything” and “Mercury Soul”. </p>
<p>After moving to Chicago, Mr. Regalado has been doing most of his performances in Orchestra Hall with the Civic Orchestra of Chicago. Felix has had the incredible opportunity of performing with the Chicago Symphony Orchestra as a section trombonist, as well as partaking in their yearly CSO Brass Concert in December 2021. He has also had the opportunity to have performed with the Tulsa Symphony as their Guest Principal Trombonist. </p>
<p>In his free time, you can find Felix cooking a new recipe at home, finding new restaurants throughout the city, enjoying a beverage at his local brewery, or hanging out with family and friends.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/25f5a0b7d6714f46162acc153d0f65b0a87745cf/original/gregory-stebbins-cello.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_left border_none" alt="classical musician" /></p>
<h3>Gregory Stebbins, Cello</h3>
<p>Cellist Gregory Stebbins has always had a passion for orchestral playing. In his teenage years, he participated in youth orchestras that enriched his life. As a member of the Interschool Orchestras of New York Symphony, he had the opportunity to tour Scotland and participate in the <a contents="Aberdeen International Youth Music Festival" data-link-label="" data-link-type="url" href="https://www.scotland.com/blog/aberdeen-international-youth-festival/" target="_blank">Aberdeen International Youth Music Festival</a>. </p>
<p>Gregory, a Long Island native, attended the <a contents="State University of New York at Fredonia" data-link-label="" data-link-type="url" href="https://www.fredonia.edu/" target="_blank">State University of New York at Fredonia</a> for his undergraduate degree in Music Performance. Under the tutelage of Dr. Natasha Farny, Gregory's love for collaborative music making only grew. </p>
<p>In 2021, Gregory received his Master's in Music Performance from the University of Oregon, studying under Mr. Steven Pologe, the former principal of the Eugene Symphony, Honolulu Symphony, and many others. It was here Gregory's future as an orchestral musician was truly solidified. </p>
<p>In addition to being an accomplished orchestral player, Gregory also enjoys playing chamber music in all of it's forms. Many of his summers have been spent playing quartets, trios, and quintets at such places as the Meadowmount School of Music, the Brancaleoni International Festival, and the Green Mountain Chamber Music Festival. </p>
<p>In his free time, Gregory is an avid Fantasy reader, and also enjoys spending time by the water whenever he can.</p>
<p> </p>
<h3><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/195b1c5b853c45d7e0c622699d8ccfeb07007647/original/john-krause-bass.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_left border_none" alt="classical musician" />John Krause, Bass</h3>
<p>John Krause began playing double bass at the age of ten as a public school student in Chittenango, New York. As a winner of the Syracuse Symphony Youth Orchestra Concerto Competition in high school, he went on to attend <a contents="The Boston Conservatory" data-link-label="" data-link-type="url" href="https://bostonconservatory.berklee.edu/" target="_blank">The Boston Conservatory</a> where he received a Bachelor’s degree in Double Bass Performance in 2016 while studying with Lawrence Wolfe and Thomas Van Dyck. During his summers at school he attended Eastern Music Festival and Brevard Music Center. In 2018, he graduated as a Patti Johnson Wilson String Orchestral Fellow at <a contents="Oklahoma State University" data-link-label="" data-link-type="url" href="https://go.okstate.edu/" target="_blank">Oklahoma State University</a> under the tutelage of George Speed. </p>
<p>In Oklahoma, he performed with the Oklahoma City Philharmonic and the Tulsa Symphony Orchestra, and was the Associate Principal Bass of the Tulsa Opera Orchestra. Since moving back to the east coast upon graduating, he has become the Assistant Principal Bass of Symphoria and the Associate Principal Bass of the Lynchburg Symphony. He has played with the North Carolina Symphony, the Charleston Symphony and the Richmond Symphony, among others. He teaches Double Bass Performance at Binghamton University, and is passionate about passing on the great tradition that is classical music performance. </p>
<p>John is excited to be playing very close to where he grew up in his home state of New York. He enjoys reading, sports, cooking, listening to old Herbert Von Karajan recordings, and spending time outdoors with his wife Connie.</p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/6956308
2022-04-25T10:40:29-04:00
2022-07-12T11:31:45-04:00
Real Live Music
<p>By Dr. Paul Cienniwa, Executive Director</p>
<p>One great thing about live performance is the unpredictable inspiration that makes for an unforgettable concert. That unpredictability sometimes results in the most unpredictable–such as when percussionist Sam Lazzara’s cymbal fell to the floor during a touching moment of Saturday’s Rachmaninoff Concerto. The cymbals are held with straps attached by a special knot, and that knot slipped through the cymbal. Sam mused that the nylon cord might have shrunk with the hot stage lights, but the strap did not break in any conventional way. </p>
<p>Sam wrote that his “colleagues were predictably supportive last night following my sabotage of the stunning Rachmaninoff performance,” and he shared, in good humor, the following comments: </p>
<p><strong>Principal French horn Alex Shuhan:</strong> “It could have been worse. The cymbal could have rolled across the stage.” </p>
<p><strong>Maestro Hege:</strong> “Why'd you leave the stage ? I wanted to give you a bow!” </p>
<p><strong>Violist Marisa Crabb:</strong> “I played every note of Rachmaninoff, following your cymbal malfunction, with passion.” </p>
<p>Sam concluded by writing, “I assure you, my forwarding those comments is a form of therapy for me. In all of my years playing gigs...never before has....well, you get the message.” </p>
<p>You can hear Sam next season as the soloist in Leroy Anderson’s <em>The Typewriter</em> during “<a contents="Pops at the Forum" data-link-label="" data-link-type="url" href="https://binghamtonphilharmonic.org/event/4608680/595046232/pops-at-the-forum" target="_blank">Pops at the Forum</a>" on Saturday, March 25, 2023 at 3pm. And who knows what might happen?! </p>
<p><a contents="Click here" data-link-label="2022-2023-subscriptions.pdf" data-link-type="file" href="/files/1172133/2022-2023-subscriptions.pdf" target="_blank">Click here</a> to get your subscription tickets now!</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/42a3eb12d983ed56d69312b7e082d8917ae4bb10/original/20220422-132533.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.jpg" class="size_l justify_center border_none" alt="classical musician" /></p>
<p style="text-align: center;"><span class="font_small">Sam Lazzara trying out typewriters at <a contents="TechWorks!" data-link-label="" data-link-type="url" href="http://www.ctandi.org/" target="_blank">TechWorks!</a></span></p>
<p> </p>
<p> </p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/6933970
2022-03-28T11:21:41-04:00
2022-07-12T10:06:13-04:00
A [Very] Brief History of Ukrainian Composers
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/a0e8c4c0f26fc04a87ec4e4af8837e0f66748a1b/original/composers-of-the-ukraine-01.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.png" class="size_xl justify_center border_none" alt="classical composers" /></p>
<p style="text-align: center;"><em><span class="font_small">Golden Three Ukrainian composers of the 18th century: (from the left) <br>Maksym Berezovsky (1745-1777), Dmytro Bortnyansky (1751-1825), and Artem Vedel (1767-1808)</span></em></p>
<p><em>The Binghamton Philharmonic's program annotator <a contents="Ubaldo Valli" data-link-label="" data-link-type="url" href="https://binghamtonphilharmonic.org/news/blog/emerge-concert-program-notes" target="_blank"><strong>Ubaldo Valli</strong></a> wrote this reflection on Ukrainian composers.</em></p>
<p>Cultural identity has been a potent force in human history. Pick any era of history in any area of the world with homo sapiens, and you find examples of cultures wrestling one another and, in the process, finding themselves. Renewed interest in and use of "mother tongues" (for starters: Gaelic, Czech, Bengali, numerous indigenous Native American and African languages); literature exploring legends, myths, and folklore (works by the Norwegian Henrik Ibsen and Argentine <em>Literatura Gauchesca</em>); and visual arts employing motifs from traditional sources (works by the Mexicans Frida Kahlo and Diego Rivera and the South African Gerard Sekoto) are just a few examples of assertions of cultural character that were often part of a social and political vanguard. </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/dbde8b0e949f0f5112d53a536eceed8a85a335ce/original/composers-of-the-ukraine-02.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_right border_none" alt="classical composer" />Music composed by classical composers has also been a powerful tool in establishing and reinforcing cultural identity. Before the Risorgimento united the Italian peninsula as one nation in 1870, Italians shouted “Viva Verdi” after hearing the <em>Chorus of Hebrew Slaves</em> from Giuseppe Verdi’s opera <em>Nabucco</em> (but really were shouting the acronym <strong>V</strong>ictor <strong>E</strong>mmanuele <strong>R</strong>e <strong>D</strong>’<strong>I</strong>talia in support of the King of Sardinia presiding over a unified Italy). Prior to gaining independence from the Russian Empire in 1917, Finns applauded Jean Sibelius’ tone poem variously entitled <em>Happy Feelings at The Awakening Of Finnish Spring </em>or<em> A Scandinavian Choral March or Impromptu</em> that was composed for a newspaper journalist pension fund benefit concert (knowing full well these monikers concealed the true title suppressed by Russian censors: <em>Finland Awakening </em>or <em>Finlandia</em>). </p>
<p>Ukrainian classical composers also wanted to use their musical heritage in their compositions to establish a cultural identity. However, while their culture has a long and storied history (Kyiv is over 1,500 years old), Ukrainians live at a strategically important geographic crossroads endowed with great natural resources that are coveted by powerful empires. As a result, the nation of Ukraine only achieved lasting independence in 1991 after being ruled for centuries by Russia, the Soviet Union, Poland, the Ottoman Empire, Lithuania, Austria, Hungary, the Mongols... And the occupying empires suppressed Ukrainian culture and institutions (e.g., banning Ukrainian in churches, schools, and theatrical performances or the use of Ukrainian names to christen children) while imposing their own (e.g., making Polish the official state language, pursuing a policy of “Russification”). It was under these conditions that Ukrainian composers tried to find ways to compose that matched their aspirations as Ukrainians. </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/f25e1dc5ac86402ff035cce0b64a9cf41b4d865b/original/composers-of-the-ukraine-03.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_left border_none" alt="classical composers" />Many Ukrainian composers, such as Maksym Berezovsky (1745-1777), Dmytro Bortnyansky (1751-1825), and Artem Vedel (1767-1808)—known as the <em>Golden Three</em> Ukrainian composers of the 18th century—wrote in a style reflecting the trends of their milieu or left their homeland to pursue lucrative careers in the foreign music centers of their conquerors (Moscow and St. Petersburg being the greatest beneficiaries). However, in the mid-1800’s, Ukrainian composers began to consciously use Ukrainian musical materials to assert their cultural identity. Semen Hulak-Artemovsky (1813-1873) wrote the first Ukrainian language opera, <em>Zaporozhets za Dunayem/A Cossack Beyond the Danube</em> in 1864. Mykola Lysenko (1842-1912) incorporated his studies of Ukrainian folk music and language into his compositions which influenced the music of the next generation of Ukrainian composers (such as Mykola Leontovych (1977-1921—best known for composing <em>Carol of the Bells</em>), Stanyslav Lyudkevych (1870-1979), Alexander Koshetz (1875-1944), and Kyrylo Stetsenko (1882-1922), which dovetailed with the Ukrainian National Revival movement of the late 1800’s. </p>
<p>The most influential composer/teacher after Lysenko was Boris Lyatoshynsky (1895-1968). While his early works, written while studying with the Russian-Ukrainian composer Reinhold Glière (1875-1956), reflect his study of Tchaikovsky and Scriabin, Lyatoshynsky was open to the myriad of musical innovations that swept classical music after WW I. This openness, along with an interest in Ukrainian folk music, continued under Soviet rule and informed his teaching of many of the Ukrainian composers of the Soviet and post-Soviet eras such as Valentyn Silvestrov (b. 1937). And, in the post-Soviet era, Ukrainian composers, such as Vevhen Stankovych (b. 1942), Myroslav Skoryk (1938-2020), and Alexander Shchetynsky (b. 1960) have embraced a wide range of styles in their expression of their heritage, an expression that has an international reputation. </p>
<p>Much of the music of these composers is little known outside of Ukraine. The links below give a taste of what we have been missing. </p>
<p> </p>
<p>Maksym Berezovsky - Choir Concerto “Do Not Forsake Me.” </p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="P6J9X2Q-EJM" data-video-thumb-url="https://img.youtube.com/vi/P6J9X2Q-EJM/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/P6J9X2Q-EJM?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p> </p>
<p>Maksym Berezovsky - Symphony in C </p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="nSzjgFa9Gss" data-video-thumb-url="https://img.youtube.com/vi/nSzjgFa9Gss/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/nSzjgFa9Gss?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p> </p>
<p>Dmytro Bortnyansky - "Sinfonia" (Overture ) to the opera "Il Quinto Fabio" </p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="nHyoH3ZqqCo" data-video-thumb-url="https://img.youtube.com/vi/nHyoH3ZqqCo/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/nHyoH3ZqqCo?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p> </p>
<p>Artem Vedel - Sacred Concerto No. 9 for Two Choirs </p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="ew15ArhCPpY" data-video-thumb-url="https://img.youtube.com/vi/ew15ArhCPpY/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/ew15ArhCPpY?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p> </p>
<p>Semen Hulak-Artemovsky – Ukrainian Dances from A Cossack Beyond the Danube </p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="weYbo5I2g6Q" data-video-thumb-url="https://img.youtube.com/vi/weYbo5I2g6Q/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/weYbo5I2g6Q?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p> </p>
<p>Mykola Lysenko – Taras Bulba Overture </p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="1JJunawXEb0" data-video-thumb-url="https://img.youtube.com/vi/1JJunawXEb0/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/1JJunawXEb0?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p> </p>
<p>Mykola Leontovych – Prelude for Choir </p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="7Ht8jXwZHDE" data-video-thumb-url="https://img.youtube.com/vi/7Ht8jXwZHDE/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/7Ht8jXwZHDE?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p> </p>
