2 10 1775 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.) 35:55 36:52 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE60315 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE60315">Women's Chorus 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>. 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 Women's Chorus Concert, December 3, 1967 Subject The topic of the resource Concerts Description An account of the resource Held Dec. 3, 1967. Creator An entity primarily responsible for making the resource State University of New York at Binghamton. Women's Chorus 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 1967-12-03 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource 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 39091020058677 39091020058727 https://omeka.binghamton.edu/omeka/files/original/a7d2c925536663b6d2ed98fd7d193879.pdf 7f0ac0c0ca6b54491c80457b9dec78f6 PDF Text Text BINGHAMTON U N I V E R S I T Y State University of New York Department of Music WOLFGAN G AMADEUS MOZART Lecture - Recital • Patricia Sunwoo, violin Roberta Crawford,vio la Stephen Stalker, cello Michael Salmirs, piano Alice Mitchell, lecturer Sunday, March 21, 2004 3:00 p.m. Casadesus Recital Hall �Wolfgang Amadeus Mozart (1756-1791) Comments on the Program ....................... ................ Alice Mitchell --pause-- Divertimento for Violin, Viola and Cello in E-Flat Major, KV 563 I. II. III. IV. V. VI. Allegro Adagio Menuetto: Allegretto - Trio Andante Menuetto: Allegretto - Trio I - Trio II Allegro --Intermission-- Piano Quartet in G Minor, KV 4 78 I. II. III. Allegro Andante Rondeau �About the Performers Canadian-born violinist PATRICIA SUNWOO made her New York orchestral debut in 1995, performing Alban Berg's Violin Concerto at Alice Tully Hall, and has since been active as a recitalist and chamber musician throughout the United States. She has won prizes from the Canadian Music Competitions, Montreal Symphony Orchestra Competition, and CIBC Festival of Music. As a member of the Whitman String Quartet, winner of the 1998 Walter W. Naumburg Award, she performed to critical acclaim across the United States, France and South America, recorded works of Artur Schnabel and Michael Whalen for labels CP2 and Arabesque Recordings, and was aired by NPR and Japan's NHK. Recent engagements include appearances at the Carnegie Hall's Weill Recital Hall, Corcoran Gallery in Washington, D.C., Bard College, Meadowmount School and L 'Espace Pierre Cardin in Paris. She has worked with composers John Corigliano, Joan Tower and George Crumb, and given premieres with the Whitman Quartet, Metamorphosen Chamber Orchestra and new music ensembles. Sunwoo is also an active advocate of music education, and has been a teaching artist for the Midori Foundation, Da Camera Society of Los Angeles and Carnegie Hall. In 2001 , she joined the faculty at Binghamton University. Her major teachers include John Loban in Vancouver, the Juilliard String Quartet, and Sally Thomas at the Juilliard School, where she received her doctorate. ROBERT A CRAWFOR D enjoys an active career as a recitalist and chamber musician. As Associate Director and founding member of the Finger Lakes Chamber Ensemble, Crawford has participated in more than one hundred solo, chamber, and lecture-recitals presented by the ensemble since its formation in 1990. She has performed with the Catskill Chamber Players, appeared frequently on the Cayuga Chamber Orchestra's Sunday Chamber Music Series and has been a guest performer with the Ariadne String Quartet. Crawford has played with the Portland and Syracuse symphonies and has served as principal violist for the Cayuga Chamber Orchestra. An advocate of new music, Crawford has premiered numerous works featuring viola and has been the dedicatee of several works written specifically for her. She has participated in music fest ivals throughout the United States and in the Caribbean and has appeared in live performance broadcasts for public radio and television. A dedicated teacher, Crawford