29 10 972 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 3 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 25:05 28:49 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59182"> Guarneri Quartet Recital </a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Guarneri Quartet Recital Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works of Beethoven and Mozart. Creator An entity primarily responsible for making the resource Guarneri Quartet Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1969-04-20 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Beethoven, Ludwig van, 1770-1827 Mozart, Wolfgang Amadeus, 1756-1791 State University of New York at Binghamton. Department of Music Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020095471 39091020095521 39091020095786 https://omeka.binghamton.edu/omeka/files/original/6989498ec2e36901fad7e132d635c9ab.pdf 102ec2b391452c593b7b64417ccb2320 PDF Text Text STA T E U N IVE RSI T Y OF N E W YOR K A T BIN G H A M TON HARPUR COLLEGE TH E DEPA RT M EN T OF MUSIC / / e ///////Z f X / U / M / THE GUARNERI STRING QUARTET in r es idence Arnold Steinhardt, violin Jo hn Dalley, violin M ichael T ree, viola David Soye r, cello Sunday , A pr il 20, 1 96 9, 8 :15 p. m. The Don A . Watte rs T heater �O P L (I ~ D ﬂ / e e [ S E T p e e = P A C E i z = § M i r / ﬁ t Ho w ¢ f ¢ v 4 O P 4 C ~ ﬀ l f j £ 2 A74j°<PROGR$4§JPL 6 / QUARTET IN E FLAT MAJOR, OP, 127 4 1 ’/ Beethoven Maestoso, Allegro Adagio, ma non troppo e molto cantabile Scherzando vivace Finale Intermission ADAGIO & FUGUE, K. 546 QUARTET IN E FLAT MAJOR, OP, 18, NO. 6 Mozart Beethoven Allegro con brio Adagio, ma non troppo Scherzo, Allegro La Malinconia Adagio: Allegretto quasi Allegro Ushering courtesy of Alpha Phi Omega and Gamma Sigma Sigma �PR OGRA M N OT ES QUARTET IN E FLAT MAJOR, OP. 127 Beethoven The ﬁrst of the “last ” great quartets seems to have been begun by Beethoven in early 1822. Later that year Prince Galitzin (to whom the Quartet is dedicated) approached Beethoven about “two or three new quartets. ” In the course of 1823 Beethoven resumed work on the E Flat Quartet. but set it aside to ﬁnish the Ninth Symphony. The ﬁrst per formance, March 6, 1825, by the Schuppanzigh Quarted “was unfortunate'; another on March 23 was “more successful. ” It was published in the follow ing year as “ G R A N D QUATUOR/en Partition/ pour deux violons alto et Violoncelle compose et dedie/a SonAltesse Monseigneur le Prince/Nicholas de Galitzin,/LieutenantColonel dela Garde S,,#M,,#J,,de toutes les Russies/ par/LOUIS V . BEETHOVEN/OEUV 127 . . . " The atmosphere of the work is pastoral, not to say sylvan, where Beethoven seems to draw strength and peace from contact with nature. It seems pointless to reduce its structure to words when you are about to experience the work itself . Suﬀice it to say that the ﬁrst movement is of normal components, although large in dimension and is created by the organic processes of development which unite Beethoven and his beloved natural world and sets an unmistakable sign on the work. An especially treasured detail is the closing section which develops a small expressive phrase into a vast summing–up. The second movement is a theme and ﬁve variations — the organic principle again (plus ca change, plus c ’est la meme chose) in the hands of the master of the variation. The Scherzo exploits a shifting rhythmic module — and its joke enables one to hear the Cosmic laughter which the Indians say is the act of Creation itself. The Finale is another sonata form built of musical materials that are in themselves unprepossessing but which for Beethoven clearly held the germ cells of life and which he leads to a powerful demonstration of the vitality of simple, natural forces guided by inner organic unities and truth. ADAGIO & FUGUE, K.546 Mozart On June 26, 1788 Mozart noted, “A short Adagio for 2 violins, viola and bass, to a fugue which I had long since written for two pianos. ” At the end of the autograph the bass part is divided “violoncelli” and “contra �basso,” which suggest that Mozart also had an orchestral performance in mind. Beethoven was familiar with this work having copied the score. The fugue is not idiomatic keyboard music but is in the abstract “severe” style cultivated by the Italians in church music with implications of rig orous and learned development. In this matter Mozart’s fugue is related to Beethoven’s own Great Fugue and it is interesting to speculate as to the pos sible impetus toward his work that this acquaintanceship may have been. QUARTET IN B FLAT, OP, 18, NO. 6 Beethoven Although the last in the series as published, the Bﬂat quartet was almost certainly not the last composed. The work presents a cu rious mixture of styles and looks both backward and forward. The ﬁrst move ment is a sonata movement of the most regular preHaydn construction. Many of its details are reminiscent of the style of the Mannheim orc hes tral composers ; the opening theme is a version of the “Rocket ” and the heavily deﬁned, tutti cadences also show their inﬂuence. However, the farreaching modulations and key references bespeak the young master, expecially in the way they transform the rather banal marchlike second subject and let it “break ranks” for a spirited skirmish before being marshalled into formation again by the reappearance of the eﬀicient martinet–grenadiersergeantlike, ﬁrst subject (end of exposition and end of movement). The second movement is a simple ABA form with a short coda based on both themes. What is astonishing is the ﬁligreelike ﬁguration which, both on the page and in the ear, reminds one of the slow movements of the very latest works. We hear things that a re to ﬁgure in the last ’cello sonata (Op. 102 No. 2) =– the dotted ﬁgures in bar 13 — and others that will appear in the variations of the A rchduke Trio. The Scherzo is another of the long list of comic pieces originally called alla Zappa in early Italian instrumental music — the eﬀect is one to the opposition of rhythms of two and of three and resembles the uneven progress of two unequally gaited individuals. who nonetheless insist upon conversing. The Trio, in contrast, is a moment of the lightest and easiest movement befo re the f rog march resumes. The last movement, La Malinconia (Melancholy) alternates a slow introduction and interludes of a kind of vexatious, exasperated hypersen sitivity with lighter but far from jocose principal sections. The eﬀect is febrile and hectic and only in the last moments does a clear gust of vitality dispel the sultry atmosphere. