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                    <text>State  University  of  New  York  at  Binghamton

Harpur  College
Department  of  Music

PRESENTS

The
Harpur  Symphony
Orchestra
UNDER  THE  DIRECTION  OF

Judith  Somogi
W I T  H 

 G
T U  E S T 

P E T  E R 

S 0  L 0 I  S T

M A R S  H

Monday,  November  8, 1976
8:15  P.  M.
Don  A.  Watters  Theater

�ORCHESTRA  PERSONNEL

THE  HARPUR  SYMPHONY  ORCHESTRA

Judith  Somogi,  conductor
Geoﬀrey  Brooks,  personnel  manager

PROGRAM
ék’bka­thhhhﬁ

Overture  to  the  Impresario, K.  486......

CELLOS
HORNS
David  Hoppe,
Ken  Steiger
Principal
Margie Topp
Bon  Taylor
Lydia  Werbizky,
Caleb  Davidson
AssistantConcertmaster Holly  Wilson
Barbara  Sasso
Daniel Politi
Lisa  Gutkin
Tamma  Mann
Howie  Cohen
Ross Levinsson
C.  T.  Shaw
Joan  Weitzman
Claire  Liva
David  Harrington
Walter  Graves
M.  R.  Smith
Jane  Whitmore
Denis  Cleveland
Kelly  Bado
Andy  Stack
Mark  Helm
Rosa  Campa
BASSES
Neil Conaty,
SECOND  VIOLINS
Principal
Paul Turco,
David  Weinsoﬀ
Principal
Richard  Thomas
Eilleen Pasternak
Nigel  Allen
FLUTES
Lee  Ann Horbatuck
Nancy  Becker
Eric  Sadowitz
Susan  Passanante
Janet  Brady
Tina  Fine
Susan  Kindler
Richard  Balkan
OBOES
Arlene  Pines
Eliot  Friedman
Lori  Finkelman
Matthew  Kuhn
Joel Robinson
Janet  Ziebur
Sophie Horowitz
CLARINETS
VIOLAS
Paul  Ketchoyian
Carol Isaacson,
Mark Zavatto
Principal
Cindy  Baldwin
Laura  Stein
Barbara  Thompson
BASSOONS
Barbara Gorin
Lois  Chantry
Ann  Ziegler
Louis  Papastrat
Adrienne  Bennett
Cheryl  Bronson
TRUMPETS
Michael Jones
Alfred  W.  Szymaniak
Steven  H.  Wimans

FIRST  VIOLINS
George Myers,
Concertmaster

c

s s 

A.  Mozart

s 0 

(1756–1791)

Concerto for  Violin im  D  major, Opus 77....Johannes  Brahms
(1835–1897)
Allegro  non troppo
Adagio
Allegro  Giocoso,  ma  non troppo  vivace
Peter  March  violi–
e

y

* 4 * Intermission  * * *

Symphony  No.  8  in 2  Major, Opus  55...Ludwig  van Beethoven
(1770–1827)
Allegro  con  brio
Marcia  Funebre  ­ Adagio  assat

Scherzo  – Allegro  vivace
Finale  ­ Allegro  molto

TIMPANI
Geoﬀrey  Brooks

�ORCHESTRA  OFFICERS
Paul  Turco, President
Lisa  Gutkin,  Vice  President

This  concert  is  presented  free  thanks
to  the  Student  Association  and  the

School  of  Arts  and  Sciences.