<p>Boris Lyatoshynsky – Symphony No. 1 </p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="MPACvE6ffr0" data-video-thumb-url="https://img.youtube.com/vi/MPACvE6ffr0/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/MPACvE6ffr0?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe> </p>
<p> </p>
<p>Valentyn Silvestrov – Symphony No. 6 </p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="-I6QS79GtTU" data-video-thumb-url="https://img.youtube.com/vi/-I6QS79GtTU/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/-I6QS79GtTU?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p> </p>
<p>Vevhen Stankovych – Ukrainian Poem for Violin and Orchestra </p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="kcsb_F0zt9E" data-video-thumb-url="https://img.youtube.com/vi/kcsb_F0zt9E/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/kcsb_F0zt9E?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p> </p>
<p>Myroslav Skoryk – Melody </p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="X4M68N7x6WQ" data-video-thumb-url="https://img.youtube.com/vi/X4M68N7x6WQ/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/X4M68N7x6WQ?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p> </p>
<p>Myroslav Skoryk – Hutsul Triptych </p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="fT0jkWMVCBg" data-video-thumb-url="https://img.youtube.com/vi/fT0jkWMVCBg/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/fT0jkWMVCBg?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p> </p>
<p>Alexander Shchetynsky – Requiem </p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="MHumsC6nkao" data-video-thumb-url="https://img.youtube.com/vi/MHumsC6nkao/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/MHumsC6nkao?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p> </p>
<p>Alexander Shchetynsky – Cryptogram </p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="-71epKA55pI" data-video-thumb-url="https://img.youtube.com/vi/-71epKA55pI/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/-71epKA55pI?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p>© Ubaldo Valli 2022</p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/6931134
2022-03-24T16:18:28-04:00
2022-07-12T10:05:32-04:00
WANDER Concert Program Notes
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/05e7db73c7fc04d429393248f3ea34c6ab5e74e0/original/ubaldo-valli.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.png" class="size_l justify_center border_none" alt="classical musician" /></p>
<p><strong>By Ubaldo Valli</strong></p>
<p>Name some of your favorite composers. Chances are that they did something in addition to composing to make a living, as did Leonard Bernstein, Gustav Mahler, and Robert Schumann. Chicago based composer Stacy Garrop is that rare living composer who supports herself with the music she writes. Educated at the University of Michigan-Ann Arbor, University of Chicago, and Indiana University-Bloomington, she has composed for a wide range of genres and, unsurprisingly, has received numerous commissions from many different sources. </p>
<p>Perhaps one of the more surprising commissions was from a recording company. In 2015, James Ginsburg, the president of Cedille Records, asked Garrop to compose a piece in celebration of Cedille Records’ 25th Anniversary. As Garrop writes on her website “…he suggested an intriguing instrumentation: a woodwind quintet with the addition of a double bass. Jim has been in Prague multiple times over the years, where street musicians (or “buskers”) are plentiful around the city. I personally have never been there, so I went online to see if there was footage of Prague’s buskers. I discovered a wealth of videos featuring musicians of all types – one-man bands, blues and jazz groups, classically trained string players, bagpipers, folk singers, Dixie bands, and even a very talented water goblet performer. As it turns out, Prague has a long and very rich culture of busking. I can see why Jim is enthralled with Prague! </p>
<p>“In my piece, I employ the musicians in various groupings to portray different styles of music. I named the piece ‘Bohemian Café’, for when I hear it, I picture myself sitting at an outdoor café in a plaza in Prague, drinking coffee, watching street musicians set up around the plaza, and listening to assorted strands of music wafting through the air.” </p>
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<p>How many languages do you speak fluently and without an accent? Most people who can speak several languages were exposed to them when they were young. And for most people, that ability to absorb a new language fades the older they get. Learning to speak Mandarin as an adult would be a challenge for most English speakers. </p>
<p>Something similar happens to composers. Their musical sensibilities are difficult to change once they are set. Even a stylistic chameleon such as Igor Stravinsky had a through-line of basic musical preferences, regardless of his composing style at any given moment. And this presents an interesting dilemma for a composer born in one musical epoch, but who lived and was productive in another. How should they address the changes in their field? It hasn’t always gone smoothly. Camille Saint-Saëns, born in 1835, said that Igor Stravinsky was insane after hearing the premiere of the 20th century touchstone ballet “Le Sacre du printemps” in 1913. Richard Strauss, born in 1864 when the United States was torn apart by the Civil War and still composing after the destruction of Hiroshima in 1945, didn’t think much of most 20th century music that wasn’t composed by Strauss (He said that Stravinsky’s Le Sacre du printemps was “more like a sacrilege du printemps.”), and 20th century composers returned the compliment (Stravinsky on Strauss: “An old Oyster!”) And then there was the case of Sergei Rachmaninoff (1873-1943). </p>
<p>Rachmaninoff, a piano prodigy, entered the St. Petersburg Conservatory at age nine and transferred to the Moscow Conservatory at age twelve. His musical idol at that time was the late Romantic composer Pyotr Ilyich Tchaikovsky (1840-1893) who later became a mentor to Rachmaninoff. After Tchaikovsky’s death, Rachmaninoff was viewed by many as Tchaikovsky’s musical successor, heady stuff for the young composer. And Rachmaninoff remained true to these influences, even when musical trends changed at the turn of the century. As a result, many felt that Rachmaninoff the composer was locked in the past. </p>
<p>Even Rachmaninoff felt this way. In an interview late in his life, his said, “I feel like a ghost in a world grown alien. I cannot cast out the old way of writing, and I cannot acquire the new. I have made intense effort to feel the musical manner of today, but it will not come to me. ... I cannot cast out my musical gods in a moment and bend the knee to new ones.” Perhaps this feeling and his grueling concertizing as a pianist to support his family after he left Russia because of the Russian Revolution were the reasons Rachmaninoff’s production as a composer slowed to a trickle after 1917. Fortunately, time has allowed listeners today to hear Rachmaninoff’s music for what it is—a sincere, accomplished expression of a musical personality. </p>
<p>Not that Rachmaninoff’s music was always appreciated before the seismic changes in music in the 20th Century. The premiere of his Symphony No. 1, Op. 13 in 1897 was a fiasco. The performance was terrible and the critics savaged the music itself. Rachmaninoff went into a deep depression and was unable to compose. He felt "like the man who had suffered a stroke and for a long time had lost the use of his head and hands." In desperation, in early 1900, Rachmaninoff took his Aunt Varvara’s advice to seek help from Dr. Nikolai Dahl (1860-1939), who was experimenting with hypnotherapy. Rachmaninoff and Dahl met almost daily with Dahl continually using the power of suggestion with Rachmaninoff. “I heard the same hypnotic formula repeated day after day while I lay half asleep in my armchair in Dr. Dahl’s study, ‘You will begin to write your concerto … You will work with great facility … The concerto will be of excellent quality.’” </p>
<p>The treatment worked. Rachmaninoff started to compose his new piano concerto that summer and the Piano Concerto No. 2, Op. 18 was completed in May 1901 with a dedication to Dr. Dahl from a grateful Rachmaninoff. The premiere in November 1901, with Rachmaninoff as pianist, was a triumph and restored Rachmaninoff’s self-confidence as a composer, allowing him to compose a steady stream of pieces until he left Russia in 1917. </p>
<p>As you would expect from a piece written by a composer-pianist, the concerto, in three movements (fast-slow-fast), is as hard as hell to play (though not as hard as Rachmaninoff’s Piano Concerto No. 3). But the piece is more than a virtuosic display. Rachmaninoff wrote music of great beauty and breadth, which is one reason why the concerto is 35 minutes long. Indeed, the music is so lyrical that the main theme of the second movement was used in hit tunes by Frank Sinatra (Full Moon and Empty Arms) and Eric Carmen (All By Myself). Rachmaninoff was a composer of great sophistication and skill, but, while lying on Dr. Dahl’s armchair he probably did not expect to become a crossover pop artist! </p>
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<p>Joseph Haydn and W. A. Mozart were instrumental (pun intended) in developing the symphony from a simple entertainment to a full-fledged artistic statement. Just the number of symphonies they wrote (Haydn: 104, Mozart: 41) demonstrated the time and energy they devoted to figuring what a symphony could be. But after Haydn, Mozart, and especially Beethoven, composers, while applying the musical vocabulary of their time, tried to live up to the symphonic tradition they inherited. It was intimidating. As Brahms put it, “You can’t have any idea what it’s like always to hear such a giant marching behind you.” As a result, post-Mozart/Haydn/Beethoven composers, trying to live up to that big-footed legacy, composed symphonies very warily. The result was a lot fewer symphonies. Schumann wrote four, Brahms – four, Tchaikovsky - six (sort of), Schubert - nine (also sort of), Bruckner – nine (sort of redux). And Dvořák wrote nine (definitely). </p>
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<p>Antonin Dvořák (1841-1904) was born near Prague in what is now the Czech Republic. He studied violin, piano, and organ with regional musicians, and, after graduating from the Prague Organ School, made a modest living as a violist, pianist, and teacher. He also began to compose, but, in 1875 at age 33, was pretty much unknown. That changed when he applied for and won a stipend allowing him to focus on composition. One of the reviewers on the panel that granted the stipend was Johannes Brahms (1833-1897), who, impressed by the music Dvořák submitted as part of his application, recommended Dvořák’s music to the publishing firm Simrock. Simrock, on the lookout for commercial properties, commissioned Dvořák to write a set of dances based on Czech folk music, hoping the music would be as successful as Brahms’ Hungarian Dances. They were wrong. Dvořák’s Slavonic Dances, Op. 46 were more popular than the Hungarian Dances. And in an era before recordings or broadcasts, most music-making was in the home, and copies of the Slavonic Dances were snapped up by pianists to play in the parlor. Dvořák became famous and, soon, wealthy. </p>
<p>But not so wealthy that he could resist the offer he received in 1891 from Jeannette Thurber (1850-1946) to lead her Manhattan-based National Conservatory of Music of America with a salary 25 times (!) greater than his current income. More than that, as Thurber wanted her National Conservatory to nurture a distinctive American style of classical music (a "national musical spirit."), Dvořák would be encouraged to work with American sources of music in the same way he had worked with Czech/Bohemian sources. And even more than that, he would be working in an institution that supported students who were from a minority, female, or who had a disability, unheard of at the time. </p>
<p>Dvořák began studying sources of American music after arriving in New York City in 1892 to take up his new post, sometimes listening to spirituals sung by one of the conservatory’s African-American students, Henry Burleigh (1866-1949). Dvořák was impressed. “I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition, to be developed in the United States. These beautiful and varied themes are the product of the soil. They are the folk songs of America and your composers must turn to them.” He was equally taken with the potential of Native American music. </p>
<p>It was no surprise then that Dvořák was inspired by his research when he wrote his Symphony No. 9, Op. 95, From the New World. Commissioned by the New York Philharmonic and premiered on December 16, 1893, it was rapturously received by its first audience. Dvořák did not quote any tunes that he had explored in the symphony. “I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour.” And, as Dvořák’s impressions of American folk music were perceived through his Bohemian sensibilities, the symphony can also be seen as a manifestation of Czech folk music or as a mashup of music from the Old and New Worlds. </p>
<p>The symphony is in four movements. The first movement has a slow introduction before the emotionally wide-ranging, fast movement proper. The second movement starts with a solemn brass chorale leading to a tune inspired by a scene in Longfellow’s poem, The Song of Hiawatha. Played by the English horn, it was frequently mistaken for a spiritual after being given words by Dvořák’s student at the conservatory, William Arms Fisher (1861-1948), in 1922. The third movement, also inspired by The Song of Hiawatha, depicted, according to Dvořák, a “feast in the woods where the Indians dance.” The final movement is fast and furious, ending with a long final chord that slowly fades away (perhaps a poignant farewell to Dvořák’s eventually leaving the New World or an expression of homesickness for the Old?). </p>
<p>Regardless of whether its inspiration was American or Bohemian, Dvořák used musical techniques and concerns that were current at the time, those “resources of modern rhythms, counterpoint, and orchestral colour.” His harmony is adventurous, his orchestrations are daring, and his musical expression is vivid. And Dvořák unifies the symphony by having music in early movements reappear in different contexts in later movements, cumulating at the end of the fourth movement when ideas from the entire symphony cascade on top of one another— shades of Mozart’s Jupiter Symphony! — and provide an exciting end to Dvořák’s final symphony. </p>
<p>© 2021 Ubaldo Valli</p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/6922949
2022-03-15T14:58:58-04:00
2022-07-12T10:05:06-04:00
About the Christopher Bill Quartet
<h3><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/6b6eb8599d760c20e105597754423d5c3972b15e/original/christopher-bill.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_left border_none" alt="live concert" /><br>Christopher Bill </h3>
<p>Christopher is best known as the most subscribed brass musician on YouTube. He’s a trombonist, arranger, and marketing consultant based outside of NYC. </p>
<p>Christopher’s YouTube Channel of all-trombone arrangements of popular songs has been gaining popularity since the spring of 2014 when a cover of Pharrell Williams’ “Happy” where Christopher uses a looping station to compose the song on the spot went viral. His videos have since amassed over 45 million views and a following of over 250,000 subscribers. In February of 2017, Christopher independently released an original pop album called Half Man, Half Machine which mixes acoustic sounds with electronic instruments. He is the Youth Workshop Director of the International Trombone Festival and a marketing consultant for the International Trombone Association. In 2018, his collaboration with the International Trombone Festival of Bohemian Rhapsody went viral. </p>