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 3 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 27:53:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59182">Guarneri Quartet Recital</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Guarneri Quartet Recital, April 20, 1969 Description An account of the resource Held at 8:15 pm, April 20, 1969, Don Watters Theater. Works of Beethoven and Mozart. Creator An entity primarily responsible for making the resource Guarneri Quartet Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1969-04-20 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Beethoven, Ludwig van, 1770-1827 Mozart, Wolfgang Amadeus, 1756-1791 State University of New York at Binghamton. Department of Music. Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020095471 39091020095521 39091020095786 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 16:32 38:14 Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Guarneri Quartet Recital, February 11, 1968 Subject The topic of the resource Concerts Description An account of the resource Held at 8:15 pm, February 11, 1968, Harpur College Theater. Works of Klenz, Webern, Korte. Creator An entity primarily responsible for making the resource Guarneri Quartet Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1968-02-11 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Webern, Anton, 1883-1945 Korte, Karl State University of New York at Binghamton. Department of Music. Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020058545 39091020058594 https://omeka.binghamton.edu/omeka/files/original/b70d96ca2e89db8b657cac902b3a1cd5.pdf abd1c04a71b24a3c3ae7c1eba9f5171a PDF Text Text gSQ uarter tring Guarn eri rHarpuSeason ries Winter Se 66-67 �Sunday, February 12, 1967 8: 15 p.m. College T heater L.v . BEETHOVEN QUARTET in B - FLA T MAJOR, Op . 18, No. 6 Alleg ro con br i o Adagio, ma non troppo Sc'her zo, Allegro La Malinconia Adagio: Allegretto quasi Allegro QUARTET in F MINOR, Op. 95 Allegro con brio Allegretto ma non troppo Allegro assai vivace ma serioso Lar ghetto espressivo, Allegretto agitato intermission QUARTET in C MINOR, Op . 18, No. 4 Allegro ma non tanto Sc herzo Andante scherzoso quasi Allegretto Menuetto: Allegre tto Allegro QUARTET in F MAJOR, Op. 135 Allegretto Vivace Lento assai , cantant e e tranquillo Der Schwer gefasste Entschluss; Grave, ma non troppo tratto, Allegro A RECEPTION honoring the Quartet will be held by the residents of Johnson Hall in the Lounge of their dormitory immediately fol lowing the performance. The audience is cordially invited to attend. Johnson Hall is situated directly across Center Drive from the Student Center B uilding. �Notes by Wi lli an, Kl enz EA !though the last in the series as published, the B-flat quartet was al most certainly not the last composed. The work presents a curious mixture of styles and l ooks both backward and forward. The firs t movement is a sonata movement of the most regular pre• Haydn construction. Many of its details are reminiscent of the style o! the Mannheimorchestralcomposers;theopemng theme is a vers ion or the 'Rocket' and the heavily defined, tutti cadences also show their infl uence. However, the farrea ching modulations and key references bespeak the young master, especially in the way they transform the rather banal march - like second subject and l et it "break ranks" for a spirited skirmish before bemg marshal l ed into formation again by the reappearance of the efficient martinet-grenadtersergeant-like, first subJect (end of exposition and end of movement). The second movement is a si mple ABAformwith a s ho rt coda based on both the mes. What is astonishing is the filigree-like figuration which, both on the page and in the ea r , reminds one of the s l ow movements of t he very latest work s. We hear things that are to figure in the last cello sonata (Op. 102 No. 2) - tne dotted figures in bar 13 - and others that will appear in the variations of the Archduke Trio. The Scherzo isanotherofthe l onghst of comic pieces o ri ginal l y called alla Zoppa in early Italian instrumental music - the effect is one to the opposi tion of rhythms of two and of three and resembles the uneven progress of two unequally-gaited individuals, who nonethel ess insist upon conversing. The Trio, in contrast , is a moment of the lightest and easiest movement before the frog march resumes. The last movement, La Malinconia (Mel ancholy) alternates a slow rntroduct1011 and interludes of a kind of vexa!Lous, exasperated hypersensnivity with lighter but far from jocose principal sections. The effect 1s febrile and hectic and only in the last moments does a cl ear gust of vitality dispel the sultry atmosphere. 