The Binghamton University Department of Music presents the
University Symphony Orchestra
Dr. Timothy Perry, Director
2009-2010 Season
"Winter Winds"
Featuring the Woodwind and Brass Faculty of the Department of Music
Orchestral Suite No.2 in B minor, BWV 1067....................Johann Sebastian Bach
Polonaise and Double
Badinerie
1685-1750
Georgetta Maiolo, Flute
Concerto in C Minor for Oboe and Strings ...........Benedetto /Alessandro Marcello
II. Adagio
III. Allegro
1686-1739
John Lathwell, Oboe
Concerto in E-flat for Trumpet and Orchestra...............Johann Nepomuk Hummel
III Introduction – Rondo (Allegro)
1778-1837
Benjamin Aldridge, Trumpet
Introduction, Theme & Variations, Clarinet and Orchestra ....... Gioacchino Rossini
1792-1868
Sarah Chandler, Clarinet
Concerto for Bassoon and Orchestra, Op. 75 .....................Carl Maria von Weber
II. Adagio
III. Rondo (Allegro)
1786-1826
Martha Weber, Bassoon
**********
INTERMISSION **********
Morceau Symphonique, Trombone and Orchestra ................. Alexandre Guilmant
arr. Fetter
1837-1911
Donald Robertson, Trombone
Larghetto for Horn and Orchestra........................................... Emmanuel Chabrier
Brian Sternberg, French Horn
1841-1894
Scaramouche, for Saxophone and Orchestra ................................Darius Milhaud
II. Modéré
III. Brazileira
1892-1974
April Lucas, Alto Saxophone
ABOUT THE PERFORMERS
GEORGETTA MAIOLO is a member of the faculty of Binghamton University and Broome
Community College, teaching Flute and directing Flute Ensembles. From 1977 to 1996, she held
the position of Assistant Professor of Flute at Ithaca College, Ithaca, New York. She also taught
flute at Hartwick College, Oneonta, New York and West Virginia University, Morgantown, West
Virginia.
Mrs. Maiolo is a graduate of Duquesne University, Pittsburgh, Pennsylvania and attended graduate
school at West Virginia University, Morgantown, West Virginia. She studied with Bernard Goldberg,
principal flutist of the Pittsburgh Symphony, Marcel Moyse at Marlboro School of Music, and Victor
Saudek. Mrs. Maiolo is the recipient of numerous honors, including the Very Reverend Thomas j.
Quigley Award, the NCMEA National music award, the Pittsburgh Tuesday Musical Club, the Enola
M. Lewis Scholarship and the Mu Phi Epsilon Sterling Achievement Award.
Mrs. Maiolo is the principal flutist of the Binghamton Philharmonic Orchestra, Tri-Cities Opera
Orchestra, and Downtown Singers Orchestra. She also concertizes as a soloist, recitalist and
chamber musician and has been recognized for the breadth of her contributions to performance
and music education. She has premiered compositions for flute by Jack Martin, Dan Locklair, Edith
Borroff, Malcolm Lewis, Richard Herman, Jeffrey Nitch, Timothy Rolls and Paul Goldstaub. In 1985,
Mrs. Maiolo was honored to conduct the NYSSMA All-State Flute Choir. She served as the flute
chairperson for the NYSSMA Manual from l981 to 2001. She is chapter advisor for Mu Phi Epsilon,
Zeta Eta Chapter at Binghamton University. She is a “clinician” for the Selmer Company. She is a
member of the National Flute Association. She has recorded for Crest Records and NPR. The
“Suite in b minor” by Johann Sebastian Bach has a special meaning to Mrs. Maiolo. She had the
honor to perform this work some 50 years ago as her solo debut with the Pittsburgh Symphony
under the direction of William Steinberg.
JOHN LATHWELL is the principal oboist of the Binghamton Philharmonic, the Tri-Cities Opera and
the Cayuga Chamber Orchestra. He also performs regularly with the North Eastern Pennsylvania
Philharmonic, the Skaneateles Festival and is active as a chamber musician throughout the central
New York area. In New York City, Mr. Lathwell has performed with the Orchestra of St. Lukes, the
New York Chamber Symphony, the American Composers Orchestra, the Westchester Philharmonic
and the Brooklyn Philharmonic among many others. Mr. Lathwell is a member of the music faculty
at both Binghamton University and the Tennessee Governor's School for the Arts. He has also
taught at Ithaca College. His primary teachers have been Joseph Robinson, principal oboist of the
New York Philharmonic, and Richard Killmer, Professor of Oboe at the Eastman School of Music.