<p><strong><a contents="Click to view Christopher Bill's Website." data-link-label="" data-link-type="url" href="https://www.classicaltrombone.com/" target="_blank">Read more about Christopher. </a> </strong></p>
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<h3><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/398c75fe0c55f2984b6545690a04d7cf043ca3eb/original/mgardiner.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_left border_none" alt="live concert" /><br>Melissa Gardiner </h3>
<p>Trombonist Melissa Gardiner has been described by Curtis Fuller as technically creative and emotionally powerful. Her improvisation is inspiring and motivating for the listener, and she draws you in with a raw expression that directly relates to life experience. </p>
<p>Throughout her career she has worked with several notable musicians including Aretha Franklin, The Tempatations, Geri Allen, Wycliffe Gordon, Steve Turre, Gerald Wilson, Patti Austin, Tia Fuller, Ingrid Jensen, Arturo O’Farrill and the Afro Latin Jazz Orchestra, and Vulfpeck, who she will be joining next when they headline at Madison Square Garden in September 2019. </p>
<p>As a bandleader, she performs regularly with her SAMMY Award winning New Orleans style Brass Band, Second Line Syracuse, and her jazz organ trio, MG3, which won the Grand Prize at the 2018 International Jazz Competition in Bucharest, ROMANIA. Joined by special guests Tia Fuller, Ingrid Jensen, and Weedie Braimah, Gardiner is set to release her second album, EMPOWERED, on June 21, 2019.</p>
<p><strong><a contents="About Melissa" data-link-label="" data-link-type="url" href="https://www.melissamaymusic.com/" target="_blank">Read more about Melissa</a></strong><br> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/f04955419ceb684e74690b773e07149b86cafc9a/original/tjrobinson.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_left border_none" alt="live concert" /></p>
<h3>TJ Robinson </h3>
<p>Timothy James Robinson (T. J.) was born and raised in Charleston, SC and began playing the trombone at age 8. He attended the Charleston School of the Arts for middle and high school which strengthened his passion to continue to pursue music professionally. He then moved to New York City to study classical trombone at the prestigious Manhattan School of Music and also abroad at the Royal College of Music in London.</p>
<p>He is now an active freelance musician in New York City. In addition to many classical ensembles he has played with various groups such as the Artie Shaw Band, the Grammy-nominated Manhattan School of Music Afro-Cuban Jazz Orchestra, the acclaimed reggae group Burning Spear, the Revive Big Band, and tours around the world with the group Circular Time. T. J. was also an active member of the PitchBlak Brass Band where he composed, arranged, rapped, and played trombone. He has played at venues such as Carnegie Hall, The Hollywood Bowl, The Blue Note Jazz Club, Dizzy's Coca-Cola Club at Jazz at Lincoln Center, Merkin Hall at Kaufman Center, the Kennedy Center in Washington D. C, and the Galliard Center in Charleston, SC.</p>
<p><strong><a contents="About TJ" data-link-label="" data-link-type="url" href="http://www.tjrmusik.com/" target="_blank">Read more about TJ</a></strong></p>
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<h3><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/ffb82edf6ce3ce1799ec323f39924fcf21bd930e/original/dlevine-2.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_left border_none" alt="live concert" /><br>Dan Levine</h3>
<p>Brooklyn-born Dan Levine grew up in a very musical family and lives in New York City. He plays Trombone, Bass Trombone, Euphonium, and Tuba in studios and stages throughout the US and the world. He's a student of Charles Levine, Donald Yaxley, Buddy Baker, Roy Main, and Ralph Sauer of the Los Angeles Philharmonic. Shortly after graduating from the University Of Northern Colorado, he headed off for a world tour as lead trombonist for the great Ray Charles. </p>
<p>Upon returning to New York, he's played everywhere from CBGB to Carnegie Hall, and recorded, performed with, or toured with artists as diverse as They Might Be Giants, Miss Velvet And The Blue Wolf, Bruce Springsteen, Blood Sweat and Tears, Frank Sinatra, Southside Johnny and The Asbury Jukes, Rusty Truck, Jay-Z, Toshiko Akiyoshi, The Manhattan Chamber Orchestra, Liza Minnelli, Linda Eder, David Byrne, Rufus Wainwright, Jonathan Coulton, Phillip Glass, Natalie Cole, Bjork, Natalie Merchant, and Tori Amos. Dan's numerous TV and radio appearances include performing on: Late Night with Conan O'Brien, David Letterman, Jimmy Fallon, Brave New World, The Tonight Show With Jay Leno, Good Morning America,The Today Show, Live With Regis and Kelly, The View, Rosie O'Donnell,The Daily Show, The Larry Sanders Show, The Essence Awards, ESPN Nascar Awards, Craig Kilborn,Studio 360, WNYC's New Sounds, Prairie Home Companion, and This American Life.</p>
<p><strong><a contents="Read more about David." data-link-label="" data-link-type="url" href="http://www.danlevinemusic.com/" target="_blank">Read more about Dan.</a></strong></p>
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<p>Catch Christopher Bill and his ensemble Saturday, April 2, 2022 at the Holiday Inn, Downtown Binghamton at 7:30pm! <span style="display: none;"> </span><strong><a contents="Click here to buy tickets!" data-link-label="" data-link-type="url" href="https://app.arts-people.com/index.php?actions=10&p=284" target="_blank">Click here to buy tickets!</a></strong></p>
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Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/6918735
2022-03-11T14:34:04-05:00
2022-05-18T14:29:31-04:00
Spring Giving Campaign
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<h4>Spring Greetings!</h4>
<p>I have a secret for you: I am a lover of fine music. </p>
<p>More specifically, I am someone who—like you—admires the unequaled craft and passion that <br>goes into each live performance and transforms it into something much bigger than any one of us. <br>Like you, I have rediscovered an art form that, unlike any other, rewards its diverse audiences with an adventure for the ears, emotions, and imagination, one which lightens up our lives and lasts a lifetime. </p>
<p><strong>In fact, I have an even bigger secret for you: the Binghamton Philharmonic’s ability to resonate with <br>music lovers —from all walks of life—has been the secret of its success for over six symphonic decades! </strong></p>
<p>Thanks to the continued generosity of members like you, the Philharmonic has led the way in bringing first-rate live entertainment back to the Southern Tier, presenting concerts nearly every month since the orchestra’s triumphant return in June. And with our upcoming 2nd Annual Summer Chamber Music Series and 67th Season—featuring Beethoven, Copland, Gershwin, Vaughan Williams, and many more— the Philharmonic is sure to have something for everyone in the months ahead…and this includes you! </p>
<p>To be sure, none of our amazing programs would exist without you and your financial support. <strong>That is why I am asking you to consider making a tax-deductible contribution to the Binghamton Philharmonic before May 1, 2022. </strong>At a time when the public is readier than ever to enjoy a large-scale musical experience, your gift can help maximize community impact and serve 10,000+ music lovers regionwide! <em>(If you donate online, you can easily make a recurring contribution that will help sustain us throughout the year. <strong><a contents="Click here to give today." data-link-label="" data-link-type="url" href="https://binghamtonphilharmonic.app.neoncrm.com/forms/3" target="_blank">Click here to give today.</a></strong>)</em></p>
<p>Thank you for keeping the music alive with your loving support, and See You At the Symphony! </p>
<p>With warm springtime regards, </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/b16f31fdbcd174c6078164a45eca12bfe062f353/original/brian-signature.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_left border_none" alt="" /></p>
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<p>Brian Nayor <br>Director of Sales and Development </p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/6918141
2022-03-09T15:39:18-05:00
2022-07-12T10:03:46-04:00
Irish Trad Star Joanie Madden Named Amongst 2021 NEA National Heritage Fellows
<p><em>Irish American Joanie Madden has been named as a recipient of the prestigious National Heritage Fellowship in 2021 for her impactful career in Irish traditional music. </em></p>
<p><strong>Paul Keating, IrishCentral </strong><br>Jun 16, 2021</p>
<h3><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/9a2c07a43013d0b7b0d1cb2e1d865b78bd2dc875/original/cropped-main-joanie-madden-via-irish-voice-2.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.jpg" class="size_xl justify_center border_none" alt="live concert" /></h3>
<p>A huge honor has been bestowed on the incomparable Irish American musician Joanie Madden this week, as the National Endowment for the Arts has awarded her one of its nine fellowships. PAUL KEATING reports on Madden’s rise to the top and her multiple strengths as a performer and entrepreneur.</p>
<p>Since 1965, the National Endowment for the Arts (NEA) has created an environment where the celebration of the arts in communities not only uplifts them but also projects a public image of the diversity and cultural traditions that make up the mosaic of the United States.</p>
<p>Back in 1985, the NEA provided seed money to the Ethnic Folk Arts Center in New York City and Dr. Mick Moloney to produce some concerts featuring young girls who were carrying the flame of fireside music from Ireland. </p>
<p>Moloney chose a shy but sociable young lady to lead the pack of young women named Joanie Madden, whose first order of business was to come up with the name Cherish the Ladies, taken from an old jig by that name. </p>
<p><a contents="Cherish the Ladies" data-link-label="" data-link-type="url" href="https://cherishtheladies.com/" target="_blank"><strong>Cherish the Ladies</strong></a> are now in their 36th year as one of the top professional Irish traditional music ensembles in the world, and the formidable leader has received yet another accolade and crowning achievement this week. </p>
<p><a contents="The NEA" data-link-label="" data-link-type="url" href="https://www.arts.gov/about/news/2021/national-endowment-arts-announces-2021-nea-national-heritage-fellows" target="_blank"><strong>The NEA</strong></a> announced on Tuesday, June 15 that Joan Marie Madden will receive one of nine National Heritage Fellowships (NHF) in 2021, issued to artists who are considered at the top of their craft and whose contributions are deeply treasured by their community and country.</p>
<p>It is the top honor that a folk artist can receive in America with a nice $25,000 stipend to go with it. To date, there have been 458 recipients across 200 wide-ranging disciplines in the history of the awards going back to 1982. </p>
<p>Madden becomes the 15th person from the Irish traditional music and dance community to be so honored over 40 years and, only the second woman to receive a fellowship. The others are Joe Heaney (1982), Joe Shannon (1983), Martin Mulvihill (1984), Michael Flatley (1988), Jack Coen (1991), Liz Carroll (1994), Donny Golden (1995), Mick Moloney (1999), Kevin Burke (2002), Joe Derrane (2004), Mike Rafferty (2010), Seamus Connolly (2013), Kevin Doyle (2014), and Billy McComiskey (2016).</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/2c31ef66c177a00593ee4508015267c4f1d02c8e/original/joanie-madden-michael-flatley-via-irish-voice-2.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.jpg" class="size_l justify_center border_none" alt="live concert" /></p>
<p style="text-align: center;"><em><span class="font_small">Donny Golden, Michael Flatley, and Joanie Madden. (Irish Voice)</span></em></p>
<p>“It’s like winning an Olympic gold medal and it’s not just achievement for myself and my family but for all the people who helped me along the way,” Madden told me on the eve of the announcement. </p>
<p>She further modestly acknowledged, “I didn’t get this award on my own but had thousands in this community lift me up. To stand alongside those other 14 artists who came before me and bring honor to our Irish community. I received so much help and mentoring from Mick, Jack, Liz, Donny, Raff, Seamus, and Billy who always encouraged me.</p>
<p>“And where would I be without Mary Coogan with me from the beginning and all the other gals in Cherish the Ladies who stood up with me all these years.”</p>
<p>Born in upper Manhattan 56 years ago, Madden’s Irish immigrant parents Helen and Joe Madden moved the family to nearby Woodlawn in the Bronx as the family was growing. Helen, from Miltown Malbay, looked after seven children while her husband Joe, from Portumna in Galway, worked construction jobs by day; evenings and weekends were spent showing his All-Ireland championship form on the button accordion taking over as bandleader of Paddy Killoran’s Band at one stage. </p>
<p>On East 236th Street lived Jack Coen, a fellow Galwegian from Woodford in East Galway who played the flute and tin whistle who befriended the Maddens and played in gigs and house parties around the New York area with Joe. Joanie was smitten with the tin whistle and flute, and her father arranged for lessons with the patient teacher Coen who lived just down the block from them.</p>
<p>She proved a promising and enthusiastic student drawing from the well of traditional music gleaned from Coen and other family friends like Father Charlie Coen (Jack’s brother), Mike Rafferty, Mike Preston, and Sean McGlynn as seminal influences in the young teenager’s life. </p>
<p>The times that were in it back in the 1970s and 1980s were the first bloom of youth and golden age for young Irish American musicians learning from senior Irish immigrant musicians. All-Ireland medals were coming back home to America more frequently for the first time, and Joanie Madden was front and center in that generational troupe winning a Senior All-Ireland Championship on the whistle at age 19 in 1984, the first American to ever do so. </p>
<p>That achievement along with extraordinary number of young women playing traditional music in those days following in the footsteps of their fathers was not lost on Mick Moloney, then working towards a doctorate around the fertile field of Irish music in America. He produced concerts and vinyl albums chronicling the nascent Cherish the Ladies and the “Fathers and Daughters” phenomenon that gave rise to it.</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/341f0e845b019c2abc979cfe4d4a9f75d887c9ad/original/old-photo-joanie-madden-via-irish-voice-2.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.jpg" class="size_l justify_center border_none" alt="live concert" /></p>
<p style="text-align: center;"><em><span class="font_small">Joanie Madden and her father Joe making music together. (Irish Voice)</span></em></p>
<p>The handing down of the native music brought over from Ireland was taking firm roots in Irish America and now in the hands of the talented young offspring whose role was to carry it onward under the proud and watchful eyes of the grateful senior musicians who saw to its transition, preservation and now promotion in their new country. And Cherish the Ladies would be the foremost group to take on that challenge. </p>