0 The sketches for the Quartet in F minor Op. 95 appear in the summer of 1810, following the composition of the incidental theatrical music for Goethe's "Egmont,"finished 1n June. The autograph o!thefinishedworkls dated October 1810, and bears the superscription Quartetto serioso. It resumes the unusual tonality, F nunor,ofthe most considerable part - the Overture - of the Egmont music and also the stormy atmosphere of that work which deals with the cumulative catastrophe of Egmont's life which is a story of �heroic intransigency and tragic Issue - condemnation and execution. For the eighteenth century the key of F minor denoted deep, resigned o r gentle melancholy, and it was so classified and treated by theorists and co mposers . As in "Egmont" Beethoven here augments and transforms that effect by the use of convulsive forceful thematic material suggest111g the dangerous ferocity of the trapped, overdriven man who is aroused to a super-state of will and f orce, but yet with a dream of l onged-for peace and completion for whi ch immolation is not too great a price. We see here the emergent concept of the nineteenth century transcendent super-man , the cult of genius, which will appear in works of Nietzsche and Wagner. The quartet really marks a definitive step toward the Romanticism which will suffuse the final, third period of Beethoven's creativity . The second movement is cast In the far more idiomatic string key of D major - a start ling relat ionship to the precee ding. The effect is of sudden warm se r enity, a kind of exalted state of grace following the alarums and excu r sions. The opening, a misleadingly simpl e-seeming scale for the 'cello is a kind of motto or escutcheon which r eturns at key structural points of the movement which combines the features of a set of variations, a fugue and a sonata movement. The coda reaffirms the serene exaltation and raises it 10 a new level. The scherzo-like third movement returns to the original tonality of F mmor and contrasts a very mordant, telling figure, vigorous and truculent with a smooth, gliding Laendler-hke alternate section which, in Lts second appearance (bar 145) is, hke the second movement, in D Major. The atmosphere 1s strained and even marked by exasperation. in F minor, begins in the The last movement, again melancholy mood appropriate to the key, which givesway to an agitation from which the resoluuon and endeavor of the first movement seem to have disappeared and are replaced by a kind of desperation induced by the short, breakless figures. Gradually, the equilibrium 1s restored and the movement ends with a rush of returmng confidence and triumph. D l.1 Beethoven's favorite "mood" key, the first movement of Op. 18 No. 4 marks theearhest appearance of the atmosphere which will have its most complete expression in Op. 95. Here the emotional tension 1s sustained by a buoyant drive and relieved by materials and rhythms which although play, and fun strenuous have the quality of exhilaration, against which the serious first theme seems to be held as a mask - the whole has a very theatrical quality. In the second movement Beethoven has audaciously com• Continued on back page �State University of New York at Binghamton HARPUR COLLEGE T he Department o f M u sic p resents TH E GUARN ERI STRING Q UARTET (in residence) Arn old Steinhardt violin John Dalley vio lin Michael Tree vi ola Da vid Soyer cello NOTES {Continued) b i ned the fun ction of sl ow mo vement and Scherzo In one of his ve r y finest move ment s. Its r estrained grace, wit, and great el egance have endeared it to all fromthe fir st. It ma y even see m easyto pla y; oothl ng could be furt he r f rom the truth. The economy a nd finesse of the writi ng are dime nsions which themselve s lead the playe r to gr e ate r and gr eater efforts or concentration and attention and the "surface" of the music is so deli cate that the s lightest misc alculation of s pacing or acce nt can break its t ensi on. The nature of Scherzo i s such that a true dynami c dance fo r m is needed and t hi s is suppli ed by l he Menuetto. T he l ast movement has much the fla vo r or a Haydn movement usi ng Hungari an materials - t he r ese mbl ance t o t he Gy psy Rondo will be apparent - syncopations , ab r upt Juxtapositions of major and minor, et c . It r ounds out t he cycl e of mo vement s with appropriatel y Dionysian materials without undertaki ng any we 1ghty p r opos it1ons and expl oits the minor key ro r its col oristi c effects rathe r t han its mood. D T he last or Beethoven's st r ing quar t ets, Op. 135 in F majo r , w as c r eat ed i n t he Summer and Fall of 1826. T he first public performance was In M ar ch, 1828. T he work is sho r t but concen t r ated. A f riend of Beethoven observed t hat he had delibe r atel y held down its l ength because t he publis he r paid hi m in me r e florins i nste ad or the agr eed aristroc rati c ducats ; "he sends short ducats, he' ll get a sho r t quart et • was the typi cal mo ck-c yni cal r ejoi nder . The fo r m i s seve r el y classical. A sonata movement Allegrettousing nontheatrical mat er i als i s followed by a mo st c haract e r i sti c Scherzo, Vivace. The sl ow mo ve ment , Lento assai, cantante e tranquillo cons ists or two parallel st rophes of Lied form. T he l ast movement bear s the supersc ripti on, Der Schwer gefassteEntschluss, (the difficult decis mn). I n t he original part s copied by Beetho ven himself, he has inserted beneath t he notes the text Muss es s cm? (Must 11 be?) whi ch we hear at the begi nning, Grave Crom t he viol a and ce llo, and the ans wer , Es muss semi (It must be!) which t he vi olins repl y , Allegro. Two stories, either o r even both of wh ich may be true, are given f or t he ori gin of t hese words. We have documentary evidence his conve rsa t ion notebook, 1823, w here hi s housekeepe r wrot e, "Today i s Saturda y be." This perempto r y, sybilline utterance of the cook and I must have money. It must apparently amused Beethoven and it ma y have become a househol d j oke . In the Jul y .. . he l aughed and asked, ' must it be?'" Then book of 1826, a fri end, Hol z, writes ". i n t he Dece mber book ther e appear in Beetho ven's ow n hand the musical fragments w hi ch are used in t he qua.rtet. Hol z al so provides a sho rt c atch fo r fou r men's voices using the same material. T his appears to have been occas ioned by the same words Es muss sc m, used by Beethoven in anot her connection (the first pe r f ormance of Op. 130), and who was then amused t o find hi mseU as o r acular as his cook. Beet