BEN ALDRIDGE holds both Bachelor’s and Master’s degrees from Yale University, and began
teaching trumpet at Binghamton University in 1976. Mr. Aldridge has directed both trumpet and
mixed brass ensembles throughout his tenure at BU, has performed both solo and chamber
repertoire, and has taught theory as well. Aldridge is a member of the Binghamton Philharmonic
and the Utica and Catskill Symphonies, as well as the Glimmerglass Opera Orchestra. He also
performs with and arranges for the Catskill Brass Quintet. Mr. Aldridge is a charter member of the
international Trumpet Guild, and has been recorded on Columbia and Redwood records.
SARAH CHANDLER has served as Lecturer of Clarinet at Binghamton University since 2007. She
holds a BM from Northwestern University, an MA from the University of Iowa and an MLIS from the
University of Wisconsin-Milwaukee. Her teachers include Russell Dagon, Robert Marcellus and
Clark Brody. Ms. Chandler teaches private lessons and coaches chamber ensembles at BU. She
is second clarinetist with the Cayuga Chamber Orchestra and substitute clarinetist with the
Binghamton Philharmonic. She has also performed as substitute clarinetist with the Glimmerglass
Opera Orchestra and the Tri-Cities Opera Orchestra. Her past orchestral experience includes the
Milwaukee Ballet Orchestra, the New World Symphony and the Spoleto (Italy) Festival Orchestra.
Ms. Chandler was a prize winner at the International Clarinet Society Competition three times and
won the grand prize in 1988. She also has pursued a career as an academic librarian, having most
recently held positions at Binghamton University and Cornell University. She lives in Ithaca with her
librarian husband and two young children.
MARTHA WEBER returned to teach at Binghamton University in 2006, where she teaches
bassoon lessons, bassoon methods, bassoon reed-making and small ensembles. Ms. Weber has
also taught bassoon at Hartwick College. Ms. Weber is the Band Director at Ann G. McGuinness
Intermediate School, in the Union-Endicott Schools, where she is a trained mentor for new
teachers. Ms. Weber is also a Certified NYSSMA Adjudicator. Ms. Weber received her Bachelor's
of Music in Music Education and her Master's Degree in Applied Music from Ithaca College. She
has done post graduate work at the American Band College. Ms. Weber has studied bassoon with
Edward J. Gobrecht, Jr., David Ross and Julie Gregorian.
Ms. Weber has been a member of the Binghamton Philharmonic and Tri-Cities Opera Orchestras
since 1985. She actively performs with her woodwind quintet, “The Fair Winds”. She has also
performed with the BC Pops, Cayuga Chamber Orchestra, Catskill Symphony, Utica Symphony
and the Orchestra of the Southern Finger Lakes. She maintains membership in the Music
Educators’ National Conference (MENC), for which she has had several articles published, New
York State School Music Association (NYSSMA), and the International Double Reed Society
(IDRS), for which she has been a presenter. In addition to her performing and teaching schedule,
Ms. Weber will be presenting Bassoon and Reed-making Master Classes this 2009-2010 season at
Ithaca College and at area schools. Ms. Weber’s reeds are sought out by both students and
professionals.
DONALD ROBERTSON has been an Adjunct Lecturer at Binghamton University since 1974. He
received a B.M. from Ithaca College and an M.M. from Binghamton University. He has done post
graduate work at Yale University, Syracuse University, and the University of Colorado at Boulder.
His teachers include Reginald Fink, John Swallow, Per Brevig, and Bill Harris
Mr. Robertson is currently Principal Trombone with the Binghamton Philharmonic and the
Glimmerglass Opera Orchestra, and is a member of the Catskill Brass Quintet and the
Glimmerglass Trombone Quartet. He has performed at several Eastern Trombone Workshops and
International Trombone Festivals as well as with the Royal Philharmonic Orchestra and the Aspen
Chamber Orchestra. Mr. Robertson is also frequently employed to back touring artists who perform
in the upstate area.