has served as clinician, coach and adjudicator for many music organizations and is co-director of the NY ASTA ViolaFest, hosted by Binghamton University. She has been a guest faculty member at Phillips Academy, the Quartet Program, Ithaca College and the Eastman School of Music and is Coordinator of Strings at Binghamton University. �chamber groups throu ghou t STEPHEN STALKER, cellist, has performed in the Madison Quartet, he the United State s and Europe. As a member of nd, recorded for the Orion performed in the U.S., France, Germany and Switzerla in the Evian International and Mus ical Heritage Society label s, was a finalist mber Music Competition, String Quartet Competition and the Naumberg Cha ersity. Since 1980, he has and was an Artist-in-Residence at Colgate Univ ng and premiering many played in the Catskill Chamber Players, performi ding the world premiere compositions by prominent American composers, inclu Score," at the Weill Recital of the late string quartets of Henry Bryant, "Fou r plete Beethoven Trio cycle Hall in New York City. He has performed the com ormed with Solisti New with colleagues at Binghamton University. He perf from Vancouver to Juneau York on their Alaskan cruise of the Inner Passage onic. He teaches cello and and toured Greece with the Schenectady Philharm double bass at Binghamton University. and Artistic Director of the Pianist MICHAEL SALMIRS, a founding member as a recitalist and chamber Finger Lakes Chamber Ensemble is well known n. He has appeared as musician performing extensively throughout the regio ton University Orchestra, soloist with the Com ing Philharmonic, Bingham red pianist on its Sunday Cayuga Chamber Orchestra, and has been a featu ic, he has participated in chamber series. As a performer of contemporary mus Nova, Cornell University's such series as Binghamton University's Mus ica Syracuse Society for New Ensemble X, and has toured and recorded for the atory and Eastman School Music. Salmirs studied at the New England Conserv ard Shure and Rebecca of Music; his teachers have included pianists Leon taught at the Syracuse Penneys and composer Karel Husa. Salmirs has Smith Colleges . He is a University School of Music and Hobart and William Affiliate Artist at Cornell faculty member at Binghamton University and Ithaca and enjoys teaching University. He maintains a private piano studio in perform Poulenc's Aubade students of all ages and levels. In May , Salmirs will with the Cayuga Chamber Orchestra. received her earliest music ALICE MITCHELL is a native New Yorker who nt and as an undergraduate education at the Third Street Music School Settleme ies in musicology at Smith at Hunter College. She continued with graduate stud mbia University with Paul College, as a student of Alfred Einstein and at Colu Town Hall, Steinway Hall, Henry Lang. She has performed as a piano soloist at ons include an edition and and at the Brooklyn Academy of Music. Her publicati ion (Op. 200), articles in the translation of Carl Czerny's Treatise on Impro visat Grove's Dictionary, and Musical Quarterly, the Musical Heritage Review and has served as Chair of the liner notes for Dover Publications recordings. She join t graduate program in Music Department, during which she initiated the ns that resulted in the Link opera with Tri-Cities Opera and opened negotiatio Professorship. � 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 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 0:27:47 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253443&change_lng=en&select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253443&change_lng=en&select_viewer=metsViewer</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.) FacingCover 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 Wolfgang Amadeus Mozart, lecture-recital, March 21, 2004 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2004-3-21 Description An account of the resource Works of Mozart Creator An entity primarily responsible for making the resource Sunwoo, Patricia Crawford, Roberta