hoven' s sense of humo r and unvar ying ability t o percei ve the l arge withi n the small and take fresh strength fr om even the tri vial has not failed him even among th e tribulations of his l ast year. This was, as he knew and sai d , his l ast quartet - "a diffi cu lt decision," whi ch he faces with yet one more prof ession of faith and abundant humanity. Program design by William Mihalko � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 3 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 21:02 23:46 25:44 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59477"> Guarneri Quartet Recital </a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Guarneri Quartet Recital, February 12, 1967 Subject The topic of the resource Concerts Description An account of the resource Works of Beethoven. Held 8:15 pm, February 12, 1967 at Harpur College Theater. Creator An entity primarily responsible for making the resource Guarneri Quartet Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1967-02-12 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Beethoven, Ludwig van, 1770-1827 State University of New York at Binghamton. Department of Music. Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context Guarneri Quartet Recital, February 12, 1967.pdf https://omeka.binghamton.edu/omeka/files/original/91b6430d5717f8909ce6b95815807056.pdf e8a13c9b131131be21dee898be4ea870 PDF Text Text STATE U NIVERSITY OF NEW YORK A T BINGH AMTON HARPUR COLLEGE THE DEPARTMENT OF MUSIC THE GUARNERI STRING QUARTET in residence A rnold Steinha rdt, violin John Dalley, violin February 16, 1969 Michael Tree , viola David Soyer, cello 8 :15 p.m. The College Theater PROGRAM Quartet in F Ma jor, K 590 W. A . Mozart Allegro moderato Allegretto Menuetto Allegro Quartet, Op. 22 Paul Hindem ith Fugato Schnelle Achtel Ruhige Viertel Maessig schnelle Viertel Rondo Intermission Quartet in A Ma jor, Op. 41, N o. 3 Andante espr essivo allegro molto, moderato Assai agitato Adagio molto Finale allegro molto vivace Robert Schumann A RECEPTION honoring the members of the Guarneri String Quartet will be held in the Green Room Lounge immediate ly f ollowing the con cert. The audience is cordially invited to attend and to meet the per f ormers. Ushering cou rtesy of Alpha Phi Omega and Gamma Sigma Sigma. F UTURE EVENTS SUNDAY, F E BRUARY 23, 2 :30 p.m. Recital Hall, No Charge MARIE CISYK Pianist SUNDAY, MARCH 9, 8:15 p.m. The College Theater, No Charge THE HARPUR COLLEGE WIND ENSEMBLE Albert Hamme, Conductor � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 3 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 31:42 25:58 31:38 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59276">Guarneri Quartet Recital</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Guarneri Quartet Recital, February 16, 1969 Description An account of the resource Held at 8:15 pm, February 16, 1969, College Theater. Works of Mozart, Hindemith, Schumann. Creator An entity primarily responsible for making the resource Guarneri Quartet Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1969-02-16 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Mozart, Wolfgang Amadeus, 1756-1791 Hindemith, Paul, 1895-1963 Schumann, Robert, 1810-1856 State University of New York at Binghamton. Department of Music. Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020095596 39091020095646 39091020095430 https://omeka.binghamton.edu/omeka/files/original/ea41301d3b8ee0f0762d0dada8ea47a3.pdf 3d852dc8d17f1115894344a5ec6c456d PDF Text Text STATE UNIVERSITY OF N E W YORK AT BI NGHAMTO N HA RPU R COLLEGE T H E DEPARTME NT OF MUSIC THE GUARNERI STRING QUARTET in residenc e Michael T ree, viola David Soyer, cello A rnold Steinha rdt, violin John Dalley, violin Ha rpur College T heater F ebrua ry 25, 1968 8:15 p. m . PROGRAM W . A . Mo za rt Qua rtet in D Ma jor, K. 575 Allegretto Andante Menuetto. Allegretto Allegretto L. von Beethoven Quartet in EFlat Ma jor, Op. 74 Poco Adagio; A llegro Adagio Presto Allegretto con Va riazioni Intermission Maurice Rave l Qua rtet in F Ma jor Allegretto moderato tres doux Assez vif t rés rhythme’ T rés lent Vif et agite Ushering courtesy of Alpha Phi Omega and Ga m ma Sigma Sigm a. FUTURE MUSICAL EVENTS SU N DAY, MARC H 3, 8 :15 p.m . College Theater, N o cha rge T H E COLLEGE WIN D E NSE M BL E conducted by Robert We r ne r W E DN ESDAY, MA RC H 6, 12 :15 p.m . M usic Recital Hall, N o cha rge JOH N M E T Z, PIAN IST Wor ks by Sca r latti, Beethoven, M essiaen SUNDAY, MA RC H 10, 8 :15 p.m . Music Recital Hall, No charge NOON RECITAL Student Performers �QUARTET IN D MAJOR, K. 575 W. A. Mozart T he Qua rtet in D Ma jor of Moza rt (K. 57 5) is one of the pro jected set of six (only three were written) dedicated to F rederick William II and therefore known as the “ Berlin” or “King of P russia ” qua rtets. The King was a ’cellist which accounts for the impo rtance gi ven the cello in their fabric. Cha racterized by a richness and beau ty of sou nd and genial melodic inspiratio n they represen t the balance among th e elements of spontane ity, tradition and science which Mo za rt achieves in his lat est work s. QUARTET IN E FLAT MAJOR, OP. 74 L. von Beethoven Beethove n ’s tenth quartet, Op. 74, wa s written i n 1 809 and p ublished in 1810. Of all the qua rtets, it pe r ha ps conve ys the gr eatest be auty of shee r sonority. T he magical spacing of the pa rts in the lab ryinthine int roduction and the a rpeggios — bowed and plucked — of the Allegro (which gi ve the wo rk its nic kname, t he “Ha rp”) a re all dis posed in such a way that the physical beauty of the sound beco mes (as is not always the case with Beethove n) an unusually aﬀective dimensio n. This is especiall y true of the Adagio where the considerable use of subdominant ha rmonies contribut es to the exalted serenit y of the movement. The form is strophic— a Lied, or aria of three stanzas—each repeat being va ried, and, something exceptional, the