<p>The history of Cherish the Ladies over 36 years is well documented elsewhere led by the indomitable Madden and her “silent” and steadfast partner and founding member Coogan all these years. Starting from small folk clubs and parish halls with NEA support in those early years, Cherish the Ladies blossomed into worldwide gigs as far away as China, Japan, Australia, and New Zealand as well as across the U.S. and Ireland. </p>
<p>And despite the high profile they enjoyed before and even during the pandemic, one shouldn’t assume they were an overnight success but rather a work in progress in the hands of very determined Madden. </p>
<p>Counting numbers for a career for Madden was not an advocation she sought in college, but rather putting numbers together on a musical setlist was more to her fancy as she sought music gigs with her father and others around New York. Despite his own admonition about trying to make a living playing traditional Irish music, Joe Madden’s influence and gene pool was positing different notions in his equally strong-minded daughter whose heart was leading her in that direction. Fortunately, he saw her realize her dreams and many accomplishments before he died in 2008 after a tragic accident.</p>
<p>Trailblazing her career in and outside of Cherish while dedicating herself to the promotion and celebration of traditional Irish music and dance is what got the attention of those panelists who chose Joanie Madden for this honor. Yes, she had awards aplenty from Comhaltas (Hall of Fame, Bardic and All-Ireland acclaim), Ellis Island Medal of Freedom, a USA Artist Fellowship, a visit to the White House of President George W. Bush, and even a street sign in the Bronx on the Grand Concourse to denote her multifaceted career and success with Cherish. </p>
<p>Among her many accomplishments are outstanding commercial successes producing music recordings, compositions, and film scores. Along with 17 albums from Cherish the Ladies are her solo albums Song of the Irish Whistle and Song of the Irish Whistle 2 which sold over 500,000 copies, and performances on over 150 other albums. </p>
<p>Cherish the Ladies’ dynamic and high-energy stage show has graced every major Irish festival and fleadhanna and prestigious venue, and in over 300 performances with symphony orchestras and the Boston Pops. Bus tours of Ireland and Folk’N Irish cruises have rounded out the palette of Madden’s portrait of Irish America in the 21st century.</p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="EgfT5e-cPFk" data-video-thumb-url="https://img.youtube.com/vi/EgfT5e-cPFk/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/EgfT5e-cPFk?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p>When you get right down to it, the tradition-bearing aspect of Joanie Madden the folk artist who embraced her Irish heritage in its music, song, and dance and raised it to a high art form is what is being celebrated here in the National Heritage Fellowship. </p>
<p>Her work as a composer, presenter, and performer informed her work as an educator at many instructional camps like the Catskills Irish Arts Week and the Augusta Heritage Center Irish Week in West Virginia where she was the artistic director for five years, succeeding Dr. Mick Moloney.</p>
<p>Recognized and treasured already as a “force of nature” sharing the legacy of our bountiful Irish cultural history and music within our own Irish community, it is now an overdue acknowledgment throughout the U.S. about its roots as “E Pluribus Unum” and how diversity makes us stronger rather than divides us. </p>
<p>The timing of the National Heritage Award coming as we exit the throes of the pandemic is somewhat bittersweet but welcome news now for Madden. While there will not be any lavish celebrations in Washington, D.C accorded other winners down through the years due to the residue of the pandemic, her story will be told in a film produced by the National Endowment for the Arts in November. </p>
<p>More information can be had at <strong><a contents="www.arts.gov" data-link-label="" data-link-type="url" href="https://www.arts.gov/" target="_blank">www.arts.gov</a></strong> on the National Heritage Fellowship. </p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="6RmdsMZXEOU" data-video-thumb-url="https://img.youtube.com/vi/6RmdsMZXEOU/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/6RmdsMZXEOU?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p><em>(In the interest of full disclosure, the author of this article nominated Joanie Madden for the National Heritage Fellowship Award four years ago after following her career and impact for 40 years).</em></p>
<p><em>*This column first appeared in the June 16 edition of the weekly Irish Voice newspaper, sister publication to IrishCentral.</em></p>
<p><strong><a contents="Click Here to View Original Article" data-link-label="" data-link-type="url" href="https://www.irishcentral.com/culture/joanie-madden" target="_blank">Click Here to View IrishCentral Article</a></strong></p>
<p><strong>See Joanie Madden and her band Cherish the Ladies live and in person with 59 Musicians of the Binghamton Philharmonic Orchestra Saturday, March 19, 2022 at 7:30pm at the Forum Theatre!</strong></p>
<p><strong><a contents="Click Here to Buy Tickets to Cherish the Ladies" data-link-label="" data-link-type="url" href="https://app.arts-people.com/index.php?ticketing=bpo01" target="_blank">Click Here to Buy Cherish the Ladies Tickets</a></strong></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/6912942
2022-03-04T12:06:07-05:00
2022-07-12T10:02:40-04:00
First-Ever Summer Chamber Music Camp
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/2c029fbf2532ced7ef3a7af78db04ecd249a3d0e/original/2022-summer-music-camp-website-elements-b-04.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.png" class="size_xl justify_center border_none" alt="classical music summer camp" /></p>
<p>The Binghamton Philharmonic Orchestra is proud to present its first-ever Summer Chamber Music Camp! Led by Philharmonic violinist <a contents="Debrah Devine" data-link-label="Camp Faculty" data-link-type="page" href="/camp-faculty" target="_blank">Debrah Devine</a>, each day will feature ensemble coaching, organized practice time, and daily masterclasses. The camp concludes on July 1 with a public concert at the Phelps Mansion Museum. </p>
<p>Camp participants will receive daily snacks, a camp t-shirt, two complimentary tickets to the Philharmonic’s Summer Chamber Music Series, and two complimentary tickets to the July 1 concert. </p>
<p>Music camp isn’t all about work! In addition to meeting other terrific musicians, campers will enjoy daily activities, from an opportunity to ring the Christ Church bell tower tour to lawn games to a tour of the Phelps Mansion Museum.</p>
<p><a contents="Click here for more information and to sign up." data-link-label="Summer Chamber Music Camp" data-link-type="page" href="/summer-chamber-music-camp" target="_blank">Click here for more information and to sign up.</a></p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/b0d0afe24afaa59987e34f02089168f1883783c2/original/hoyt-seal-2-community-music-school-01.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_left border_none" alt="" /></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/6912545
2022-03-03T11:03:38-05:00
2022-07-12T10:02:04-04:00
Cherish the Ladies Biography
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/c4203b8f848e5a0042081e9bfcec6b4b10c6fce0/original/cherish-the-ladies-instagram5.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.png" class="size_l justify_center border_none" alt="live concert" /></p>
<p style="text-align: center;"><span style="font-size: 12.8px;"><i>(Above From the Left) Joanie Madden, Mary Coogan, Mirella Murray, Kathleen Boyle, and Nollaig Casey</i></span></p>
<p>Cherish the Ladies are the most successful Celtic Pops ensemble in history. To date, they have been the guest soloists for over 300 nights with the leading symphonies across the United States performing their signature Celtic Pops Celebration program and their Celtic Christmas show. Their symphonic career all began with a phone call from the Boston Pops, and the Ladies made their debut with the Cincinnati Pops under the tutelage of legendary conductor, Keith Lockhart. After the overwhelming enthusiastic response, Keith brought Cherish the Ladies back to Boston’s Symphony Hall where they performed another four shows, including the prestigious Tanglewood Summer Series. Their successful collaboration continued with a recording that led to their Grammy-nominated album, “The Celtic Album.” Since that time, the Ladies have taken the symphony world by storm and have performed with national and regional orchestras with many return engagements. <img src="//d10j3mvrs1suex.cloudfront.net/u/592808/864979ecd84a70ba214e5a50e39352b395c8a80b/original/madden.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_right border_none" alt="live concert" /></p>
<p>Under the leadership of National Heritage Award winner and All-Ireland flute and whistle champion Joanie Madden—named by The Irish Voice Newspaper as one of the Top 25 most influential Irish Americans of the past quarter century—these Ladies create an evening that includes a spectacular blend of virtuoso instrumental talents, beautiful vocals, captivating arrangements, and stunning step dancing. Their continued success as one of the top Celtic groups in the world is due to the ensemble’s ability to take the best of Irish traditional music and dance and put it forth in an immensely entertaining show. </p>
<p>The New York Times calls their music “passionate, tender, and rambunctious,” and the Washington Post praises their “astonishing array of virtuosity.” They’ve won recognition as the BBC’s Best Musical Group of the Year and were named Top North American Celtic Group at the Irish Music Awards not to mention having a street named after them in the Bronx! They’ve collaborated with such musicians as The Boston Pops, The Clancy Brothers, the Chieftains, Vince Gill, Nanci Griffith, Pete Seeger, Don Henley, Arlo Guthrie, and Maura O'Connell.</p>
<p> </p>
<h3>Video: "Heart of the Home" by Cherish The Ladies with Nathan Carter </h3>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="j8bDIIkFN94" data-video-thumb-url="https://img.youtube.com/vi/j8bDIIkFN94/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/j8bDIIkFN94?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/6905042
2022-02-23T11:29:44-05:00
2022-07-12T10:01:13-04:00
Captain Kangaroo Came to Binghamton in 1963, Delighting Kids and Helping the Symphony
<p><em>By Gerald Smith, Binghamton Press & Sun-Bulletin<br>February 14, 2022</em></p>
<p>I seem to be stuck on a theme — and that is quite alright with me. After last week’s column about the Three Stooges coming to the area twice in the 1950's, another reader (thank goodness to all of you for the help) asked me about a visit of another beloved entertainer to Binghamton in the 1960's. </p>
<p>While the Stooges might have aimed their comedy, however childish, for adults, this entertainer aimed his skills strictly for the children. Please remember that this is long before "Sesame Street" graced the PBS stations around the country, and even before Mr. Rogers sat down in his studio in Pittsburgh to tell us that he “likes you just the way you are.” </p>
<p>We take a trip back in time to Oct. 26, 1963 — less than a month before the assassination of John F. Kennedy, when the country seemed in a calmer mode. <br><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/5ab560457e3e76837dfab8a4362f7088eecb1efd/original/captain-kangaroo.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_right border_none" alt="Binghamton Symphony" /><br>Through two performances in the auditorium of West Junior High School in Binghamton, the room was filled to the rafters with screaming children and not-so-screaming mothers and fathers. Captain Kangaroo entertained them with his stories and interacting with the members of the Community Symphony (now the Binghamton Philharmonic), led by its founder, Fritz Wallenberg.</p>
<p>For those too young to remember, Captain Kangaroo was played by Bob Keeshan, who rose to fame by playing Clarabell the Clown on the Howdy Doody show in the early days of television. Keeshan, like Fred Rogers, saw television as something more than what Keeshan called “silly clowns and local cartoon shows.” He created a character, Captain Kangaroo, who occupied the Treasure House each Monday through Saturday from 8 to 9 a.m. on CBS stations starting in 1955 and lasting until 1984.</p>
<p>During that hour, the show aimed at 6-to-8-year-olds, and the Captain, with his familiar hat, military-styled jacket and mustache, read stories, did science experiments, had visits from animals, and interacted with a variety of screen characters. Those characters include Mr. Green Jeans (Lumpy Brannum), Mr. Bunny Rabbit, Mr. Moose, Magic Drawing Board and Grandfather Clock — all portrayed by Cosmo Allegretti. </p>
<p>The show became very popular, and around 1957, Keeshan, as the Captain, started doing concerts around the country at different venues where he would interact with orchestras and read to children. In mid-1963, the members of the Friends of the Community Symphony, led by Mary Baxter, arranged to bring Captain Kangaroo to the Binghamton area. Arrangements were made with Wallenberg to provide music for the concert. Musical pieces by Rossini, Rimsky-Korsakov, Prokofiev and others filled the bill.</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/31ace90640aa521750bc5de6049c89651404d0f5/original/fritz-and-kids.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_orig justify_center border_none" alt="classical music" /></p>
<p>Finally, Saturday, Oct. 26, 1963 arrived, and two afternoon shows — one at 1:30 and one at 3:30 — took place at West Junior. The thousands in attendance at the two shows were entertained with the music and the tone of the shows. Even usually strict and stern Wallenberg got into the spirit, by having children help look for the Captain under the chairs of the violinsts and behind the musical instruments. Finally, the Captain appeared to the cheers of the audience.</p>
<p>He had help with his performance by six “Binghamton Friends of Bunny Rabbit” who wore bunny ears. Eventually after interacting with some of the musicians — and Keeshan admitted he could not play any of them — he began to read stories. </p>
<p>More Spanning Time:Moe, Larry and Shemp: Three Stooges brought slapstick comedy to Binghamton in 1950 </p>
<p>More Spanning Time:1972 ads reveal how much prices have risen, and the few Binghamton stores still around </p>
<p>More:Binghamton rent aid FAQ: We answer your questions about the local system</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/0e75aead5cfa329afa04cebb97e9c6b02577be85/original/binghamton-friends-of-bunny-rabbit-and-captain-kangaroo.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_orig justify_center border_none" alt="Binghamton Symphony" />Somehow, and on purpose, he mixed up the stories of Cinderella, Goldilocks and the Three Bears. This allowed the children in the auditorium to help Captain Kangaroo out with the correct stories, much to the children’s delight. Keeshan drew pictures to illustrate what the orchestra was thinking and had a magic easel that was loaned by Bunny Rabbit. Finally, the Bunny Friends presented to Captain Kangaroo a giant carrot.</p>
<p>It was all a fun and enjoyable way to spend a Saturday afternoon and brought well-earned money into the coffers of the symphony. But much more than that, it was a providing an indelible memory to those children, and the parents who shelled out the few dollars to create a lifelong memory for both those in attendance and for Bob Keeshan, who realized how much Captain Kangaroo meant to the people of the Binghamton region. </p>
