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2009-2010
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Saturday, March 6, 2010
8:00 p.m.
Osterhout Concert Theater

The Binghamton University Department of Music presents the
Dr. Timothy Perry, Director
Saturday, March 6, 2010
2009-2010 Season
Osterhout Concert Theater
Program
Overture to Il dissoluto punito, or Don Giovanni, K. 527........................ W.A. Mozart
(1756-1791)
Heather Worden, Conductor
Piano Concerto No. 3 in C minor, Op. 37................................. Ludwig van Beethoven
I. Allegro (1770-1827)
Jieun Jang, Piano
***** intermission – ten minutes *****
Trumpet Concerto (1950)...............................................................Alexander Arutiunian
(b. 1920)
Daniel Fein, Trumpet
Concerto in B minor for Cello and Orchestra, Op. 104........................Antonin Dvorak
I. Allegro (1841-1904)
Jennifer Chen, Violoncello
Thank You for attending today's concert, and for your support of our many outstanding student musicians. Please join us on Saturday, May 1st for the final concert of the
2009-2010 season, an All-Slavic program with Smetana's Overture to The Bartered
Bride, Liszt's tone-poem Les Preludes and Dvorak's beautiful Symphony No. 6 in D
Major.

Conductor, Heather Worden , a native of Trumansburg, NY, graduated from Houghton College in May 2008 with a Bachelor of Music degree in
Music Education. Throughout her time at Houghton she served as
Chaplain and President of the Houghton chapter of CMENC (Collegiate
Music Educators National Conference) and a Province Representative on the statewide board of CMENC. She is still an active member of the organization. Heather has studied conducting with Dr. B. Jean Reigles,
Dr. Brandon Johnson, Mr. Kenneth Brown, Dr. Gregory Magie, and Dr.
Brian Casey. She has had the privilege of conducting premiere works for the composer Robert Summers Potterton III, as well as the Frontier High
School Wind Ensemble, the Houghton College Symphonic Winds and the Houghton College Philharmonia. Since coming to Binghamton, she has been studying with Dr. Timothy Perry and is the conductor of the
University String Orchestra, a new ensemble formed this year. She also has joined the Binghamton chapter of Mu Phi Epsilon, the professional music fraternity. After Binghamton, Heather hopes to pursue a Doctorate degree and teach at the collegiate level.
Jieun Jang was born in 1988, and raised in a small rural town of South
Korea. Her mother dreamt of a soaring golden dragon before her birth, which is very uncommon as a dream for the conception of a baby girl.
Jieun started playing piano at the age of six because her mother wanted to help strengthen her innately weak fingers. She continued taking piano lessons for the next six years. As a child, she accompanied her elementary school choir for two years, and at the age of ten, she led them to first prize in a city competition and second prize in a province
(state) competition. She started serious piano studies again in her freshmen year, and she is pursuing her undergraduate degree at
Binghamton University. As a junior piano major, she is currently studying under professor Michael Salmirs. Jieun also holds a good academic standing and has been on the Harpur Dean's List for 4 consecutive semesters. She has appe ared several times in the music department’s
Mid-day concerts, and she has also performed with the University
Symphony Orchestra and Wind Symphony. Her favorite composer is
Sergei Prokofiev, and she also loves the music of Beethoven, Haydn and
Mussorgsky. She is currently preparing for her Junior Recital, which will be held on Saturday, April 10 th , at 3:00 p.m. in Casadesus Recital Hall.
Daniel is a junior at Binghamton currently majoring in Biochemistry with a minor in Music. As a resident of the Westchester, NY suburb of Yorktown
Heights, Dan graduated from Yorktown High School where he participated in the school Wind Ensemble, Orchestra, Jazz Band, Pep