principal melody (I violin) cast each time an octave lower so tha t the ﬁna l verse ca n make use of the ea rnest ent reaty of t he violin ’s lowest st r ing. T he Presto (not actua lly ma r ked”Sche r zo ”) is built upon the famous .) which ha s al ready a ppea red a t the cod a of the ﬁ r s t “V ” motive ( 7 Allegro. The key (C m inor) and the moti ve inevit ably reca lls the F ifth Symphony (Op. 67) a nd the rel ationship between the “Sche rzo” and “T rio” certainly suggests a simila r r hythmica l juxtaposi tion in the Scherz o of the Ninth . The theme of t h e Allegret to con Variz ioni is taken f rom a Sy m phony (in C) by Haydn. T he movemen t, though genial, is relative ly slight. It should be rega rded as an elegant, gracious epilogue added like a program encore, the t rue force of the pi ece having expend ed i t self in the preceding P resto –which, be it again noted, Beethoven did not mark “Sc herzo. " QUARTET IN F MAJOR Maurice Ravel The single quarte t of Ravel, which dates from the year 1902, is one of the masterpieces of French chamber music. Dedicated to Ravel ’ s teacher, Gabriel Fauré, it e xtends the idiom of that composer with Ra vel ’s unique ﬂa i r for color and eﬀect. Essentia lly classic i n form F rance remains the home of classicism it exploits the full range of inst rumental vi rtuosity without a ny t race of a r rant disp lay ; eve rything is subordinate to expressive intention, marked by prec ision and reﬁne ment and by an extraordina rily beau tif ul aesthe tic surfa ce. P rogram notes by Wil liam Klenz � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 3 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 29:29 33:19 24:04 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63044"> Guarneri Quartet Recital </a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Guarneri Quartet Recital, February 25, 1968 Subject The topic of the resource Concerts Description An account of the resource Held at 8:15 pm, Feb. 25, 1968, Harpur College Theater. Works of Mozart, Beethoven, Ravel. Creator An entity primarily responsible for making the resource Guarneri Quartet Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1968-02-25 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Mozart, Wolfgang Amadeus, 1756-1791 Beethoven, Ludwig van, 1770-1827 Ravel, Maurice, 1875-1937 State University of New York at Binghamton. Department of Music. Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context Guarneri Quartet 2-25.pdf https://omeka.binghamton.edu/omeka/files/original/581ca3439ca5edb15536205d5b9b731b.pdf 9da6e986f9e37a8feb1a409d06f2d2e1 PDF Text Text STATE U NIVERSI TY OF N E W YORK AT BING HAMTON HARPUR COLLEGE TH E DEPA RTMENT OF MUSIC THE GUARNERI STRING QUARTET in resid ence A rnold Ste in hardt, violin John Dalley, violin M ichael T ree, viola David Soye r, cello Harpur Col lege Theate r March 26, 1 96 9 8 :15 p. m. �PR OGRA M Quartet in A Minor, Op. 29 Franz Schubert Allegro ma non troppe Andante Menuetto. Allegretto Allegro moderate Intermission Quartet in A M inor, Op. 132 Ludwig van Beethoven Assai sostenuto — Allegro Allegro ma non tanto Molto adagio – Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart Alla marcia, assai vivace: Allegro appassionato Ushering courtesy of Alpha Phi Omega and Gamma Sigma Sigma. �PR OGRA M NOTES QUARTET IN A MINOR, OP, 29 Even for Franz Schubert the Quartet in A Minor is surpassingly lyric work. Written in a period of loneliness, (1822) and as a deliberate preparation for larger symphonic works, it shows his complete mastery of the quartet. The whole hasa very vernal quality, The ﬁrst movement alternates between pale sunshine and storm, thaw and chill. The persistent rhythms of the second violin (so limpid, as in Schubert’s “Brook” songs) and the ’cello (so vital) unite the entire movement and echo in the others, unif ying the whole quartet. The second movement is on the model of Haydn’s cumulative variation slow movements. Its theme is yet another form of the dactylic phrase which is Schubert’s motto theme, found everywhere. (Rosamunde, piano Impromptus, etc.). The Menuetto is no minuet at all, but is f rankly German Dances, Waltzes, and Landler of the kind that Schubert improvised for his f riends on many occasions. Of an almost unbearable wistfulness and nostalgia, it begins (surely deliberately) with a quotation f rom his own song on Schiller’s text, “The Gods of Greece. ” “Beauteous world, where art thou ? Come again O lovely age of nature’s blossoming. ” This conﬁrms the direct subjective impression of springlonging which emanates f rom the ﬁrst two movements, The last movement employs Hungarian motives and has been criticized as an intrusive addition. These critics fail to understand that such folkloristic themes and the repetitive Rondolike treatment are precisely the celebration of the fertility of the earth the return of Flora and the abundance of Ceres, and as such is the inevitable and only possible conclusion. Copyright 1969, by William Klenz QUARTET IN A MINOR, OP, 132 This quartet was written in 1825 and is the second of the set of three commissioned by P rince Galitzin. Sketches for the ﬁrst and last movements appear already in 1824 and the working out was begun at once after the completion of the Quartet in Eﬂat, Op. 127, in Feb ruary of 1825 was interrupted for several weeks by the severe illness which overtook Beethoven that Spring. This circumstance, we will see, contributes to the content of the work. Its composition was resumed in March and ﬁnished toward the end of July. The ﬁrst movement begins with an enigmatic “cabbalistic” phrase, a secret symbol which has the character of a mysterious introduction – “a key. ” It is that, but more besides, for in reality it is the complementary counterpoint to the winged phrase which is “released ” in the high register of the cello after the ﬂeetpassage of the ﬁrst violin. Beethoven in fact combines the cumulative eﬀect of introduction