<p><em>Gerald Smith is a former Broome County historian. Email him at historysmiths@stny.rr.com.</em></p>
<p><strong><a contents="Click here to view the original article" data-link-label="" data-link-type="url" href="https://www.pressconnects.com/story/news/connections/history/2022/02/14/captain-kangaroo-came-binghamton-1963-delighting-children/6727153001/" target="_blank">Click here to view the original article by Press & Sun-Bulletin</a> </strong></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/6901341
2022-02-18T14:31:59-05:00
2022-07-12T11:29:32-04:00
Music We Should All Know
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/7e23031f7576b2094cdfa3d41065bdc020412bf7/original/black-history-month-eblast.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.jpg" class="size_xl justify_center border_none" alt="classical composers" /></p>
<p style="text-align: center;"><span class="font_small">(from upper left and going clockwise) Florence Price, Duke Ellington, George Walker, and Samuel Coleridge-Taylor</span></p>
<p><em>The Binghamton Philharmonic's program annotator <strong>Ubaldo Valli</strong> wrote this reflection on Black classical composers in honor of Black History Month.</em></p>
<p>Take a moment and try to answer the following: </p>
<p>Name three Black musicians. </p>
<p>Most people can name far more than three. </p>
<p>Now – name three Black classical composers. </p>
<p>Joplin? Ellington? Maybe George Walker? Anyone else? Most people would be stuck for answers. </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/c5b5555579558af9160e5f23a190ea42100045ea/original/black-composers-02-02.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_left border_none" alt="classical composer" />Why is this? There have always been Black classical composers. But, because of racial discrimination ranging from segregation to slavery, they have not had access to education, resources, and performance opportunities. Just three sad examples of the reality Black composers faced are some leading American conservatories not accepting Blacks until the mid-20th century, Scott Joplin’s fruitless decade-long attempt at the end of his life and the height of his fame to get his opera Treemonisha performed, and the first Pulitzer Prize in music being awarded to a Black composer (George Walker) after 53 years (in 1996). </p>
<p>Denied the opportunities afforded White musicians, Black musicians did what they could with what they had. The results in the United States were the incredibly popular and rich genres of the spiritual, ragtime, Dixieland, jazz, and the blues. Imagine how classical Black composers felt when the popularity of this music was held against them! Music based on these popular forms was not serious enough for the concert hall—it was too "lowbrow" for a "highbrow" audience (themselves racially tinged terms derived from the discredited "science" of phrenology.) This music "of plantation melodies and minstrel ballads" was produced by "the lowest strata of society." Perhaps the polite dismissiveness of a hostess in James Joyce’s short story The Dead, in which she moves the conversation from the outstanding singing of a "Negro chieftain" in a popular holiday pantomime back to the "legitimate opera," said it all. </p>
<p>Regardless, White classical composers such as Gershwin, Ravel, Stravinsky, and Milhaud flocked to Harlem to absorb sounds that would influence their own compositions. But even their use of materials from Black music was criticized. For example, Antonín Dvořák was convinced during his tenure at the National Conservatory of Music in New York that "the future music of this country must be founded on what are called Negro melodies” and was inspired by those melodies while writing his “New World” Symphony. Dvořák was subsequently condemned for his allegedly unsuccessful efforts "to make civilized music by civilized methods out of essentially barbaric material" leading to "a mere apotheosis of ugliness, distorted forms, and barbarous expression." </p>
<p>Nevertheless, Black composers persisted. </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/985df6da26b1f5a6bf1a8efac72c6e2dc28e5688/original/black-composers-01.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_right border_none" alt="classical composer" />And because they persisted, there is a large and varied repertoire that is (slowly) being rediscovered. While you might expect the lesser-known corners of Joplin's and Ellington's outputs being explored (Ellington wrote an opera? (Queenie Pie)) and more new works by living Black composers (Fire Shut Up in My Bones by Terence Blanchard premiered at the Metropolitan Opera in 2021), there is much more—the music of Black composers spans centuries and continents. Just for starters: Joseph Bologne, Chevalier de Saint-Georges (1745-1799), a French contemporary of Mozart (and a world class fencer!); Samuel Coleridge-Taylor (1875-1912), an English composer celebrated during the Victorian period; Florence Price (1887-1953), an American composer whose 1st Symphony was one of the first by a Black composer performed by a major American orchestra and who is returning to prominence after a significant portion of her music was discovered in an abandoned house in 2009; Jose White Lafitte (1836-1918), a Cuban violinist-composer praised by Rossini, The Nigerian composer Samuel Akpabot (1932-2000), the Americans William Grant Still (1895-1978) and William Dawson (1899-1990), Ulysses Kay, Olly Wilson, Julius Eastman, Avril Coleridge-Taylor....(Check out <a contents="https://www.musicbyblackcomposers.org/" data-link-label="" data-link-type="url" href="https://www.musicbyblackcomposers.org/" target="_blank">https://www.musicbyblackcomposers.org/</a> for much more.) </p>
<p>So, while we celebrate Black composers during Black History month, this is a body of work that can be celebrated year-round. Here are some links of music by composers mentioned above to get you started: </p>
<p><strong>Joplin – Treemonisha:</strong></p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="ukgWU6JCZkg" data-video-thumb-url="https://img.youtube.com/vi/ukgWU6JCZkg/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/ukgWU6JCZkg?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p><strong>Ellington – Queenie Pie:</strong></p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="IZIToUcDYhM" data-video-thumb-url="https://img.youtube.com/vi/IZIToUcDYhM/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/IZIToUcDYhM?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p><strong>George Walker - Lyric for Strings:</strong></p>
<p><strong><iframe class="justify_inline" data-video-type="youtube" data-video-id="gZLLVacAT6Y" data-video-thumb-url="https://img.youtube.com/vi/gZLLVacAT6Y/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/gZLLVacAT6Y?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></strong></p>
<p><strong>Terrance Blanchard – Fire Shut Up in My Bones: </strong></p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="YGo4mSQs3wk" data-video-thumb-url="https://img.youtube.com/vi/YGo4mSQs3wk/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/YGo4mSQs3wk?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p><strong>Chevalier de Saint-Georges - Violin Concerto, Rachel Barton Pine, violin, Daniel Hege, conductor:</strong></p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="YiH5F6-9xyo" data-video-thumb-url="https://img.youtube.com/vi/YiH5F6-9xyo/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/YiH5F6-9xyo?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe> </p>
<p><strong>Samuel Coleridge-Taylor – Hiawatha Overture:</strong></p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="pkqaSqwHlsw" data-video-thumb-url="https://img.youtube.com/vi/pkqaSqwHlsw/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/pkqaSqwHlsw?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p><strong>Florence Price – Symphony No. 1:</strong></p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="9s4yY_A2A2k" data-video-thumb-url="https://img.youtube.com/vi/9s4yY_A2A2k/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/9s4yY_A2A2k?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p><strong>Jose White Lafitte – Violin Concerto in F# minor:</strong></p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="2I1u256mU4I" data-video-thumb-url="https://img.youtube.com/vi/2I1u256mU4I/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/2I1u256mU4I?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p><strong>Samuel Akpabot – Three Nigerian Dances:</strong></p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="93-JQBGj9zc" data-video-thumb-url="https://img.youtube.com/vi/93-JQBGj9zc/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/93-JQBGj9zc?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p><strong>William Grant Still – “Afro-American” Symphony No. 1: </strong></p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="x4wVSdzWd-M" data-video-thumb-url="https://img.youtube.com/vi/x4wVSdzWd-M/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/x4wVSdzWd-M?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p><strong>William Dawson – Negro Folk Symphony:</strong></p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="wPhDb3XnXHs" data-video-thumb-url="https://img.youtube.com/vi/wPhDb3XnXHs/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/wPhDb3XnXHs?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p>© Ubaldo Valli 2022</p>
<p> </p>
<p> </p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/6893852
2022-02-10T09:26:28-05:00
2022-07-12T11:28:46-04:00
MusicianFest Performances
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/65514dcb1f282ace3cedcd110596aac1709066dc/original/mptf-eblast.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.png" class="size_xl justify_center border_none" alt="classical music" /></p>
<p>In December of 2021, Binghamton Philharmonic was <a contents="awarded multiple MusicianFest grants" data-link-label="" data-link-type="url" href="https://binghamtonphilharmonic.org/news/blog/the-binghamton-philharmonic-receives-multiple-grant-awards" target="_blank">awarded multiple MusicianFest grants</a> for the purpose of bringing live classical music to local senior living communities and senior centers. These exclusive performances were funded by the <a contents="Music Performance Trust Fund" data-link-label="" data-link-type="url" href="https://musicpf.org/" target="_blank">Music Performance Trust Fund</a>, a program in collaboration with the American Federation of Musicians, Sony Music Entertainment, Universal Music Group, and the Warner Music Group. The grant applications were prepared by Local 380 of the American Federation of Musicians. </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/a8330c312723be6270aa39309672d86b946784f5/original/mptfnewlogo.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_right border_none" alt="" /><strong>Over the past few months, Binghamton Philharmonic soloist musicians played privately for residents at the following locations: </strong></p>
<p><strong>Binghamton: </strong>Saint Louise Manor <br><strong>Johnson City:</strong> United Methodist Homes, Wells Apartments, and Johnson City Senior Center<br><strong>Vestal: </strong>The Hearth at Castle Gardens <br><strong>Endwell:</strong> Good Shepard Village<br><strong>Ithaca:</strong> Bridges Cornell Heights (Craftsman and Tudor House) </p>
<p>"We just had the pleasure of having J.J. Johnson here at UMH Hilltop Campus. Our residents loved him! He is so very talented! Thank you very much for making this happen!" <strong>Faye Clark, United Methodist Homes </strong></p>
<p>"The residents loved the performance and are still talking about it. Thank you very much!"<br><strong>Paula Francisco, The Hearth at Castle Gardens </strong></p>
<p>"We had a total of 20 residents attend. Feedback besides the obvious that it was absolutely fantastic! </p>
<p>'It was excellent. Not only did he play well, but he explained each piece to us.' <strong>Eleanor </strong></p>
<p>'Blown away, loved it' <strong>Connie</strong> </p>
<p>'He was really wonderful. Such a talented musician but also had a wonderful personality. I really enjoyed it.'"<br><strong>Katherine Micha, United Methodist Homes </strong></p>
<p>"J.J. provided a delightful performance and was very informative about the music he chose. The residents and staff really enjoyed his performance and wished it was longer. As J.J. played, more and more residents came out to listen. This was a wonderful opportunity for our residents to enjoy some classical music, as they do not get many chances to see a performance." <strong>Kristina Casey, Well Senior Housing</strong></p>
<p><strong>In the coming months, Binghamton Philharmonic soloist musicians will continue to perform for residents at the following locations: </strong></p>
<p><strong>Binghamton:</strong> Good Shepherd Fairview Home <br><strong>Endwell:</strong> Marian Apartments </p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/6868066
2022-01-13T15:00:05-05:00
2022-07-12T11:15:14-04:00
Pianist Andrew C. Russo Biography
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/e290a7deeb3550d53a044b5b5cef3f6d0ef2e825/original/andrew-russo-portrait.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_none" alt="classical musician" /></p>
<p style="text-align: center;"><span class="font_regular"><em>Andrew Russo</em></span></p>
<p>Andrew C. Russo is known for the diversity of his interests and experiences, whether it be Business, Music, or Politics. A native of Syracuse, Russo is a graduate of Fayetteville-Manlius High School and spent his early years studying with William Goodrum and Steven Heyman. He earned his bachelor’s and master’s degrees at <a contents="The Juilliard School" data-link-label="" data-link-type="url" href="https://www.juilliard.edu/" target="_blank">The Juilliard School</a>, followed by post-graduate studies in Leipzig and Paris with pianist/alternative pedagogue <a contents="Frederic Chiu" data-link-label="" data-link-type="url" href="https://www.fredericchiu.com/" target="_blank">Frederic Chiu</a>. Andrew’s early career was spent as an advocate of American composers and American music. He has performed in many of the world’s cultural capitals, including Paris, London, Moscow, Rome, Brussels, Tokyo, New York, Los Angeles, Chicago, and Buenos Aires. </p>
<p>His appearance as a finalist in the 2001 Van Cliburn International Piano Competition drew attention, when he became the first pianist to perform a significant work using alternative techniques requiring the inside and frame of the piano as well as the keys. He was featured in Peter Rosen’s internationally broadcast documentary “Playing of the Edge” not long after the competition and profiled in NY Times writer James Barron’s book, “The Making of a Steinway Concert Grand”. </p>
<p>With twelve commercial recordings to his credit, the highlight of Andrew’s recording career was a 2007 Grammy nomination for his Black Box Records release of music by John Corigliano. His video of Jacob TV’s “The Body of Your Dreams” has become a popular draw on YouTube and was broadcast on Dutch television. Andrew’s most recent recording on Naxos featured new works of Aaron Kernis, including Three Flavors for piano and orchestra, commissioned by Russo and premiered with David Alan Miller and the Albany Symphony Orchestra. </p>
<p>Mr. Russo continues to perform as a recitalist, concerto soloist, and chamber musician, with several appearances each season. He lives in Skaneateles, NY with his wife Natalia and their children Andrei and Mila.</p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/6866589
2022-01-12T10:23:14-05:00
2022-07-12T11:05:44-04:00
Mac & Cheese Fest Merch Now Available!