BRIAN STERNBERG has been a member of the faculty of Binghamton University teaching French
horn since 1977. His BS is from Ithaca College. He studied the French horn with John Barrows,
Joseph Singer, Harry Shapiro, Gunther Schuller, Milan Yancich, John Covert, Robert Prins and
Theo Rollins. Mr. Sternberg performed with such artists as Gary Graffman, Leonard Rose, Placido
Domingo, Richard Leech, Toby Hanks (tuba), David Ohanion (French horn, Canadian Brass
Quintet), Connie Stevens, Sergio Franchi, Enzo Stuarte, Robert Rauch (French horn), and Barry
Tuckwell (French horn). Mr. Sternberg is a performing member with the Binghamton Philharmonic,
Tri- Cities Opera and Binghamton Woodwind Quintet. He was a scholarship student at Tanglewood
and performed with the Boston Symphony Orchestra.
APRIL LUCAS earned both a Bachelor of Arts and Master of Music at Binghamton University and is
currently on the faculties of Binghamton University and Broome Community College and a former
member of the Hartwick College music faculty. Ms. Lucas is a founding member of the Empire
Saxophone Quartet and has recorded with the Hudson Valley Saxophone Quartet, the Saxophone
Sinfonia, the New Sousa Band and the Empire Saxophone Quartet. A former regional director of
the North American Saxophone Alliance, Ms. Lucas has served as a clinician and guest conductor
throughout New York State. In 2009, Ms. Lucas retired from being a full time instrumental music
teacher for the Susquehanna Valley School District. Ms. Lucas is a member of the Binghamton
Philharmonic Orchestra, the Tri-Cities Opera Orchestra, and the Southern Tier Concert Band and
has been a member of the New Sousa Band under the direction of Keith Brion since 1989. As a
featured soloist, Ms. Lucas has appeared with the Southern Tier Concert Band, the Binghamton
Community Orchestra and the New Sousa Band.
TIMOTHY PERRY, conductor and clarinetist, is Professor of Music and currently Chair of the
Department of Music for Binghamton University. A graduate of the Manhattan and Yale Schools of
Music, Dr. Perry joined the Binghamton University faculty in 1986, becoming Professor of Music in
2002, and receiving the Chancellor’s Award for Creative Activities in 2005. As Music Director, Dr.
Perry has directed the University Orchestra (since 1986), directed the University Wind Ensemble
1986-2005, and led the Binghamton Community Orchestra from 1994-2004. Widely known as a
clarinetist in virtuoso solo and chamber music, he toured Latin America and the Caribbean as a
United States Musical Ambassador and has presented recitals at three world conferences of the
International Clarinet Association. During 2008-2009, he appeared as concerto soloist with the
Catskill Symphony, as guest conductor with the Binghamton Community Orchestra, and as guest
artist with the Finger Lakes Chamber Ensemble. In Summer/Fall 2009 Dr. Perry served as Music
Director in both Binghamton and Santiago, Chile for a new production of the Brecht/Weill ThreePenny Opera and lead the Binghamton University Orchestra in a gala October 2009 program with
the Paul Taylor Dance Company. With long-time collaborator Margaret Reitz, he will present an AllEnglish recital program "Sweet Albion" in April 2010. In addition to his duties as Chair, he currently
serves as President of the Northeast Division of the College Orchestra Directors’ Association
(CODA) and New York representative to the National Association of Music Executives of State
Universities (NAMESU).
ABOUT THE MUSIC
This evening's program celebrates the breath of life, transmuted in infinite shades of
power and subtlety through wood, metal and a cantankerous species of grass known as arundo
donax (aka 'reed-cane') to become, in the hands of talented, patient and sensitive men and women,
music of the Wind Instruments. The primary source history of orchestral wood-wind and brass
instruments extends back only four centuries, but we possess a few far more ancient examples trumpets that date from Roman times and bone flutes traced back to 30,000 B.C. Most of tonight's
program presents solo compositions for the improved 'modern' instruments made possible (from
about 1800) by the new wood- and metal-working techniques of the Industrial Revolution. However,
our first two solo works -for flute and oboe - demonstrate the virtuosity demanded of instruments
with only one or two keys and some advanced prestidigitation.
Each of the instruments on tonight's program is a product of two or more centuries of
acoustic evolution that has nonetheless allowed each instrument to retain a high degree of
individuality and personal character. Their unique tone colors, their own special tonal and dynamic
ranges, their strengths and foibles are known to every player from the beginner to the most
seasoned professional. They are to composers, players and audience a source of unending
challenge and delight. Part of their continuing success stems from the fact that they so well
represent our own diversity as human beings: different, yet with many shared features; fallible, but
capable of great and moving achievements. Like us they are finding their way in the world by dint of
skill and will, possibly alone, but at their best in concert with one another.