with the function �of exposition, for these contrasting yet matchi ng halves constitute the ﬁrst group of themat ic elements whose introduction is the “plot” of the movement. They are never long absent, in spite of the intro duction of contrasting material. The ﬁnal pages of the movement are notable for their sonority, and eloquent reduction of conv incing clarity of the origina l “cryptogram. ” The Scherzo sets aside jovial hilarit y and dynamism for detailed, elegant, witty counte rpoint. The T rio exploits the same peasant instru ment eﬀects (hurdy gurdy) whic h were in the original mov ement, ﬁrst designed for this place moved by Beethoven to op. 130 ( Alla danza tedesca). In the present movement the eﬀect is, on account of the key even more overt and colo rful. The third movement refers directly to Beethoven’s illness in 1825. It was labelled by Betthoven originally in French ‘C hantD e reconnaissance, en style lydique, oﬀert a la Divinite, pa r unc o n valescent. ” It is in Lied form, strophic with three va ried st rophes and two intervening, contrasting, ref rains. The Lydian mode is a scale FF. with B natural instead of Bﬂ at. The eﬀect is a curious one, a kind of enforced inactivity (which it indeed describes). The ref rains (in normal D ma jor are labelled also Neue Kraft Fuhlend (feeling of new st rength). The last trophe labelled “with most intimate sentiment” varies the original in such a way as to provide su btle and curious links to the materials of the ﬁr st movement. The comparison to the equall y autobiographical slow movement of the piano Sonata Op. 110 (which also concerns itself with an illness and convalescence) is ines capable. The Finale begins Alla Marcia —the march serves as fanfare introduction— invocation (an element, it will be observed that is absent f rom its proper place, the opening of the ﬁr st mov ement.) It is c on nected by a passage of recitativo declamat ion (Violin I), reminiscent of the Ninth Symphony, to the ﬁnale proper, a Rondo of Dionysian abandon. Copyright 1966, by William Klenz FUTURE EVENTS TUESDAY, APRIL 8, 8:15 p.m. NEW YORK WOODWIND QUINTET The College Theater, Admission charge Spring C hamber Music Series THU RSDA Y, AP RIL 10. 8 :15 Recital Hall, Admission f ree WISCONSIN CH AMBER SINGERS SUNDAY , AP RIL 13, 8 :15 The College Theater, Admission f ree THE COLLEGE CHOIR David Buttoph, Conducto r PLEASE NOTE : The New York Woodwind Quintet concert sc heduled for April 7, has been resc heduled for APRIL 8, 8:15 p.m., in The Col lege T heater. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 3 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 30:09 36:50 20:27 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IIE59234">Guarneri Quartet Recital</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCoverContinuous Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Guarneri Quartet Recital, March 26, 1969 Description An account of the resource Held at 8:15 pm, March 26, 1969, Harpur College Theater. Works of Schubert, Beethoven. Creator An entity primarily responsible for making the resource Guarneri Quartet Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1969-3-26 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Schubert, Franz, 1797-1828 Beethoven, Ludwig van, 1770-1827 State University of New York at Binghamton. Department of Music. Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020095836 39091020095885 39091020095570 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound tape reel Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 33:03:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE60304"> Guarneri Quartet Recital </a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Guarneri Quartet Recital, October 7, 1967 Subject The topic of the resource Concerts Description An account of the resource Bartók's String quartet, no.2. Performed Oct. 7, 1967 in honor of the New York State Chapter of the American Musicological Society's Fall Meeting. Creator An entity primarily responsible for making the resource Guarneri Quartet Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1967-10-07 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Bartók, Béla, 1881-1945 State University of New York at Binghamton. Department of Music. Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 3.9091E+13 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 4 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 46:42 30:03 31:07 38:50 35:52 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54337">Guarneri Quartet Reel Recital</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Guarneri Quartet Reel, 1964/65 Recital Tape 1964/65 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Guarneri Quartet Creator An entity primarily responsible for making the resource Guarneri Quartet Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1964/1965 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091019618945 39091019618994 39091019619042 39091019619091 https://omeka.binghamton.edu/omeka/files/original/57a3d9ce8402a1105f5b30a376fe0a94.pdf 9a960a1a7cb837a9ba80f111f8b31fa2 PDF Text Text The Foundation of the State University of New York at Binghamton JI cScholarship Beneﬁt Concert BY THE GUA RNE RI STRING QUARTET Arnold Steinhardt, violin John Dalley, violin Michael Tree, viola David Soye r, cello SUNDA Y, MA Y 18, 1969, 8:15 P.M. DON A. WATTERS THEA TER HARPUR COLLEGE State Uni versity of New York at Bingha mton �u w Arnold Steinhardt David Soyer « w / john Dalley Michael Tree GUARNERI QUARTET PORTRAIT HEADS BY HOPE HOR N, SCULPTOR On v ie w in the Univer sity Ar t Galle ry unt il May 25, 1969 �Program Adagio and Fugue, K. 546 . . . . . . . . . . . . . . .MOZA RT Quartet in A” Major, Op. 105, No. 7 . . . . . . .DVORAK Adagio ma non troppo—Allegro appassionato Molto vivace Lento e molto cantabile Allegro, non tanto INTERMISSION Qu a r t e t i nFMa jo r.......................RAVEL Allegretto moderato—tres doux