<p>Our friends at Muckles have partnered with us to create some fantastic <a contents="Mac &amp; Cheese Fest" data-link-label="" data-link-type="url" href="https://bingmacfest.com/" target="_blank">Mac & Cheese Fest</a> merchandise. <strong><a contents="Click here" data-link-label="" data-link-type="url" href="https://www.mucklesu.com/collections/binghamtons-7th-annual-mac-and-cheese-fest" target="_blank">Click here</a></strong> to visit the Muckles online store!</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/27aa96af58bfcdbca6ebe909f711dd1828d459bd/original/tshits-2.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.png" class="size_l justify_center border_none" alt="Mac and Cheese Fest" /></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/6849240
2021-12-22T14:59:09-05:00
2022-07-12T11:05:02-04:00
Celebrating the Legacy of Fritz and Marianne Wallenberg
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/8e90ce6a2831dfe302c85d3412f73ac5a3baa198/original/img-2380-cropped.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.png" class="size_xl justify_center border_none" alt="classical music" /></p>
<p style="text-align: center;"><span class="font_small"><em>Historic Photo of Fritz Wallenberg conducting Binghamton Symphony and Choral Society</em></span></p>
<p style="text-align: center;"><span class="font_regular"><em>This article appears in the January 2022 edition of Our Town, available at local retailers.</em></span></p>
<p><span class="font_regular">By Dr. Paul Cienniwa, Executive Director, Binghamton Philharmonic </span></p>
<p style="text-align: center;"><em>A project to preserve Binghamton history led to some interesting personal connections for the author. </em></p>
<p>In summer 2020, the Binghamton Philharmonic was given twenty years of recordings of performances conducted by Fritz Wallenberg, the founder of the orchestra that became today’s Philharmonic. The recordings, made by Marvin Fred Kelley, Jr. of Custom Recording Studio in Binghamton, date from a Christmas concert on December 14, 1958 and carry through 1978. The vast majority of the performances are of Wallenberg’s Community Symphony Society and its later incarnation, the Binghamton Symphony and Choral Society. </p>
<p>After receiving the reels, the Philharmonic embarked on a fundraising campaign to <a contents="digitize the recordings" data-link-label="" data-link-type="url" href="https://docs.google.com/spreadsheets/d/e/2PACX-1vTTD3ZvEnUZcWLEiI6aWC_Jbg0VMaiMLDBCOZqeFYjO4N98pDO-8qJToGw5Tv0qxNAp2uo8W9k6ahdI/pubhtml" target="_blank">digitize the recordings</a> for open access on YouTube. What I didn’t expect was the personal connections that came from the project’s supporters. Over the course of a year, I heard from former orchestra members, including violinist Ed Pettengill and clarinetist Vincent Smith, and from ‘cellist David Heiss, a former student of Fritz Wallenberg who now plays with the Metropolitan Opera Orchestra. I also took calls from children of parents who had played or sung with the orchestra, and I had the great pleasure of getting to know Fritz and Marianne Wallenberg’s children: James and Katherine (Rabinowitz). </p>
<p>Perhaps the most unusual connection came when I was looking over some of the old concert programs and noticed the last name of the former owner of the house my wife and I had recently purchased. The owner’s daughter had played with the orchestra! When I told my neighbor, he decided to pay for two of the digital transfers, presenting the recordings to the former owner. This was no coincidence, though. Rather, it was simply more evidence of how the <a contents="legacy of Fritz and Marianne Wallenberg" data-link-label="Wallenberg Legacy" data-link-type="page" href="/wallenberg-legacy" target="_blank">legacy of Fritz and Marianne Wallenberg</a> continues to reach into nearly every corner of our community. </p>
<p><em>On Wednesday, January 26, the Binghamton Philharmonic and <a contents="AudioClassics" data-link-label="" data-link-type="url" href="https://www.audioclassics.com/" target="_blank">AudioClassics</a> will present the best of these historic recordings at a benefit at the Kilmer Mansion, 9 Riverside Drive. Tickets are $10-$20 and include a reception. </em></p>
<p style="text-align: center;"><a contents="Click Here to Buy Tickets" data-link-label="" data-link-type="url" href="https://app.arts-people.com/index.php?ticketing=bpo01"><span style="color:#bf532c;"><b>Click Here to Buy Tickets</b></span></a></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/6849028
2021-12-22T11:49:32-05:00
2022-07-12T11:00:44-04:00
Binghamton Philharmonic Wins a FY2022 Grant Award
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/625d05e0a8669f4c6814a22825b3a6c38091b3fe/original/play-theater-students-1280-1.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p>The Binghamton Philharmonic Orchestra announces a grant award from the <a contents="New York State Council on the Arts" data-link-label="" data-link-type="url" href="https://arts.ny.gov/" target="_blank">New York State Council on the Arts</a> (NYSCA) to support the recovery of the nonprofit arts and culture sector. Following New York State’s $105 million investment in the arts for FY2022, NYSCA has awarded more than $80 million since June 2021.</p>
<p><strong>Governor Kathy Hochul:</strong> "The arts have long been a critical sector in our economy, and as we continue to rebuild a stronger New York, it's essential we do all we can help this industry thrive once again," Governor Hochul said. "These awardees represent the best of what New York's vibrant communities have to offer and with this funding in hand, they will be able to not only continue their creative and inspiring work, but help spur revitalization in their own backyard as well."</p>
<p><strong>Mara Manus</strong><strong>:</strong> “NYSCA applauds Governor Kathy Hochul and the New York State Legislature for their responsive investment of $105 million for the nonprofit arts and culture sector. 2022 will continue to bring change and the Binghamton Philharmonic will play a vital role in the renewal of our state’s economy and creative ecosystem,” said Mara Manus, Executive Director, NYSCA. “On behalf of the entire NYSCA Team, we wish to extend our sincere congratulations on your award.”</p>
<p><strong>Katherine Nicholls:</strong> “Council congratulates the Binghamton Philharmonic Orchestra on their grant award! New York State arts and culture organizations inspire New Yorkers and cultivate community in every region,” said Katherine Nicholls, Chair, NYSCA. “Arts and culture are crucial to our state’s health, and Council recognizes the dynamic impact of NYSCA grantees on the well-being of all New Yorkers.”</p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/6841734
2021-12-15T09:56:22-05:00
2022-07-12T10:59:26-04:00
The Binghamton Philharmonic Receives Multiple Grant Awards
<p>The Binghamton Philharmonic is proud to announce that it has been awarded multiple grants for the purpose of bringing live classical music to local senior living communities and senior centers. These exclusive performances are funded by the <a contents="Music Performance Trust Fund" data-link-label="" data-link-type="url" href="https://musicpf.org/" target="_blank"><strong>Music Performance Trust Fund</strong></a>, a program in collaboration with the American Federation of Musicians, Sony Music Entertainment, Universal Music Group, and the Warner Music Group. The grant applications were prepared by Local 380 of the American Federation of Musicians. </p>
<p><strong>Over the coming months, Binghamton Philharmonic soloist musicians will be playing privately for residents at the following locations: </strong></p>
<ul> <li>
<strong>Binghamton:</strong> Good Shepherd Fairview Home and Saint Louise Manor <br> </li> <li>
<strong>Johnson City:</strong> United Methodist Homes, Wells Apartments, and the Johnson City Senior Center <br> </li> <li>
<strong>Vestal:</strong> The Hearth at Castle Gardens <br> </li> <li>
<strong>Endwell: </strong>Good Shepherd Village and Marian Apartments <br> </li> <li>
<strong>Ithaca:</strong> Bridges Cornell Heights (Craftsman and Tudor House)</li>
</ul>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/6833827
2021-12-08T09:08:37-05:00
2022-07-12T09:55:10-04:00
Solo Vocalist Ayana Del Valle
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/b9230b5c9588c8e70164479e34b90ad9fd0b36e4/original/eblasts-fb-home-for-the-holidays3.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.png" class="size_l justify_center border_none" alt="classical concert" /></p>
<p>Ayana Del Valle is a dynamic vocalist and educator whose soulful voice and sparkling personality have delighted listeners throughout the U.S. and Caribbean. She has carved a niche as a classic jazz vocalist unafraid to add soul, funk, pop, and Latin flavors into the mix. Performing at festivals, clubs, and for non-profit organizations, Ms. Del Valle dazzles audiences with her original compositions, as well as powerful musical tributes to her greatest vocal inspirations, such as Ella Fitzgerald and Nina Simone. </p>
<p>Growing up in a musical Puerto Rican family in a quiet suburb outside Binghamton, Ayana and her sister were coached by their father to sing doo-wop songs and honor the rich traditions of Latin music. While Ms. Del Valle earned her jazz performance degree at the Conservatory of Music at Purchase College, where she studied alongside renowned jazz vocalists Roseanna Vitro and Dena DeRose, she became a fixture on the New York City jazz scene. She’s performed at notable venues such as Carnegie Hall, the Blue Note Jazz Club, Smoke, and Cleopatra’s Needle. She was invited to work with heavyweight jazz musicians such as John Faddis, Matt Wilson, Allan Harris, and Latin legend Hilton Ruiz, who hired her to perform with him in their native Puerto Rico. </p>
<p>As the founder and vocal coach of Del Valle School of Voice, Ms. Del Valle considers it her mission to help people of all ages learn to use their voice as a means of self-expression.</p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/6820064
2021-11-24T09:09:24-05:00
2022-07-12T09:54:44-04:00
The Binghamton Philharmonic welcomes new musicians to the roster!