�</text>
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                    <text>WP-112&#13;
&#13;
About the Harpur Trio:&#13;
As members of the Harpur College Music Department, each&#13;
artist brings to the trio a unique training and background.&#13;
&#13;
Patricia Isham, who holds degrees from Pomona College and&#13;
Columbia University, studied with William Kroll and Alexander&#13;
Schneider.&#13;
&#13;
Myron Fink, well known as both composer and pianist, studied&#13;
at the University of Illinois with Burrill Phillips in Composition and&#13;
Stanley Fletcher in Piano.&#13;
&#13;
Equally proficient as performer and musicologist, Dr. Harry&#13;
Lincoln holds degrees from Macalester College and Northwestern&#13;
University.&#13;
&#13;
_________________________________&#13;
&#13;
Announcements:&#13;
&#13;
Friday, Nov. 20&#13;
Krainis Baroque Trio&#13;
&#13;
Sunday, Nov. 29&#13;
Quarneri String Quartet&#13;
&#13;
Sunday, Dec. 6&#13;
Quarneri String Quartet&#13;
&#13;
Monday, Dec . 14&#13;
Christmas Program&#13;
(College Choir and Men's Glee Club)&#13;
&#13;
__________________________________________&#13;
&#13;
A reception for the Harpur Trio will be held immediately&#13;
following the concert in the Faculty Lounge, adjacent to&#13;
the Theater. Everyone is cordially invited.&#13;
&#13;
THE HARPUR TRIO&#13;
Patricia Isham, Violin&#13;
Harry Lincoln, Flute&#13;
Myron Fink, Piano&#13;
&#13;
November 7, 1964&#13;
8:15 P. M.&#13;
Harpur Theater&#13;
&#13;
�&#13;
PROGRAM&#13;
&#13;
Trio Sonata in C minor -------------------------J.J. Quantz &#13;
                                                                                            (1697-1773)&#13;
Andante moderato&#13;
Allegro&#13;
Larghetto&#13;
Vivace&#13;
&#13;
Sonata in A, Op. 47 (Kreutzer ) for piano and violin--------Beethoven&#13;
                                                                                                                           (1770-1827)&#13;
Adagio sostenuto - Presto&#13;
Andante con Variazioni&#13;
Finale.     Presto&#13;
&#13;
****Intermission****&#13;
&#13;
Jeux. Sonatina for flute and piano --------------J. Ibert&#13;
                                                                                                 (b. 1890)&#13;
Animé&#13;
Tendre&#13;
&#13;
Trio in Bb- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -C. P. E. Bach&#13;
                                                                                                                     (1714-1788)&#13;
Allegro&#13;
Adagio, ma non troppo&#13;
Allegretto&#13;
&#13;
&#13;
PROGRAM NOTES&#13;
The two trios by J. J. Quantz and C. P. E. Bach represent different &#13;
characteristic aspects of pre-classic music. Both men were employed&#13;
by Frederick the Great at Potsdam and Berlin, Quantz from&#13;
1728-177 3, and Bach from 1738-1767. They were composing during a&#13;
time of transition, when the "learned" and polyphonic style of the Baroque&#13;
was giving way to the new formal and expressive devices, ushering in the&#13;
Classical period. The trio sonata is a characteristic Baroque form in&#13;
which two treble instruments, either alike or of differing timbres, are&#13;
supported by a continuo, consisting of harpsichord and cello. The two&#13;
works on tonight's program may be played on two violins, two flutes or two&#13;
oboes, or any combination of these instruments. In Charles Burney's&#13;
account of his visit to Potsdam, he describes Quantz's music as "simple&#13;
and natural" but of a style that was in vogue forty years earlier. Bach,&#13;
according to Burney's description, is "rich in invention, taste, and learning,"&#13;
but richest in "expression." Quantz's Trio-Sonata represents the Baroque&#13;
tradition of the "church sonata" with its four movements alternating between&#13;
slow and fast tempi and its highly imitative interplay between the two solo&#13;
voices. Bach's three-movement trio lays a greater stress on "Empfindsamkeit"--&#13;
in which expression and sensitivity play the primary role.&#13;
&#13;
The "Kreutzer" Sonata of Beethoven was first performed in 1803 by&#13;
the English violinist George Bridgetower with Beethoven at the piano. The&#13;
first two movements had evidently been sketched earlier in the year. At&#13;
the first performance the violinist was obliged to play from Beethoven's&#13;
own manuscript while the piano part was non-existent except for an occasional&#13;
jotting. The third movement had been composed the previous year for an&#13;
earlier sonata, Op. 31, No. 1, but had been laid aside as being too imposing&#13;
a movement for that work. When the sonata was published in 1805, Beethoven&#13;
dedicated it to Rudolph Kreutzer, with the remark that since the "sonata&#13;
was written for a thoroughly capable violinist, the dedication to him (Kreutzer)&#13;
is all the more appropriate." The sonata begins with an adagio introduction&#13;
stated by the unaccompanied violin---a unique device among Beethoven's&#13;
violin sonatas. The first movement in sonata-form is punctuated with&#13;
cadences extended by cadenza-like elaborations. In the second movement&#13;
both instruments play an equal role in spinning out the variations. Although&#13;
the first movement with the exception of the introduction is in A minor, the&#13;
third movement returns to the key of A major, as in the introduction, and&#13;
the work closes in brilliance and gaiety.&#13;
&#13;
Early twentieth-century French composers have contributed greatly&#13;
to the flute repertoire. Ibert's Jeux, in spite of the subtitle Sonatina, is&#13;
rhapsodic in character . The first movement is characterized by a lively,&#13;
disjunct theme in 5/8 meter. The opening lyrical material of the second&#13;
movement is built to a climax by means of a canon between the two instruments.</text>
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at &lt;a href="mailto:orb@binghamton.edu"&gt;orb@binghamton.edu&lt;/a&gt;.</description>
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