* * * * * * * *
Bach composed his four orchestral suites or 'overtures' in Leipzig in the period from
1725-1739. Each suite consists of an opening overture (Slow introduction, fast fugato and return of
the opening material) followed by a series of dance-movements that were frequently lifted from
ballet music. The second suite includes a 'courtly' Polonaise, slower and danced with such formal
and staid figurations that it was also called 'martial dance'. Its double is an ornamented variation of
the dance performed by soloist with basso continuo alone. The closing Badinerie is essentially the
same as a Badinage, meaning a 'trifling' dance. It is somewhat like a supercharged gavotte - fast
and even frivolous in effect, a virtuoso showpiece played in as fast a tempo as possible.
Two salient features of Benedetto Marcello's Oboe Concerto are that 1) it is now normally
performed in the wrong key (C minor instead of the original D minor) and 2) Benedetto did not
compose it - it is now believed to have been composed by his brother Alessandro Marcello (16841750). Alessandro was the embodiment of a true amateur, a 'noble dilettante'. His works, few in
number, are highly polished and effective compositions that won praise from Tartini and Vivaldi. .
Attributed first to Vivaldi and later to Benedetto, the Oboe concerto was probably composed about
1712-15 and made such an impression on J. S. Bach that the German master transcribed it himself
in its original key for the keyboard as BWV 974. Its soulful Adagio is considered one of the most
beautifully crafted melodies of the Baroque period, while the finale retains the common form of a
spirited dance in triple meter with a delightful mixture of duple and triple time.
Despite a sterling musical pedigree – piano prodigy, student of Mozart, alternately friend
and competitor of Beethoven, successor to Haydn at Esterhazy, and a pioneer in the field of
composer's rights - Johann Nepomuk Hummel is today one of the least-known giants of the
Viennese Classical period. A fluent composer who wrote in almost every genre, Hummel completed
his only Trumpet Concerto in December 1803 for Anton Weidinger, who promoted the first
chromatic 'keyed trumpet' in the late 1790's (and for whom Haydn also wrote a concerto). The
rondo finale is classical in form and skillfully employs alternation of chromatic melodic figures with
the natural notes of the trumpet. Weidinger's mechanically unreliable keyed trumpet faded as
modern piston and rotary valve mechanisms were quickly adopted by European brass players, but
the energy, virtuosity and craftsmanship of Hummel's composition has earned the concerto an
honored position in the trumpet repertoire.
Given Rossini's prodigious production of works for the stage – some 39 operas between
1810 and 1829 - it is scarcely surprising to see a paucity of solo and ensemble compositions for
instruments. Indeed, almost all of Rossini's instrumental output was completed before 1810 or after
1840. This work was a recent discovery and was published only in 1960; its authenticity, while
generally accepted, has not yet earned it a listing among Rossini’s 'official' works. Likely composed
in 1809-10 along with two other smaller sets of variations for solo clarinet, the work (known to
clarinetists as the 'ITV') is a conventional tour de force consisting of an extended introduction
followed by a simple theme and five increasingly virtuosic variations, of which one (normally the
penultimate) is slow and in the parallel minor key. It presents formidable technical challenges, and
performing it on the 13-keyed clarinet of Rossini's day would have been impressive indeed.
While Carl Maria von Weber's operas earned him the title of 'Father of German
Romanticism', he is also beloved by wind players for his many innovative solo compositions for
wind instruments, in particular clarinet and bassoon. The slow movement of his Bassoon Concerto
of 1811 shares many features with his other solo wind works: long vocal lines; moments of
dramatic recitativo employing extreme changes of dynamics coupled with large melodic leaps; and
hymn-like passages that capture Weber's love of field and forest, the 'Waldesruh'. In Weber's
finales, a humorous vein comes to the fore through his marriage of Rondo and Polacca forms.
Weber, like Dvorak, wrote themes that possess such wit and easy charm that they are often
mistaken for folk-song melodies. Weber's writing for the soloist is always brilliant, virtuosic, and
effective, reflecting the new and fiercely competitive market for ever more difficult concerti with
which to attract the public to the concert hall.
Alexandre Guilmant is primarily remembered for his work as Professor of Organ at the
Paris Conservatory and as a founder of the Schola Cantorum. By profession a virtuoso organist, the
Morceau Symphonique is interesting as one of a handful of Guilmant's works for instruments.