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/b222b0a31aab10300f2f4dca2cb7753c904b26b3/original/img-6388.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.jpg" class="size_l justify_center border_none" alt="classical music" />Last weekend, the Philharmonic held auditions for open violin and viola positions. Twelve competed for the violin positions, and eleven competed for the viola positions. Auditions are "blind," meaning that the panel of judges, made up of Maestro Hege and principal string players, can see neither the auditioning musicians nor their resumes. Out of those who auditioned, one violinist and four violists were taken on as new members of our orchestra! </p>
<p>We are happy to announce the names of our new musicians: </p>
<p><strong>Robert Radliff</strong>, New Jersey, NJ, Violin </p>
<p><strong>Victoria Miskolczy</strong>, Newfield, NY, Principal Viola </p>
<p><strong>Rachel Lanskey</strong>, Brooklyn, NY, Viola </p>
<p><strong>J.J. Johnson</strong>, New York, NY, Viola </p>
<p><strong>Nickolas Kaynor</strong>, Melrose, MA, Viola</p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/6812963
2021-11-17T16:05:46-05:00
2022-07-12T10:51:31-04:00
Special Events Coming Soon
<h3><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/b315df8db28c561e7cc38528e14b929d111d94f6/original/dsc-0872-websize.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_left border_none" alt="classical music" />Wallenberg Festival Fundraiser </h3>
<p>Wednesday, January 26, 2022, 7:00 - 8:30pm </p>
<p>Kilmer Mansion, 9 Riverside Drive, Binghamton </p>
<p>$20 ($10 for Wallenberg Festival ticket holders) </p>
<p>The historic music of the Binghamton Symphony and Choral Society in an elegant setting.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/83677860453a167aac71e38078afdf36521fded9/original/andrew-russo-portrait.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsInNtYWxsIl1d.jpg" class="size_s justify_left border_none" alt="classical music" /></p>
<h3>Pianist Andy Russo in Recital </h3>
<p>Sunday, February 6, 2022, 3:00 - 5:00pm </p>
<p>Phelps Mansion, 191 Court Street, Binghamton </p>
<p>$20 (recital only) </p>
<p>$50 (recital, mansion tour, dessert & prosecco reception) </p>
<p>Join pianist Andrew Russo in an intimate recital at the Phelps Mansion.</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/bb53956ed93ef32256da401efa174315c6fea004/original/macncheesefest-068.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_left border_none" alt="Mac and Cheese Fest" /></p>
<p> </p>
<h3><a contents="7th Annual Mac &amp; Cheese Fest&nbsp;" data-link-label="" data-link-type="url" href="https://bingmacfest.com/" target="_blank">7th Annual Mac & Cheese Fest </a></h3>
<p>Thursday, February 10, 2022, 6-8pm </p>
<p>Holiday Inn Downtown, Binghamton </p>
<p>$25 ($20 subscribers; $15 youth) </p>
<p>Tickets go on sale for Mac & Cheese Fest December 1, 2021!</p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/6797140
2021-11-03T10:45:20-04:00
2022-07-12T10:49:56-04:00
Daniel Hege, Binghamton Philharmonic Music Director
<p><br><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/45cfb659067268242ded9503af3c8c97870bd4a4/original/daniel-headshot.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.jpg" class="size_l justify_center border_none" alt="Music Director, Daniel Hege" />Daniel Hege is widely recognized as one of America’s finest conductors, earning critical acclaim for his fresh interpretations of the standard repertoire and for his commitment to creative programming. He served for eleven seasons as the Music Director of the <a contents="Syracuse Symphony" data-link-label="" data-link-type="url" href="http://symphonysyracuse.org/" target="_blank">Syracuse Symphony</a> and, in June 2009, was appointed Music Director of the <a contents="Wichita Symphony" data-link-label="" data-link-type="url" href="https://wichitasymphony.org/" target="_blank">Wichita Symphony</a>. As of the 2015/16 season, he was named Principal Guest Conductor of the <a contents="Tulsa Symphony" data-link-label="" data-link-type="url" href="https://tulsasymphony.org/" target="_blank">Tulsa Symphony</a>, and in May 2018 was appointed to the position of Music Director of the Binghamton Philharmonic. </p>
<p>Mr. Hege has conducted a number of cutting edge concerts, including Bartok’s Bluebeard’s Castle, with the legendary Samuel Ramey in the title role and sets by the glass sculptor Dale Chihuly, and semi-staged productions of Rodgers and Hammerstein’s Carousel and South Pacific in collaboration with Music Theatre Wichita. </p>
<p>Daniel Hege received his Bachelor of Arts Degree in 1987 from Bethel College, Kansas where he majored in music and history. He continued his studies at the University of Utah, where he received a Master of Music degree in orchestra conducting, founded the University Chamber Orchestra, and served as Assistant Conductor of the University Orchestra and Music Director of the Utah Singers. He subsequently studied with Paul Vermel at the Aspen Music Festival and in Los Angeles with noted conductor and pedagogue Daniel Lewis. </p>
<p>A native of Colorado, Mr. Hege is proud of his Native American Heritage. He is Nez Perce, a member of the Colville Confederated Tribes, and his grandfather, Boyd Eagle Piatote, was a jazz musician and composer.</p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/6781982
2021-10-20T15:33:18-04:00
2022-07-12T10:47:58-04:00
The Magical Music of Harry Potter: Narrator Adara Alston
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/58b160f1f6c58afaed5235f129a7e6f91ae87910/original/alstonheadshot-1-1.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.png" class="size_l justify_center border_none" alt="classical music" /></p>
<p>Adara Alston is a local actor who has appeared in several theatre productions throughout the Southern Tier and Central NY. </p>
<p>Some of her recent credits include Doubt: A Parable (Franklin Stage Company), The Skin of Our Teeth, An Odyssey, and The Inferior Sex (Hangar Theatre), The Fan and Trap/Door (Cherry Arts), Emmett and Ella: A Doggone Mystery (Rachel Lampert's Fitz&Startz Productions), The One-Minute Play Festival (Kitchen Theatre), Twelve Angry Jurors (Elmira Little Theatre), Katrina: A New Musical (Walking on Water Productions), Pericles: Prince of Tyre (Ithaca Shakespeare Company), Shrek the Musical (Afton Community Theatre), To Kill a Mockingbird (Ti-Ahwaga Players), and A Midsummer Night's Dream (Cider Mill Playhouse). </p>
<p>Adara performs as a drummer and Drum Major in Broome County Celtic Pipes & Drums. When not drumming or on stage, her degree from <a contents="Cornell University" data-link-label="" data-link-type="url" href="https://www.cornell.edu/" target="_blank">Cornell University</a> allows her the opportunity to design online courses for Cornell.</p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/6762232
2021-09-30T15:40:02-04:00
2022-07-12T10:46:54-04:00
The Magical Music of Harry Potter
<p><span class="font_large"><strong><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/ef435f733648b1dcb342d0f6033b3b4479e4a1f9/original/harry-potter-comicon.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.jpg" class="size_xl justify_center border_none" alt="classical music" />A Panel with Maestro Daniel Hege </strong></span></p>
<p>A virtual event with <a contents="Roberson Museum and Science Center" data-link-label="" data-link-type="url" href="https://www.roberson.org/" target="_blank">Roberson Museum and Science Center</a> </p>
<p>Wednesday, October 13, 2021 from 6:30 PM – 7:30 PM </p>
<p>FREE! </p>
<p>Join Binghamton Philharmonic Orchestra music director <a contents="Daniel Hege" data-link-label="Music Director" data-link-type="page" href="/music-director" target="_blank">Daniel Hege</a> for a discussion of John Williams' and Patrick Doyle's iconic music from the films. </p>
<p>See the score through the eyes of a music director. Click here to register and for more information.</p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/6762230
2021-09-30T15:36:46-04:00
2022-07-12T09:52:41-04:00
Darkness Gives Way
<p style="text-align: center;"><span class="font_large"><strong><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/b54e3741eb6046511d61eaeadae9bb36a5a84475/original/clock-clouds-0937.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.jpg" class="size_xl justify_center border_none" alt="classical music" /></strong></span></p>
<h3 style="text-align: center;">Clocks & Clouds Music Video </h3>
<p>Produced by Live Wire Films in Minneapolis, MN </p>
<p>Their epic track "Darkness Gives Way," built on rhythm and rhapsody, will lure, challenge, and alleviate you with its plaintive string arrangements that beckon like sirens on a mythic island...all within five frenetic minutes! </p>
<p><a contents="Click here" data-link-label="" data-link-type="url" href="https://youtu.be/Y4DBD8CFC18">Click here</a> to watch the official music video "Darkness Gives Way."</p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/6762229
2021-09-30T15:34:32-04:00
2022-07-12T09:52:26-04:00
Clocks & Clouds Biography
<p><strong><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/9dd2b22eed671891a7df315269d8749164cd97d5/original/clock-clouds-0507-c.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.jpg" class="size_xl justify_center border_none" alt="classical concert" />Stephanie Shogren:</strong> violin </p>
<p><strong>Lucas Shogren:</strong> cello </p>
<p><strong>Derek Powers: </strong>drums/percussion </p>
<p>Clocks & Clouds is a Minneapolis-based instrumental trio formed in 2010. Consisting of Stephanie Shogren (violin), Lucas Shogren (cello), and Derek Powers (drums), the trio has found delight in combining classical instrumentation with rock aesthetics. Applying their penchant for grand sounds, Clocks & Clouds has commanded audiences around the country. </p>
<p>With music fitting for both film scores and rock albums, Clocks & Clouds has recorded two e.p.’s: Life Beyond Reason (2011) and The Creation of Matter (2012). Capturing the essence of their influences from Mozart to Muse, Clocks & Clouds creates a listening experience that is immediate and impacting. </p>
<p>Along with their active recording and performance schedule, Clocks & Clouds devotes time to inspire students and teachers alike. Believing that music education is an important factor in a child’s development, they strive to help kids rock out whether they are playing a Beatles cover or a Beethoven symphony. </p>
<p>For more information on Clocks & Clouds, <a contents="click here." data-link-label="" data-link-type="url" href="http://www.clocksandcloudsmusic.com/">click here.</a></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/6760113
2021-09-28T16:18:59-04:00
2022-07-12T10:44:18-04:00
EMERGE Concert Program Notes
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/05e7db73c7fc04d429393248f3ea34c6ab5e74e0/original/ubaldo-valli.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.png" class="size_xl justify_center border_none" alt="classical music" />While Canadian composer <a contents="Vivian Fung" data-link-label="" data-link-type="url" href="https://binghamtonphilharmonic.org/news/blog/emerge-concert-vivian-fung-composer" target="_blank">Vivian Fung</a> (b. 1975) has studied composition in Canada, Paris and New York, she has also travelled extensively in order to study the music and traditions of cultures as diverse as Bali, China, Vietnam and Spain. In her music, she blends her experience with Western musical art traditions with the traditions of those other cultures. Her compositions have been heard internationally and have won numerous awards. She presently is on the faculty of Santa Clara University. </p>
<p>She has written the following program note about her piece <em>Pizzicato</em>: </p>
<p>“<em>Pizzicato</em> is a short work for string orchestra, the duration of which the players never use their bows. The central sound produced is that of plucked strings as well a few surprises in the middle and towards the end of the work. Inspired by listening to Asian folk music, the piece is influenced partly by the music of the Chinese plucked instruments pipa and qin as well as by the energetic rhythms of Indonesian gamelan. </p>
<p>“<em>Pizzicato</em> was originally read as a string quartet by the American String Quartet while I was an associate artist at the Atlantic Center for the Arts (ACA) in New Smyrna Beach, Florida from April 29–May 17, 2001. The string orchestra version of <em>Pizzicato</em> was premiered by the San José Chamber Orchestra in San José, California on December 9, 2001. The string quartet version has been recorded by the Ying Quartet and is commercially available on the Telarc CD entitled “Dim Sum,” featuring short works for string quartet by Chinese American composers.” </p>
<p>*** </p>
<p>The origins of the modern symphony were modest, evolving from a bit of music to quiet an audience before an opera started and from an expansion the basic form of Baroque dance music, into a piece that composer Gustav Mahler (1860-1911) said “…must be like the world. It must contain everything.” Pivotal in that development was the Austrian composer Joseph Haydn (1732-1809). </p>
<p>For most of his career, Haydn was employed by the extremely wealthy aristocratic Esterházy family. Well, employed is a bit of a euphemism. Haydn was not an employee; he was a servant of the Esterházy court. As a servant, he was treated very well, but as a servant working for the extensive Esterházy musical establishment (first in 1761 as assistant director and then, in 1766, director), he had a tremendous workload. His list of duties included composing most of the music needed for church functions, operas (including operas for marionettes) and court events, rehearing, conducting, staging and playing that music (including some with his royal patron, Prince Nikolaus), recruiting and hiring musicians for the court, overseeing the royal instrument collection. The list was endless. But, perhaps more onerous for Haydn, was that working for the Esterházys meant living and working mostly at the Esterházy palaces at Eisenstadt and Esterháza in rural Hungary rather than in cosmopolitan Vienna. And Vienna was where the musical action was. </p>
<p>Vienna may have been where the musical action was, but Prince Nikolaus had provided Haydn with one of the best musical situations in Europe for Haydn to experiment with. And experiment he did, claiming that his work in isolation "forced (me) to become original." Among his experiments were those he made on the nascent form of the symphony, starting with his Symphony No. 6 (1761) through his Symphony No. 89 (1787). The sheer variety of techniques Haydn used was breathtaking, morphing music meant to merely entertain to music meant to express an emotional and technical depth equal to the most ambitious music of his time. </p>
<p>And, oddly, it was Haydn’s sequestration while working for the Esterházy family that made him famous. Prince Nikolaus disliked life in Vienna, but, as the Esterházys were one of the richest and most influential families of the Austro-Hungarian Empire, the Viennese liked the Esterházys. The result – a steady stream of aristocracy, diplomats and European movers and shakers visited the Esterházy estates and were entertained by the Esterházy musical establishment. When they returned home, they spread the word about the outstanding music they had heard and praised the man responsible – Haydn. </p>
<p>So, in 1779, when Haydn’s renegotiated contract with the Esterházys allowed him to write and sell music outside of the Esterházy court, there was a demand throughout Europe to hear the music the visitors to Hungary had praised. Haydn began to get commissions from as far away as Paris and Spain, and copies of his music were avidly bought and collected. Soon, the composer working alone in the Hungarian forests was one of the most famous musicians in Europe. </p>
<p>But that famous composer was still required to work far away from any urban cultural center. That changed when Prince Nikolaus died in 1790 and his successor and son Anton fired most of the musicians Prince Nikolaus had supported. Prince Anton kept Haydn on, but as his famous Kapellmeister had little to do, Prince Anton gave Haydn permission to travel away from the court to pursue musical opportunities that came his way. And he did. </p>
<p> </p>
<p>“I am Salomon from London and have come to fetch you. Tomorrow we shall make an accord,” </p>