Assez vif—Trés rythmé Tres lent Vif et agité * Following the concert : CHAMPAGNE RECEPTION in the University Art Gallery * Ushering courtesy of the Harpur Chorale �THE GUARNERI QUARTET AND HARPUR I n t he ea rly winter of 1964 the Harpur faculty was made during the lege sough t to a ppoint a st ring qua r tet as artistsinresidence. A t the was presented here in the Don A. Watters Theater on the Harpur Campus on Tuesday evening, Au Music Department of Harpur Col suggestion of f riends of the College a t rip was made to t he Cu rtis Insti tute of Music in Philadelphia. Mr. Jascha Brodsky, the faculty member in charge of chamber music, noted that several recent Curtis graduates were considering forming a string quartet. “I f these four artists do de cide to come together to form a quartet,” Mr. Brodsky said, “they will becom e t h e grea test q ua rtet in the world.” He referred to a group of out standing artists who had been play ing chamber music together at the Marlboro Festival in Vermont and the Casals Festival in Puerto Rico. Arnold Steinhardt, a graduate of Curtis, had won several internation al competitions, had appeared as soloist with many of the major sym phony orchestras, and was currently assistant concertmaster in the Cleve land Orchestra. John Dalley, also a graduate of Curtis, was on the fac ulty of Oberlin College and a member of the Oberlin String Quar tet. Michael Tree, well known both as violist and violinist, had already established a career as a soloist. David Soyer, from Philadelphia but the only member of the group who did not study at Curtis, had esta b lished a reputation as one of Ameri ca’s leading cellists–bo th as a soloist and chamber music performer. Shortly af ter the meeting in Phil adelphia, Philip Nelson, a member of the Harpur Music Faculty, went to Cleveland and to New York to discuss the possibilities of a resi dency with this group. These con versations occurred in March, 1964— about the same time that the quartet formally decided to organize. Orig inally their name was to have been the “Marlboro Quartet ” but because of certain ambiguities with the,Mari~ boro Festival, the name of “Guar neri” was settled upon. Formal ap pointment of the quartet to the spring of 1964 a nd thei r ﬁrst recital gust 4, 1964. In the subsequent ﬁve years, the Guameri Quartet has presented over seventyﬁve public recitals in this theater and held more than one hundred open rehearsals on the Binghamton Campus–sometimes in the music recital hall and sometimes in the lounges of the residence halls. They have regularly oﬀered studio instruction to talented students and participated in a ll phases of the Mu sic Department’s instructional pro gram. World premieres of several string quartets by Harpur Music Faculty have been given on the campus—Karl Korte’s S tring Quartet N o. 2 in 1965, a nd William Klenz’s String Quartet 1967. Since 1966 the Guarneri has, each summer, held a monthlong Performance Seminar in Chamber Music on the Binghamton Campus which has attracted excep tionally talented string players from all parts of the United States. The Guarneri Quartet has not only given to Harpur College and to the community a sense of artistic excellence, but perhaps even more importantly, has furnished a rally ing point for students, faculty, and townspeople — a focus which has helped to provide style and a sense of direction. Pride in the success of the Quartet has been shared by all here, and nothing can quite match the excitement o f being associated with a winner, “ the world’s master of chamber music” (Time, April 4, 1969). The university has been proud too of its role as a leader in a commit ment to sponsorship of an artistic group in a way which gives real con temporary meaning to the phrase “patron of the arts.” By providing a ﬁnancial base and requiring a newly formed quartet to plunge into a vast amount o f repertory, the associa tion with the university has perhaps al �lowed the Guarneri Quarte t to assert its tremendous talen ts rather sooner than might have been the case had they been required to compete for rehearsal time and opportunities to learn repertory in a more conven tional way—with the attendant com mercial pressures. The last ﬁve years have been pe riods of exceptional growth and de velopment for the Guarneri Quartet, the Department of Music, and, in deed, the entire State University of New York at Binghamton. We re joice in our good fortune of these past years and ioin in wishing the Guarneri a lifetime of success and sa tisfaction in ma k ing m usic to gether. Bruce Dearing, President State University of New York at Binghamton PROGRAM NOTES Adagio and Fugue, K. 546 by Mozart On June 26, 1788 Mozart noted, “A short Adagio for 2 violins, viola and bass, to a fugue which I had long since written for two pianos.” A t the end of the autograph the bass part is divided “violoncell and “contra basso,” which suggest that Mozart also had an orchestral per formance in mind. Beethoven was familiar with this work having cop ied the score. The fu gue is not idio matic keyboard music but is in the abstract “severe” st yle cultivated by the ltalians in church music with im plications of rigorous and learned development. i n this matter Mozart’s fugue is related to Beethoven’s own Great Fugue and i t i s interesting to gins and ends with a slow section, giving it a deﬁnite a rchitectonic form. The allegro section of the movement has two distinct themes, the ﬁrst being o f an appassionata character while the second sounds like a peasant hunting call. The sec ond movement is decidedly nation alistic in character; it is based on a Bohemian folk dance, the Furiant, in which a continual duple accentua tion pattern i s superimposed on a triple meter, creating a marvelously complex rhythmic pattern. The trio of this movement, in a completely contrasting vein, is a lyrical dialogue between the various instruments. i n the third movement Dvorak spins out a long melodic