Judging by its formal construction, beginning with a slow introduction in the difficult key of E-flat
minor before moving to a faster section in E-flat Major, this work was likely intended to be a
submission as a final examination piece for the Conservatoire. Like most such solos de concours
or contest solos, it requires great breath control, the ability to project a singing lyrical line in all
registers and the ability to play intricate fast passages over the range of the instrument. Sadly,
Guilmant never orchestrated the work; tonight we play an orchestration completed in 2008 by David
Fetter, trombone professor at the Peabody Conservatory in Baltimore.
The fame of Emmanuel Chabrier is forever secure in a single work – Espana, his
brilliantly orchestrated tone-poem on Andalusian folk melodies. However, the vast majority of
Chabrier's compositional efforts went into a series of ill-fated operas that enjoyed little or no
success or remained incomplete. Tonight's Larghetto (1874) is the second of only six instrumental
works completed by Chabrier in his career. It is nonetheless a remarkably innovative work of solid
craftsmanship and lush sonorities, more of an orchestral tone-poem with obbligato horn solo than
the flashy Romantic concerto. (In fact, almost no important concerti for wind and brass instruments
were composed between 1830 and 1880.) Much of Chabrier's work has the veiled quality of a
dream-waltz, held together by a recurring syncopated chromaticism that presages the harmonic
language of Debussy by a dozen years. A repeating horn-call that marks the beginning and end of
the work hints at what may have been the inspiration for this unique work, Chabrier's lifelong
admiration for -and compositional emulation of -Wagnerian opera.
The last of the 'standard' woodwinds to be developed, the saxophone's solo repertoire
has a shorter pedigree than other woodwind and brass instruments, consisting of a lyric lateRomantic base complemented by a strong overlay of Jazz influences inherited from popular and
world music. The instrument benefited greatly from the works of Darius Milhaud, among the early
twentieth century's most well-traveled composers with strong influences from time living in his
native Provence, Brazil, and the United States. One of the century's most prolific composers,
Milhaud included saxophone in at least 45 of his works and included it in a variety of ensembles.
Here the title Scaramouche refers not to the stock character of commedia dell' arte pieces, but to
the Scaramouche Theater in Paris in which several stage pieces were presented with music by
Milhaud. Tonight's movements were drawn from Bolivar, providing music for the second movement,
and Le Medecin Volant from which came music for the effervescent Brazileira.
-T. Perry 11/09
Binghamton University Symphony Orchestra
Timothy Perry, Director
Flute
Jenna Goldin
Melanie Adler
Natalie McCreary
Piccolo
Melanie Adler
Clarinet
Adam Davis
Jacqueline Odgis
James Wu
Matthew Hassel
Bassoon
Daniel Bessel
Paige Elliott
French Horn
Alexa Weinberg
Diana Amari
Kirstie Cummings
Robert Muller
Trumpet
Daniel Fein
Ryan Levitan
Trombone
Jay Bartishevich
William Marsiglia
Percussion
Amanda Jacobs
Lee Vilinsky
Marc Silvagni
Mike Longo
Keyboard
Rob Menard
Heather Worden, Assistant Conductor
Violin I
Jaime MinJeong Jeon
Xiang He
Margaret Yoon
Euiju Han
Richard Law
Wesley Ha
Imji Choi
Jenny Raphael
Ga Eun Kim
Jane Evans
Gregory Gerald Greene
Nicole Boucicaut
Violin II
Erin Chang
Emily Wong
Ella Serrano
Elana Streim
Gabriella Scull
Chris Rogers
Amy Su
Jessica Laredo
Eric Lewis-Clark
Andrew Tsai
Viola
Patrick Hewitt
Stephanie Chaung
Maxim Pekarskiy
Jodi Ezratty
Janet Ievins
Julia Cenzoprano
William Grandin
Maeve Murray
Violoncello
Sangyun Bang
Stephanie Radzik
Jennifer Chen
Ryan Joyce
Zeno Pittarelli
Raeleen Bichler
Eric Wuu
Jin Woo Lee
Alan Wang
Contrabass
Stephen Brooks
Kristine Beckmann
Christopher Zavala
Rudolf Koegl
Gabriel Felix
The BUSO employs rotating
seating:
Woodwinds, Brass and
Percussion rotate by
composition and are listed
alphabetically.
Strings rotate by concert
and are listed in seating
order.