<p>is how Haydn remembered Johann Peter Salomon (1745–1815), a German violinist and musical entrepreneur working in London, introducing himself in 1790. Salomon had sent an emissary to persuade Haydn to come to London two years earlier, but, with Prince Nikolaus still alive, Haydn declined. After an attempt to bring Mozart to London also failed, Salomon tried to recruit Haydn a second time. Free to travel after Prince Nikolaus’ death, Haydn negotiated an extremely profitable “accord” and, on January 1, 1791, landed in England needing to write an opera, six symphonies, and twenty other diverse works. This proved to be more difficult to do than expected, as Haydn was feted by aristocratic and musical society during his entire stay. But, after experiencing the crushing workload of working for the Esterházys, Haydn completed all of his commissions without breaking a sweat. Over the next sixteen months, only London concertgoers perspired. A typical newspaper account of one concert read “Haydn shone with more than his usual lustre (sic). … The new overture (read: symphony) is one of the grandest compositions we ever heard and it was loudly applauded; the first and last movements were encored. It was near twelve o’clock before the Concert was over.” </p>
<p>Haydn’s visit was so successful, both musically and financially, that Salomon arranged for Haydn to return to London a second time, from 1794 - 1795. Haydn composed his last six symphonies (Nos. 99 – 104) for Salomon’s concerts during this visit, which was even more successful than the first for Haydn (but sadly, not for Salomon, whose suspended his concerts for 1795 because he could not obtain ‘vocal performers of the first rank from abroad,’ so a rival organization premiered Symphonies No. 102-104). Indeed, King George III offered Haydn lodging at Windsor Castle to entice him to remain in England. But Haydn went back to Vienna, a very happy and wealthy man. </p>
<p>Today, we remember the twelve symphonies Haydn composed for London audiences as some of his best music, and they remain staples of the symphonic repertoire. And they are popular now for the same reasons they were 200 years ago. After trying out so many ideas with his Esterházy symphonies, Haydn knew what worked and what didn’t and composed his “London” symphonies with a diverse public in mind, rather than the cloistered Esterházy court. The London symphonies are grand pieces utilizing a larger orchestra that often featured prominent orchestral solos (making for happy wind players). And while Haydn did continue to explore innovations in form, harmony, rhythm, and instrumentation, he knew how to express himself in a way that any listener would understand. The sudden loud chord after an extended soft section in the slow movement of the Symphony No. 94 (<em>The Surprise</em>) is a prime and simple example and works because Haydn’s quiet phrasing is so clear that the loud chord, while startling, just feels <em>right</em>. </p>
<p>Haydn’s final symphony is No. 104, also nicknamed <em>The London</em>, premiered on May 4, 1795. Like the other London symphonies, it was received ecstatically. The London Morning Chronicle reported that “For fullness, richness, and majesty [this new symphony] is thought by some of the best judges to surpass all Haydn’s other compositions. A gentleman eminent for his musical knowledge, taste, and sound criticism declared that for 50 years to come, musical composers would be little better than imitators of Haydn; and would do little more than pour water on his leaves.” (So much for Beethoven, Schumann, Verdi and Wagner...) Like the other London symphonies, it is in four movements and is structured the same way – slow introduction (except for Symphony No. 95) /fast, slow, dance, fast. The stately slow introduction introduces motives that pervade the entire symphony (if you care about that type of thing) and leads into the fast bulk of the movement, in which the sophistication of Haydn’s techniques only enhances the clarity of his musical expression. The second movement, a theme and variations, may start simply, but is filled with dramatic and surprising contrasts. The Minuet (originally a courtly dance form in three parts that follows is prime example of how Haydn retained the basics of a Minuet while expanding it far beyond its origins. The sparkling final movement’s main theme apparently is based on a Croatian folk tune that Haydn may have heard in Hungary, with a low sustained pitch suggesting a hurdy-gurdy anchoring the lively primary melody. </p>
<p>*** </p>
<p>What were you up to when you were 16 or 17 years old? Maybe you had a job to earn money for a car, won an award for academic or athletic achievement, took a trip someplace exotic? Well, the German composer Felix Mendelssohn (1809-1847), after having composed 12 string symphonies, 1 one full symphony, 5 Singspiels (a kind of musical theater piece with both spoken and sung German), 3 piano quintets, 3 string quartets, a bunch of other chamber music, about 40 songs and other “diverse works,” wrote his Octet, Op. 20 (1825) and his Overture to a Midsummer Night’s Dream, Op. 21 (1827). (Beethoven was 30 years old when he wrote his Op. 20, Brahms was 27, Haydn was 40, Chopin was 22, Tchaikovsky was 36 – you get the idea.) But what was amazing about these two works is not that they were part of a torrent of music; rather, they were works of a fully mature composer, works that are among the best of their kind. </p>
<p>Mendelssohn clearly was one of music’s great child prodigies, ranking with Mozart, Prokofiev, and Saint-Saëns. That his grandfather was the philosopher Moses Mendelssohn and his father Abraham a successful and influential banker may account for the Mendelssohn household in Berlin being a gathering place for the Berlin intellectual and social elite and a place where education was highly valued. All of Abraham’s and Lea’s children received the best education possible, and Felix’s and his sister Fanny’s music talents were nurtured not just with excellent teachers, but also with performances by a private orchestra. (Sidebar – Fanny Mendelssohn-Hansel (1805-1847) was considered in some ways to be more talented than her brother, but, in her day, a woman’s proper role was as a homemaker rather than as a musician. The suppression of her possible output is one of music history’s great losses.) </p>
<p>Many child prodigies flame out when they reach adulthood. Not Mendelssohn. As an adult, he was a composer, a virtuoso pianist and organist, a relentless organizer of concerts and institutions, a promoter of music past and present (instrumental in rescuing the music of J.S. Bach from obscurity), and one of the first great modern conductors. These skills came together in the city of Leipzig. </p>
<p>Leipzig, a center of commerce and culture for centuries, had a distinguished musical tradition. J.S. Bach spent the bulk of his career there as head of music for Leipzig’s Protestant churches (a municipal position!) and it is home to the Leipzig Gewandhaus Orchestra, founded in 1781. Mendelssohn was appointed music director of the Leipzig Gewandhaus Orchestra in 1835 and poured his prodigious energies into the city’s music life. He worked with the orchestra, the opera, and the Thomanerchor (Bach’s gig), founded and directed the Leipzig Conservatory, and established influential concert series exploring music from earlier periods, uncommon for the time. </p>
<p>As music director of the Leipzig Gewandhaus Orchestra, Mendelssohn appointed his childhood friend, the virtuoso violinist Ferdinand David (1810-1873), concertmaster of the orchestra. David later became the first professor of violin at Mendelssohn’s new Leipzig Conservatory. So it was no surprise that, during the summer of 1838, Mendelssohn wrote to David, “I should like to write a violin concerto for you next winter. One in E minor runs through my head, the beginning of which gives me no peace.” It took six years for Mendelssohn to complete what turned out to be his final major work for orchestra, his Violin Concerto in E minor, Op. 64, which premiered in 1845 with David as soloist. </p>
<p>The collaboration between Mendelssohn and David on the concerto was unusually close, with Mendelssohn tailoring the piece for David using his friend’s suggestions. (An example of this can be seen online. The manuscript of the concerto’s first movement cadenza is basically just a series of chords, with some dynamics that Mendelssohn expanded in the printed edition to a full blown virtuoso display based on David’s input.) The result: a great violin concerto that is both musically sophisticated and violinistically effective and gratifying, and one that set the template for future collaborations between such pairs as Brahms and Joseph Joachim. </p>
<p>The concerto belies the popular notion that Mendelssohn was a conservative composer who, as the composer/critic Virgil Thomson wrote, was “far more interested in where music came from that in where it was going.” Mendelssohn’s innovations in this concerto may not have been flashy, but they were very influential. In essence, he found a unique solution to the problem of balancing the musical roles of soloist and orchestra. Examples of this are having the solo violinist dominating at the beginning of the concerto but providing a simple accompaniment to the winds later in the movement; composing a cadenza for the soloist rather than allowing the violinist to improvise one; placing the cadenza at the structural return of the movement’s opening rather than at the end; and linking the movements using a subtle, returning motive while having all three movements of the concerto played without pause. </p>
<p>That said, the concerto does follow the conventional three movement pattern of fast-slow-fast. But the musical drama of the first movement, the songful lyricism of the second, and the playful musical game of tag in the third, combined with Mendelssohn’s innovations, results in a piece that everyone - the audience, the soloist, the orchestra and (yes) critics – value and enjoy. </p>
<p>© 2021 Ubaldo Valli</p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/6749560
2021-09-17T10:16:06-04:00
2022-07-12T09:51:44-04:00
Vivian Fung, a Composer for EMERGE Concert
<h3><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/0762ec91f8c87a8e3fc570f9258d64afb13786b7/original/200127-mosaique-vivian-fung-0246-1-smaller-scaled2.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.jpg" class="size_xl justify_center border_none" alt="classical music" /></h3>
<h2><strong><span class="font_regular">Vivian Fung, Composer</span> </strong></h2>
<h2><em><span class="font_small">Opening Night: Pizzicato (2001) by Vivian Fung </span></em></h2>
<p>Pizzicato is a short work for string orchestra, the duration of which the players never use their bows. The central sound produced is that of plucked strings as well a few surprises in the middle and towards the end of the work. Inspired by listening to Asian folk music, the piece is influenced partly by the music of the Chinese plucked instruments pipa and qin as well as by the energetic rhythms of Indonesian gamelan. </p>
<p>Click here to hear a recording of Pizzicato: <a contents="Pizzicato for String Orchestra&nbsp;" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=zVFJjZU5HSo" target="_blank">Pizzicato for String Orchestra </a></p>
<p>For more information on Vivian Fung: <a contents="Vivian Fung Biography" data-link-label="" data-link-type="url" href="https://vivianfung.ca/biography" target="_blank">Vivian Fung Biography</a></p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/6740096
2021-09-08T15:40:46-04:00
2022-07-12T10:39:27-04:00
Julian Rhee Violinist Soloist for EMERGE Concert
<p><span class="font_large"><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/14bef870640418b681f0d5d33bbcd9506d18e873/original/facebook-post-image.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.png" class="size_xl justify_center border_none" alt="classical music" /></span></p>
<h2>
<span class="font_regular"><strong>Julian Rhee, Violinist </strong></span><br><span class="font_small"><em>Soloist for the Binghamton Philharmonic’s Emerge Concert on September 25th, 2021: Violin Concerto, Op. 63, E minor: Felix Mendelssohn</em></span>
</h2>
<p>The first prize winner of the 2020 Elmar Oliveira International Violin Competition and most recently named a 2021 Astral National Auditions winner, Julian Rhee is fast gaining recognition as an outstanding musician and performer in the US. </p>
<p>An avid soloist, Julian made his <a contents="Milwaukee Symphony Orchestra" data-link-label="" data-link-type="url" href="https://www.mso.org/" target="_blank">Milwaukee Symphony Orchestra</a> debut at age 8, and has gone on to perform with such ensembles as the San Diego Symphony and the Symphony Orchestras of Pittsburgh, Eugene (OR), and Madison (WI). He has performed in an array of prestigious venues, including Ravinia’s Bennett Gordon Hall in Chicago; the Heinz Hall in Pittsburgh; Teatro El Circulo in Argentina; The Musikverein in Vienna; and the New World Center in Miami. </p>
<p>Among his many career highlights, he has appeared at the John F. Kennedy Center as a Presidential Scholar and received his medal at the White House. A top prize winner of the Johansen and Klein International Competitions, Julian has performed alongside internationally renowned ensemble <em>Time for Three</em> on NPR’s <em>From The Top</em> , 98.7 WFMT’s Introductions , and Wisconsin Public Radio and Television (WPT/WPR). Julian shares his passion for music by serving in the local community as an assisting artist and mentor of the Wisconsin Intergenerational Orchestra. In addition, he regularly speaks and performs at schools and retirement homes in Wisconsin and Illinois. </p>
<p>Julian studied with Almita and Roland Vamos at the <a contents="Music Institute of Chicago Academy" data-link-label="" data-link-type="url" href="https://www.musicinst.org/academy" target="_blank">Music Institute of Chicago Academy</a>. He is currently pursuing a Bachelor of Music degree with Miriam Fried at the New England <br>Conservatory.</p>
Binghamton Philharmonic Orchestra
tag:binghamtonphilharmonic.org,2005:Post/6731174
2021-09-01T03:00:00-04:00
2022-07-12T09:51:10-04:00
Staff Update
<h2><span class="font_small"><strong>September 1, 2021</strong></span></h2>
<p>We begin the month of September with some staffing changes: </p>
<ul> <li><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/465f17f990b44ac8b54a11415009373add34016a/original/7e91e3b35f8d07f12a27f93ffe4a6bd732ed2ea6-14.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_right border_none" alt="classical music " />Assistant Executive Director <strong>Abby Cleveland</strong> has moved to the Fort Wayne (IN) Philharmonic, to work as Development Manager under former Binghamton Philharmonic Executive Director, <strong>Brittany Hall</strong>. (Brittany is currently Assistant Managing Director at Fort Wayne.) We wish Abby the best as she begins her new role in a new city with a good friend and mentor! </li> <li>Abby’s departure has necessitated some restructuring of staff roles, and I am happy to announce that <strong>Brian Nayor</strong> (former Development Assistant and Box Office Manager) has been promoted to Director of Sales and Development. <strong>Erika Dentinger</strong> (former Operations Manager) is now Director of Operations. </li> <li>
<strong>Caitlin Khan</strong> begins today as part-time Marketing and Publications Assistant. </li> <li>Finally, Assistant Concertmaster <strong>Noemi Miloradovic</strong> and Principal Bass <strong>Spencer Phillips</strong> will serve together as Librarian. </li>
</ul>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/857c15cacaa47a5b9ab434f9dbebebf116686166/original/20210815-161524.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_right border_none" alt="classical music" />We’ve just concluded a very, very busy summer. From Concerts in Every Corner to our first-ever Summer Chamber Music Series to Binghamton Porchfest, our musicians were uncommonly active throughout the community. None of this would have been possible without our sponsors and without the support of you, our audience. Thank you all for helping to make this a memorable Philharmonic summer! </p>
<p>Finally, if you haven’t purchased your subscription yet, now is a great time to do it--and three-concert subscriptions start at just $70!. Plus, if you act quickly, you’ll get a special invitation to our subscription pickup event at the Binghamton Club on September 8. Any of our staff members can help you plan your subscription, so call the box office today at (607) 723-3931. </p>
<p>With best wishes, </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/592808/75e64be35f363569899add42dd03c4abdb9a20a5/original/paul-cienniwa-signature.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsInNtYWxsIl1d.png" class="size_s justify_left border_none" alt="" /></p>
<p> </p>
<p>Dr. Paul Cienniwa <br>Executive Director</p>
Binghamton Philharmonic Orchestra