Band, Pit Orchestra, and Brass Quintet. Also at Yorktown High, Daniel took great part in sports such as Varsity Baseball and Varsity Track &
Field. Graduating in 2007, Dan participated in the Area All-State Wind
Ensemble and was the recipient of the Yorktown Male Athlete of the
Year Award. At Binghamton, Dan has spent 3 years in the Symphony
Orchestra studying trumpet under Ben Aldridge and has previously played with the Wind Symphony and Pit Orchestra for the production of
The Three-Penny Opera . Currently he is a Resident Assistant for the
Hillside Community and is a Tutor in subjects such as Physics and
Music. As a Dean’s List student and member of the Phi Kappa Phi Honor
Society, Daniel has most recently been nominated for the Binghamton
President’s Award for Academic Excellence and received the Award for
Who’s Who Among Students in American Universities and Colleges. At home, Dan volunteers locally as an Emergency Medical Technician and volunteers at local hospitals such as Westchester Medical Center. After graduation, Daniel plans to pursue a career in medicine where he hopes to perform in local musical groups.
Jennifer Elizabeth Chen has been a cellist for over 12 years. Graduating from Penfield High School in a suburb of Rochester, NY, she has played cello with several different orchestras and ensembles, including the
Rochester Philharmonic Youth Orchestra, various All-State and All-
County orchestras, and most recently, the Binghamton Symphony
Orchestra. Active in music as an adolescent, Jennifer is a graduate of the Honors Certificate Program at the Hochstein School of Music and has also appeared with the Penfield High School Orchestra as a featured soloist. As a youth, she studied under Kathleen Kemp, assistant chair of the Rochester Philharmonic Orchestra, and now currently studies with
Stephen Stalker, a Professor of Music at Binghamton University.
Jennifer is in her third and final year at Binghamton University, majoring in Mathematics and Psychology. She has been actively developing her musicality through the music department at Binghamton University with involvement in a string quintet, private studio lessons, as well as membership in the orchestra. As a student at Binghamton University,
Jennifer has been a Resident Assistant for two years. This University
Scholar is a member is Phi Beta Kappa, Phi Kappa Phi, an d Who’s Who
Among Students in American Universities & Colleges, and has been awarded with the President’s Award for Undergraduate Student
Excellence. Upon graduation this coming May, Jennifer is striving towards a career in education and management, but hopes to continue playing the cello in the upcoming years.

It is interesting to note that the two Mozart operas with the most complex musical and psychological structures ( The Marriage of Figaro and Don
Giovanni ) were both intended for the stage in Prague rather than Vienna. We open this evening with the latter’s overture. Mozart’s overtures serve two purposes: energizing the audience’s attention for what is to come, and giving them a taste of some signal number from the opera. While we know the opera as Don Giovanni, Mozart clearly identified more strongly with its source title Il dissoluto punito (The Libertine Punished). The introduction is drawn entirely from the last scene when the murdered Commendatore arrives for dinner and divine revenge, with the falling D-A interval that opens the work as the thematic germ of the entire opera. The remarkable introduction, though composed in
1787, looks ahead a quarter century to the supernatural sound effects of
Weber's Der Freischütz. The second section, a molto allegro, is built off the materials of the introduction. Now in the parallel key of D Major, the allegro follows a fairly strict sonatina form but retains throughout the strong sense of musical duality that runs on several levels – with considerable ambiguity – through the story (Good vs Evil, Dissolution vs Virtue, etc). For the audience all this is yet to come. What we experience is a delightful introduction to what promises to be an evening of scandalous interest and extraordinary delight.
****
What we know today as Beethoven’s Third Piano Concerto was developed over a period of more than three years from 1799-1803, its completion and premiere twice postponed by work on other compositions. The opening movement was likely finished during the winter of 1799-1800, and shows some surprising thematic and developmental affinities with the First
Symphony in C Major and Septet , works that the composer was completing in that same period. Even with the added time, Beethoven had not completed his solo part for the premiere, pushed as he was to the edge writing out parts for his new oratorio Christ on the Mount of Olives at 5 am the morning of the concert. Making matters worse, there was but one rehearsal, which ran chaotically from 8 am until late in the afternoon, in which to prepare the new
Third Concerto, the new Oratorio, and all of the First and Second Symphonies.
While the concert proved a financial success, netting Beethoven some 1800 florins – several years’ average salary at the time – the concerto did not seem to go altogether smoothly. The conductor Ignaz von Seyfried was recruited as pageturner, but this, as he famously wrote “… was easier said than done. I saw almost nothing but empty pages; at the most on one page or another a few
Egyptian hieroglyphs – wholly unintelligible to me – were scribbled down to serve as clues for him….My scarcely concealable anxiety not to miss (the page turn) amused him greatly, and he laughed heartily at the supper afterwards.”
Critics were underwhelmed with the composer's playing (remember, Beethoven probably hadn’t slept and likely improvised much of the solo line), but a subsequent performance the following year with Beethoven conducting and
Ferdinand Ries as soloist set the work on the path to greatness. While influenced by Mozart’s concerto in the same key (K. 491), Beethoven moves