line, much like a folk song, to which the lush har monization and the variety o f ac speculate as to the possible impetus toward his work that this acquaint anceship may have been. William Klenz companimental ﬁgures add charm and interest, The work closes with a vivacious rondo based on a Bohe Patricia Isham mian folk tune. Quartet i n A Flat Ma jor, Op. 105 Quartet in F Major by Ravel The single quartet of Ravel, which No.7 by Dvorak Dvorak began the composition of his Quartet in A » Ma jor, Op. 105, in 1895 d u ring his last visit to A merica, and he ﬁnished it, with Op. 106, in 1896 in Prague. Al though a la rge portion of his chamber music, which incl udes 14 st ring q ua rtets, 5 t rios, and 5 quintets among other works, is not well known, Dvorak ’s excel lent craftsmanship, based on a care ful study of Beethoven, and his char acteristic style, permeated by assimi lated folk elements, give his works a charm and dignity worthy of wider recognition. The ﬁrst movement be dates from the year 1902, is one o f the masterpieces of French chamber music. Dedicated to Ravel’s teacher, Gabriel Fauré, it ex tends the idiom of that composer with Ravel’s unique ﬂair for color and eﬀect. Essentially classic in form—France remains the home of classicism–it exploits the f ull ra nge o f inst ru m en ta l vi rtuosi t y without any trace o f arrant display ; everything is subordinate to expres sive intention, marked by precision and reﬁnement and by an extraor dinarily beautiful aesthetic surface. William Klenz �RECORDINGS b y t he Gua rneri Quarte t, as o f M a y 18, 1969 All on RC A Red Seal Beethoven : Five Middle Quartets, ”The Rasumovsky,” Op. 59: uartet in E minor, No. 2 ; ., No. 1 ; Q Quartet in F Quartet in C, No. 3 ; Quartet in Eﬂat, Op. 74 (“Harp”); Qua rtet in F minor, Op. 95 VCS6415 Brahms: Quintet in F Minor, Op. 34 (wit h Artur Rubinstein) LSC2971 Dvorak: String Qua rtet inAﬂat, Op. 105 Smetana : String Quartet in E Minor (”From my Life”) LSC2887 Grieg : String Quartet in G Minor, Op. 27 Mendelssohn : String Qua rtet in A Minor, Op. 13 LSC2948 Mozart : String Qua rtet in Bﬂat, K. 589 String Qua rtet in F, K. 590 LSC2888 Tchaikovsky: Sextet, Op. 70 (with Boris Kroyt, violist ; Mischa Schneider, cellist) LSC2916 Brahms: Piano Quartets, Op. 25, 26, 60 Schumann: Piano Quintet in Eﬂat, Op. 44 (with A rtur Rubinstein) LSC6188 Philip Conole, Music Record Curator State University of New York at Binghamton �THE GUARNERI QUARTET on the Stage o f the Don A. W atters Theater of Harpur College During their ﬁveyear tenure as ArtistsinResidence, the mem bers o f the quartet hav e presented more than 75 formal recitals on this stage. The quartet o f music stands and chairs of rose wood and oak was especially commissioned by the University from Mr. Wendell Castle, eminent American furniture crafts man and a member of the faculty of Rochester Inst itute of Tech nology. �The Prepara tion and Production of this Souvenir Program was donated in full as a Contribution to the Foundation Scholarship Fund. Design : Norbert A dler Associates Printing : Niles & Phipps Lithogra phers Typeset ting donated in pa rt : Rochester T ypographic Service, Inc . �The Foundation of the State University of New York at Binghamton is honored to announce A Scholarship Beneﬁt Concert to be presented by the GUARNERI QUARTET on Sunday, M a y 18, 1969 With their concert on April 20, the Guarne ri String Quartet w ill have completed its ﬁveyear tenure as ArtistsinResidence at the State Universi ty of Ne w York at Binghamton. A s a gesture of their friendship and aﬀection for the University and the Community, the members of the quarte t will present a Special Farewell Concert for the beneﬁt of the Foundation Scholarshi p Fund on Sunday, Ma y 18, 1969, at 8 :1 5 p.m. at the Don A . Watters Theater. The net pro ceeds from this gala m usical evening will be used to help suppo rt qualiﬁed deserving undergrad uate stu dents. Immediately following the concert a Champagne Reception (black tie optional) will be held in the University Art Galle ry. Seat reservations will be ﬁlled in the order received, according to the follo wing scale : Donation o f $25.00 or more per seat : Rows F and G . Donation Of. $ 10 0 0 or more pe r seat : Orchestra Rows D’ E ’ H ’ a nd J and center Of {llSt three balcony ro w s. Donation o f $5.00 all remaining seats in the theater. Reservations will be accepted during intermission and after the concer t on April 20th, and by ma il thereafter, prior to May 5th. Please use application below. To G REG MA THEWS, Concert Manager, Dept. o f Music, SUNY, Binghamton, N. Y. 13901 Please mail Here is my donation o f $ . . . tickets to : . for the Guarneri Scholarship Beneﬁt Concert on May 18, 1969. (Mail before May 5, enclosing check payable to “Foundation SUNY Binghamton.”) Name .. ...... Address. City Y our contribution will hel p su pport qualiﬁed deserving underg raduate stu dents. . Zip . � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound tape reel Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 31:20:00 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59462 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59462"> Guarneri Quartet Scholarship Benefit Concert </a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCoverContinuous Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Guarneri Quartet Scholarship Benefit Concert, May 18, 1969 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works of Mozart, Dvorak, and Ravel. Held at 8:15 pm, May 18, 1969, Don A. Watters Theater. Creator An entity primarily responsible for making the resource Guarneri Quartet Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1969-05-18 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Mozart, Wolfgang Amadeus, 1756-1791 Dvorak, Antonin, 1841-1904 Ravel, Maurice, 1875-1937 State University of New York at Binghamton. Department of Music Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020095760