Stalker, Stephen Salmirs, Michael Mitchell, Alice Date A point or period of time associated with an event in the lifecycle of the resource 3/21/2004 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/90bcb09ad65ca79249af5806e543c8e8.jpg 341e0d33b9712c6de9ca43d856926f1c https://omeka.binghamton.edu/omeka/files/original/fa91485645de26abef8384386840c716.jpg 39938bdcb88766b6a0bc91aa63f1c127 https://omeka.binghamton.edu/omeka/files/original/22f99e0c179a785bd8f60d4f466c8ddb.jpg 8c7ab56b927c4cc0ce07332d70d93b9c https://omeka.binghamton.edu/omeka/files/original/a40aa1a69fce2058bf9b4843d9e06fe4.jpg 30736f8cf763cd390da8b91fab929cb0 https://omeka.binghamton.edu/omeka/files/original/f39e584bddaa08d3237656a568492bde.jpg 55e06eb4ff7288027119c97bc94d2433 https://omeka.binghamton.edu/omeka/files/original/e0be6ecc7d290b71ccfe51368f9f1ad3.jpg 4b0db6de5b5ce555c7085affc0d16951 https://omeka.binghamton.edu/omeka/files/original/155025df66bc5f7be4329381a4a273c4.jpg fd4835ff26bd076aa82230473a521f5b https://omeka.binghamton.edu/omeka/files/original/553e821c9baec6c5356249389c5dd1be.jpg b6b9bac67c4c8f8edd08d49fc7c74799 https://omeka.binghamton.edu/omeka/files/original/fea7e94838f35c60a63f025c99aa7f5e.jpg d3fe7302c48b152625ef450516180266 https://omeka.binghamton.edu/omeka/files/original/11c6afd5ecd6f94d4803c71b8188dcec.jpg 7df54147623813f3a33d04a13f0aa34f 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 Reinhardt Promptbooks Description An account of the resource Who is Max Reinhardt? The celebrated Austrian theater director <a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/">Max Reinhardt</a>, recognized in America primarily for his elaborate productions of Shakespeare’s A Midsummer Night’s Dream, Franz Werfel’s The Eternal Road, and Karl Vollmoeller’s The Miracle, was born in 1873 at Baden near Vienna, Austria and died in New York City in 1943. Reinhardt’s illustrious career takes on added significance because it coincides with a major shift in the evolution of the modern theater: the ascendancy of the director as the key figure in theatrical production. Reinhardt’s reputation in international theater history is secured by the leading role he played in this transformation, as well as by his innovative use of new theater technology and endless experimentation with theater spaces and locales, which together redefined traditional relationships between actor and audience toward a new participatory theater. What is a prompt book? The prompt book is a master copy of the production script and contains a wealth of instructions and information alongside the basic text of the play. As well as the actors’ lines, you will often see cues for music, movement, light, and many other aspects of stage business. It may also contain sketches of how a piece of staging is supposed to look, or which costume a character should wear in a scene. Why are his important? Reinhardt’s directorial prompt books reflect the ways in which he made plays by major playwrights, including Ibsen, Shakespeare and Wilder, his own. The prompt books contain notations denoting changes in the script, actor moves and technical cues, instructions on how sound, props and scenery were used, and stage drawings. They help us to reconstruct Reinhardt’s techniques and directions in productions. Acknowledgements Thank you to the Gladys Kriebel Delmas Foundation who generously provided the funding to make this extraordinary project possible. Thank you also to the following individuals who helped make this project successful: Binghamton University Libraries’ Staff: Benjamin Coury, Nicholas Eggleston, Jean Green, Blythe Roveland-Brenton, Erin Rushton, David Schuster, Rachel Turner, Brandy Wrighter; Binghamton University Students: Madelynn Cullings, Kashawn Hernandez, Aanyah Jhonson-Whyte, Marisa Joseph, Bethany Maloney, Ashleigh Marie Sherman, Thomas Tegtmeier, Joseph Vitale. Relation A related resource <a href="https://omeka.binghamton.edu/omeka/items/show/2877">Full Display and German Transcription of Max Reinhardt's</a><a href="https://omeka.binghamton.edu/omeka/items/show/2877"> Reigen