more deeply into the darker implications of C minor with a lean, muscular theme quickly sequencing elements of the arpeggio, the scale, and a marchlike ‘timpani-motive’ that calls to mind military funeral marches of the time. By contrast, the second subject, in E-flat, recalls the lovely wind writing in the
Septet. Not to be overlooked is the Olympian cadenza, which the composer himself provided some time after the premiere. All of this takes place in the context of a Romantic soloist versus orchestra/ ‘heroic individual versus the world’ philosophy that was to be perfected in the final two concerti,
****
The Armenian composer Alexander Arutiunian (often rendered as
Arutunian) was born in Yerevan, Armenia in 1920 and received his training first in his home city and then from 1946-48 at the Moscow Conservatory as a pupil of Genrikh Litinsky. His initial success came in 1948 when he won the USSR
State Prize for his graduation thesis composition, the Motherland Cantata. With this prize and the support of leading composers such as Aram Khatchaturian he returned that year to Yerevan as Professor of the Conservatory. In 1950 he completed his most famous work, the Trumpet Concerto which we hear this evening in an orchestration by its most illustrious interpreter, the Russian virtuoso Timofei Dokschitzer. The concerto is in one extended movement with three principal sections, two quicker tempi surrounding a slower lyric central core. It quickly became one of the most widely performed of all twentiethcentury concerti for the instrument, combining the trumpet’s natural propensity for fanfare, its abilities in double-tonguing with an ability (demonstrated in the muted central section) to achieve a long, soaring lyric line. According to the composer, while there are elements of Armenian folk music, no actual folk melodies were utilized, and there is no internal programmatic story-line as was often postulated by critics for Soviet-era w orks. “Its aim…” says Arutiunian “..is for all listeners to perceive it on their own. No folk melodies have been used. All the intonations (the non-western scale forms) and thematic peculiarities serve to make the piece of universal human value.”
****
“The ‘cello is a beautiful instrument, but its place is in the orchestra and in chamber music. As a solo instrument it isn’t much good…”- Dvorak, after completing the b minor cello concerto
“Why on earth didn’t I know that one could write a ‘cello concerto like this? Had
I known, I would have written one long ago.” – Brahms, on hearing Dvorak’s concerto
Dvorak’s second cello concerto (the first, an incomplete 80-minute monster composed at the tender age of 24) came, like many great works, from an artistic fri endship. In this case the friend was not Dvorak’s longtime champion Brahms but the Irish-born, German trained American Victor Herbert.
Dvorak and Herbert became friends during the Czech composer’s productive
(but emotionally trying) three years in New York. While Herbert is today remembered mainly for light operettas like Naughty Marietta, he was a major musical figure in his day - a renowned Band conductor, founder and conductor

of the Pittsburgh Symphony Orchestra, and Principal Cello of the Metropolitan
Opera. A brilliant soloist who composed several concerti for his own use,
Herbert’s virtuosity and imaginative combination of cello and large orchestra inspired Dvorak to overcome his reluctance to tackle a large-scale cello concerto. This was no small task; among major European composers only
Schumann had completed a similar cello concerto, a work barely half the length of Dvorak’s. Using Herbert’s cello concerti and Brahms Violin Concerto as orchestrational guides, Dvorak re-defined the genre as a worthy partner to the greatest Piano and Violin concerti of the period.
Almost the entire movement derives from the opening four bars. The first theme has an aggressive martial character and the same modal scale employed in the New World Symphony of a few years before. The second subject, first introduced in the horn, reorganizes the pitches of the first theme into the kind of original folk-like melody at which Dvorak excels. Formally, the work follows the Beethoven model with a full double exposition – one for orchestra alone, then a second led by the soloist. Dvorak sets the second (solo) exposition as a series of chamber music episodes, constantly shifting keys, alternating woodwinds and strings behind the solo line and developing new material in the transitions. The solo part is highly virtuosic but well crafted and idiomatic, with much of the part devoted to singing lyricism. There is, however, no cadenza per se; for all its leadership, Dvorak declined to allow the cello to wander unaccompanied! The orchestration is thoroughly Czech in the style of the Eighth and Ninth Symphonies and replete with colorful solos for woodwinds and horns. Working against type in almost every respect, Dvorak creates here a marvelous new level of solo/orchestra synthesis that was to become the standard of the twentieth century concerto form.
-Timothy Perry, February 2010

* Music faculty
The USO employs rotating seating; Woodwinds, Brass and Percussion rotate by composition and are listed alphabetically. Strings rotate by concert and are listed in seating order.


th Mid-Day Concert, 1:20 PM – FREE
Casadesus Recital Hall
th Mid-Day Concert, 1:20 PM – FREE
Casadesus Recital Hall
th Harpur Chorale and Women’s Chorus,
8:00 PM, Anderson Center Chamber Hall, FREE th
Senior Honors Recital: Briana Sakamoto, soprano,
8:00 PM, Casadesus Recital Hall, FREE
st Senior Honors Recital: Marc Silvagni, percussion,
3:00 PM, Casadesus Recital Hall, FREE
th Mid-Day Concert, 1:20 PM – FREE
Casadesus Recital Hall
th Jazz Mid-Day Concert, 1:20 PM – FREE
Osterhout Concert Theater
th Harpur Jazz Ensemble Concert (co-sponsored by the Harpur
Jazz Ensemble and the Binghamton University Department of Music),
8:00 PM, Osterhout Concert Theater, $$ (FREE for students)
th Junior Recital: Jieun Jang, piano, 3:00 PM, Casadesus
Recital Hall, FREE
th Sweet Albion: The English Clarinet with clarinetist
Timothy Perry and pianist Margaret Reitz, 8:00 PM,
Anderson Center Chamber Hall, $$