Promptbook</a> <a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/">Max Reinhardt Archives and Library</a> <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,reinhardt&tab=DigitalCollections&search_scope=DigitalCollections&vid=01SUNY_BIN:01SUNY_BIN&offset=0">Max Reinhardt Collection Photographs</a> <a href="https://omeka.binghamton.edu/omeka/max-reinhardt-timeline">The Life and Times of Theater Director Max Reinhardt</a> <a href="https://omeka.binghamton.edu/omeka/max-reinhardt-theaters">The Theaters of Max Reinhardt</a> Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Jean Green,  Binghamton University Students: Madelynn Cullings Kashawn Hernandez Aanyah Jhonson-Whyte Marisa Joseph Bethany Maloney Ashleigh Marie Sherman Thomas Tegtmeier Joseph Vitale Promptbook Description Book in original binding (Munich: Georg Müller, 1914). Stamped Deutsches Theater zu Berlin on cover and inside cover page. Stage drawing found alongside cast list. Markings in purple pen. Few markings. No markings from page 43 onwards. Collection Max Reinhardt Promptbooks Dimensions Physical dimensions of item 17.5cm x 11.5cm Earlier version Earlier version (dcterms:isVersion Of) Les loups Notes Located in Binghamton University Libraries Special Collections PT2635.E548P75 v.99 Production(s) December 1918, Berlin (Deutsches Theater) 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 Wölfe [promptbook] Subject The topic of the resource Rolland, Romain, 1866-1944. Loups -- Translations into German Promptbooks Stage directions Deutsches Theater zu Berlin -- Germany Creator An entity primarily responsible for making the resource Rolland, Romain, 1866-1944 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 1900s Contributor An entity responsible for making contributions to the resource Reinhardt, Max, 1873-1943 Language A language of the resource German Identifier An unambiguous reference to the resource within a given context R 3192 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Deutsches Theater zu Berlin Rights Information about rights held in and over the resource Copyright undetermined. This image is provided for educational and research purposes only as is stipulated by U.S. and international copyright law. For more information, please contact speccoll@binghamton.edu. https://omeka.binghamton.edu/omeka/files/original/35fd02e642109b86d2f2c9f143fb8d68.jpg 9ca2b9a7048ab511b61fa8e1917f664e https://omeka.binghamton.edu/omeka/files/original/b237e9f630a8c70e65a4a667b6d80480.jpg d47298c01e41ab250a831938e825a77c https://omeka.binghamton.edu/omeka/files/original/ccb0f0c4095273a94be7574e260b3beb.jpg f5e1a0b24c4a39fb9bc4cd262e746cfe https://omeka.binghamton.edu/omeka/files/original/028b281110a70635da46b180b0b7afa6.jpg 34a717574b321051a317e3eab5758983 https://omeka.binghamton.edu/omeka/files/original/fc5a0114a07912c1ffaea3a45d8a9ba3.jpg 9b10a92c91142105745498aad0ddab7c https://omeka.binghamton.edu/omeka/files/original/b5f3494d78dad594989756f951adffa3.jpg e09e1c8540434c746c0e82f07b83fea5 https://omeka.binghamton.edu/omeka/files/original/ba1e72c8a0722daa392e80b37ff15dce.jpg 394896becb207f45bc47b9d9a10c79f2 https://omeka.binghamton.edu/omeka/files/original/5b6b159031bf8a88373b3d7d926c9a0d.jpg 4c5c354dc01af809df0e3eb21211c5a3 https://omeka.binghamton.edu/omeka/files/original/5799a2955bb89f0a4b03c20e1abee29f.jpg 1b6c0e53fb5b8f32ba2d7a0c98f9f209 https://omeka.binghamton.edu/omeka/files/original/65baac49532ce6e585e86ed2a40bad8a.jpg 499920cbfd1b77d65e57e02da010e793 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 Reinhardt Promptbooks Description An account of the resource Who is Max Reinhardt? The celebrated Austrian theater director <a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/">Max Reinhardt</a>, recognized in America primarily for his elaborate productions of Shakespeare’s A Midsummer Night’s Dream, Franz Werfel’s The Eternal Road, and Karl Vollmoeller’s The Miracle, was born in 1873 at Baden near Vienna, Austria and died in New York City in 1943. Reinhardt’s illustrious career takes on added significance because it coincides with a major shift in the evolution of the modern theater: the ascendancy of the director as the key figure in theatrical production. Reinhardt’s reputation in international theater history is secured by the leading role he played in this transformation, as well as by his innovative use of new theater technology and endless experimentation with theater spaces and locales, which together redefined traditional relationships between actor and audience toward a new participatory theater. What is a prompt book? The prompt book is a master copy of the production script and contains a wealth of instructions and information alongside the basic text of the play. As well as the actors’ lines, you will often see cues for music, movement, light, and many other aspects of stage business. It may also contain sketches of how a piece of staging is supposed to look, or which costume a character should wear in a scene. Why are his important? Reinhardt’s directorial prompt books reflect the ways in which he made plays by major playwrights, including Ibsen, Shakespeare and Wilder, his own. The prompt books contain notations denoting changes in the script, actor moves and technical cues, instructions on how sound, props and scenery were used, and stage drawings. They help us to reconstruct Reinhardt’s techniques and directions in productions. Acknowledgements Thank you to the Gladys Kriebel Delmas Foundation who generously provided the funding to make this extraordinary project possible. Thank you also to the following individuals who helped make this project successful: Binghamton University Libraries’ Staff: Benjamin Coury, Nicholas Eggleston, Jean Green, Blythe Roveland-Brenton, Erin Rushton, David Schuster, Rachel Turner, Brandy Wrighter; Binghamton University Students: Madelynn Cullings, Kashawn Hernandez, Aanyah Jhonson-Whyte, Marisa Joseph, Bethany Maloney, Ashleigh Marie Sherman, Thomas Tegtmeier, Joseph Vitale. Relation A related resource <a href="https://omeka.binghamton.edu/omeka/items/show/2877">Full Display and German Transcription of Max Reinhardt's</a><a href="https://omeka.binghamton.edu/omeka/items/show/2877"> Reigen Promptbook</a> <a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/">Max Reinhardt Archives and Library</a> <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,reinhardt&tab=DigitalCollections&search_scope=DigitalCollections&vid=01SUNY_BIN:01SUNY_BIN&offset=0">Max Reinhardt Collection Photographs</a> <a href="https://omeka.binghamton.edu/omeka/max-reinhardt-timeline">The Life and Times of Theater Director Max Reinhardt</a> <a href="https://omeka.binghamton.edu/omeka/max-reinhardt-theaters">The Theaters of Max Reinhardt</a> Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Jean Green,  Binghamton University Students: Madelynn Cullings Kashawn Hernandez Aanyah Jhonson-Whyte Marisa Joseph Bethany Maloney Ashleigh Marie Sherman Thomas Tegtmeier Joseph Vitale Promptbook Description Stamped “Deutsches Theater zu Berlin.” Markings in black pencil, blue pencil, black pen, brown pen, and red pencil. Most written notes throughout book in black pencil. Stage and scene drawings found throughout. Notes fluctuate throughout - some pages are sparses notated, others are extremely extensive. Some pages have small stage drawings, some pages have extensive stage drawings. Very old book. Some notes appear not to be Reinhardt’s handwriting. May have been either a hand-me-down from another director, a very very early Reinhardt performance, or it was used by Reinhardt later for a performance which he did not mark in the book. Collection Max Reinhardt Promptbooks Dimensions Physical dimensions of item 22cm x 17.5cm Earlier version Earlier version (dcterms:isVersion Of) Winter's Tale Notes Located in Binghamton University Libraries Special Collections PT2635.E548 P75 v.122 Production(s) August 31, 1890, Berlin, Deutsches Theater zu Berlin. 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 Wintermärchen [promptbook] Subject The topic of the resource Shakespeare, William, 1564-1616. Winter's Tale -- Translations into German Promptbooks Stage directions Creator An entity primarily responsible for making the resource Shakespeare, William, 1564-1616 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 1900s Contributor An entity responsible for making contributions to the resource Reinhardt, Max, 1873-1943 Language A language of the resource German Identifier An unambiguous reference to the resource within a given context R 3215 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Deutsches Theater zu Berlin https://omeka.binghamton.edu/omeka/files/original/d8592c14a2e914e39bd9769f9e505bb6.pdf 3386583196b211a7791f7b5210c58123 PDF Text Text Beethoven In his sixteenth year by Becke r in Coblenz. 1833. Guarneri StringQuartet Harpur Seas eason 66-67 WinterSeries �Wednesday, J a nuary 11 , 1967 8 :15 p.m. Coll ege Theate r L . v. BEETHOVEN QUARTET in G MAJOR, Op. 18, No. 2 All egro Adagio Cantabi le Sche r zo. All egro Allegro molt o quasi Pr esto Q UARTET in F MAJOR, Op. 59, No. 1 Allegro All egre tto vivace e sempr e Scherzando Adagio molt o e mesto Theme Russe. Allegro intermission QUARTET in A MI NO R, Op. 132 Assai Sostenuto - Allegro All egro ma non tanto Molto adagio Hei l ige r Da11kgesa11g eines Genesenen a11 die Gottheit, in der lydischen Tonart All a marcia, assai vivace : All egro ap passionato A RECEPTION honoring the Quartet will be held in the Faculty Lou11ge adjacent to the theater following this evening's recital. The audience i s most cordially invited to atte11d. �Notes by William Klenz T he quartet , Op. 18 No. 2 bears the nickname, "Comphment Quartet" because of the florid, elegant nature of its openmg ph r ases which set t he tone for t he entire first movement . However the material is not empty flattery, but rich in patt erns and moti ves which receive a searching analysis and r esynthes i s in the course of the movement. Juxtaposition, mutual modification, interaction are the devices which make the wor k a reflection of the natural worl d and the Force behind it. Th ese are carried out at obvious, overt levels, and at recon dite, arcane depths whence they operate directly upon the subconscious which senses the •rightness• and precision of things for whi ch the "small-change counting" consciousness has no recogniti on o r epi stemological terms. The qua r tet 1s all of a piece . The Adagio has many themati c and motivic references to the first move ment It also contains a surprise, a mini ature Sonata Allegro tucked between its two broad state ments which are themselves a Lied form and its variation. The Scherzo continues the atmosphere of elegance and wit while the very l:l aydn like finale develops a motive fi r st presented (f) at bar 20 of the first movement. TT he th r ee quartets Op. 59 are k nown as the "Rasoumousky" quartets, being so called for the patron and dedica tee who brought them into being. He was • sou Excellence M ons i er l e Comte de Rasoumoffsky Conseiller prive actuel de l a Majeste' L'Empereur De T out es les Ru ss1es .. . • the Russian ambassador at Vienna. With th ese quartets we move into Beethoven's "middle" period marked by mastery and conscious innovation. New ki nds of the matic mate r ial are evolved and new methods of devel opment and expansion. Just how new is shown by the story of Romberg, the 'ceHist, and this quartet. Certainly there is no greater joy for a 'cellist than to deli ver the b r oad gratefull y written opening t heme of t his first movement. Y et, Romberg (whose own cliche-ridden musi c is of a legendary platitudinousness) is c l aimed to have trampled the score on the floor, saying, "who can pl ay such rubbish?" (He did pl ay, however, othe r concerts with Beethoven.) A small statistic will show the difference in scope. The first m ovement of Op. 18, No. 16 consists of 264 bars (excl usive of repeats) played at a rate of 80 bars to the minute (c. 3.3 min.). The first movement of Op. 59, No. 1, consists of 400 bars played at a r ateof40-45barsto the mlnute (c. JOmin.) �Th e density and integr ationisoft heor der achieved by Haydn in hi s mos t advanced manner and "inherited" by Beethoven. The Scherzo was at fi r st considered the work of a madm an . Again, the ' ce llo starts, all alone, with an empt y rh ythm -see mingl y c hildish, but actuall y of g r eat vi tality. (It seem s that this i s t he movement t hat precipitated Rom ber g's ire.) I t is a m ovemen t that could have been wri tt en by no one el se; t he project ion of the materi als of a scherzo int o a sonat a fo rm . The s low move ment-•ver y s low and s ad " is one of th e m os t pe r f ect thi ngs in Beethoven, it must have cost him muc h labor-the r e i s ce r tainly nothing except Bee thov en' s own w o r k to co m pare wi th it fo r refinement of c r aft , deep senti m ent and hones t i ntention to communi cate . T he fi nale commemo r ate s Rasoumousky's o r i gin wi th a brilli ant, witt y finale on a Russi an · folk tune taken fro m th e coll ecti on m ad e by I. Prats ch . I t , like all the ot her move m ents , i s i n sonata form, and the quartet as a who l e r epres e nts t he triumph of the power of musi c al or gani za t ion offe r ed by the Sonata . The Quartet Op. 132 in A Minor was wr itten i n 1825 and is t he second of the set of th r ee commissioned b y Prince Galit zin . Sket ches for t he first and l ast movements appear al read y in 1824 and the working out was begun at once afte r t he compl etion of the Quartet i n Eflat , Op . 127, in Febr uar y o f 1825 wa s i nte r r upted for sever al wee k s by t he severe ill ness whi ch ove r took Beethoven that Spr1ng . This circu m stance, we wi ll see, cont ributes to t he content of the work. Its co mposition was r esumed in M ar c h and fin i shed tow ard the end of Jul y . The fi r st movementbegmswi th an enigma ti c "cabbalistic" phr ase, a secr et symbol whi ch has t he cha r a ct er of a m yst erious introduct ion - "akey.• !t is that , but m o r e besides, for in reality i t is t he co mpl ement ar y counter point to the wi nged phrase whi ch i s "released" i n the high r egis te r of the 'cello after the fl eet pas sage of the fir st violi n. B ee thoven in fact combines the cu mul ati ve effect of introduction w11h the function of exposition, !o r t hese cont rasting yet mat chi ng halves con st it ute t he first gr oup of thema t ic e l em ents whose i nt roduction i s the "plot" of t he movement . T hey ar e neve 1· l ong absent, In spite of the int r oducti on of cont r asti ng material. The fi nal pages of the move ment are not abl e for their sonor i t y, and eloquent r educti on t o convincing c l ar i t y or the original •c r yptogram. " The scherzo m ovement se t s asi de jovial hil arit y and dynam ism fo r det ailed, el egant , witt y counter point. Its trio exploits the same peasant- i nst r u ment eff ect s (hurdy- gu r dy) w hich we r e i n the original m ovement desi gned for thi s pl ace Continued on back page �State University of New York at Binghamton H ARPUR COLLEGE The Department of Mus ic prese nts THE GUARNERI STRING QUARTET (in residence) Arnold Stein hardt violi n John Dalley vio lin R EC IT A L S f O Michael Tree viola David Soye r cello SEAS O N 1 96 6-67 SUMMER SERIES W IN T ER SERIES SPRI NG SERI ES Sunday , July 10 Sunday, November 6 Sunday , Marc h 12 Sunday, Jul y 24 Sunday, August 7 Tuesday, Decembe r 13 Wednesday, J anuary 4 Saturday, Mar c h 18 Sunday, April 2 Wednesday, J anua ry 11 Sunday, February 12 Sunday, Aprll 30 Satu r day, May 6 Sunday, August 14 Sunday, September 11 Sunday , October 9 All performances at 8:15 p.m. In the Harpur College Theater. Late comers will be seated after the first quartet, Ushering c our tesy of Alpha Phi Omega and Gamma Sigma Sigma. February 11 at 3:00 p.m. in C.A. 183 NOTES (Continued) but whi ch was moved to the Alla danza tcdesca or Op. 130. Here the effect is even m o re overt and col orful. The third move ment ref ers di r ectly t o Beethoven' s illness in 1825. It was l abelled by Beethoven originally in French "Chant De reconnaissanc e, en style l ydique, offert a l a Divinite, par un convalescent." It is in Lied form, st r ophic , with three va ri ed strophes and two intervening, cont rasting, refrains. The Lydian mode is a scale F-F , with B natural instead or B flat. The effect is a curious one, a kind or enforced inactivity (which it indeed desc ribes). The refr ains (in normal D major) are l abelled also Neue Kraft fühlend (feeling of new strength). The l ast strophe l abe lled "with most intimate sentiment• varie s the original in such a wa y as t o provide subtle and curious links to the materials of the first move ment. The comparison t o the equall y autobiogr aphical s l ow movement or the piano Sonat a Op. 110 (which al so conce rns itself with an illness and conval escence) is inescapabl e. The Finale begins Alla Marcia - the march serves as fanfare introduction-invoc ation (an el ement, it will be observed that is absent fro m its proper pl ace, the opening of the fi r st m ovement) . lt i s connected by a passage or recitativo dec l amation (Violin I) , reminiscent of the Ninth Symphony, to the finale prope r , a Rondo or Dio nysian abandon. Program design by William Mihalko J f � 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.) 23:10 40:12 19:35 27:32 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE60285 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE60285"> Winter Series 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 Winter Series Recital, January 11, 1967 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Beethoven quartets. Held at 8:15 pm, Jan. 11, 1967, 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 1967-01-11 Rights Information about rights held in and over the resource This digital recording may only be used for educational purposes. Please cite as: Binghamton University Music Department tape recordings, Special Collections, Binghamton University Libraries, Binghamton 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 Winter Series Recital 1967-1-11.pdf https://omeka.binghamton.edu/omeka/files/original/a9f65a767a53c48c7fda43977c43c48f.pdf 5756cfb95195de143614c738de59e201 PDF Text Text BEETHOVEN IN 1811 After the bust by Klei n Guarneri String Quartet Harpur - Season 66-67 cpf'rnta, ifew;, �Sunday, Nove mbe r 6, 1966 8 : 15 p .m. College T heater L. v.BEETHOVE N QUARTET in E M I NOR, Op. 59 , No . 2 Al l egr o Motto Adagi o Alleg r etto Fi nal e, Pr esto QUART E T in D M A JOR, Op. 18, No . A ll eg r o Andante con moto All eg r o P r esto int ermission Q UARTE T in E- FLAT M A JOR, Op. 127 M aestoso: All egro Adagi o m a non troppo e molto cantabile Scherzando V ivace Fi nale A REC EPTION honoring the Quartet will be held in the Faculty Lounge adjacent to the theater following this evening's rec ital . The audience is most cordially invited lo attend. �Notes ET by William Klenz he three "Rasoumovsky" qua rt ets of Op. 59 date from the year 1805-1 806. Count Rasoumovsky was the Russi an Ambassador to t he Vi ennese cou r t. Like Pri nce Galitzin, he also was a pract ical m usic ian-•a good fiddler"--and maintained his own string qua r tet under the guidance of Beethoven's f riend t he vio- li nist, Schuppanzigh. These wo rk s belong lo the so called "middle period" of Beethoven's devel opment . The apprenticeship and mast er 's exa mination are over. T he musica l language changes fro m t he t hea tr e - (opera) -de ri ved instrume ntal diction of ea rl y Classi cism to the directl y observed and transcribed senti ment of ea r l y (possibl y the onl y true) Romanticism . In t his stylistic change, Beethoven must be regarded as the l eade r. He manages the transition without losmg the force of for mal clarity: the tru th of t hi s is shown by the fact that three of t he four movements are In Sonata form. T he first, nonethel ess, re fl ects a sensitivit y and febrile quality which is to be fu r t her expl or ed by Schumann . The Molto Adagio begins with a chorale- like the me and p roceeds as a l a r ge expansion of it. T he subscription- "Thls piece is to be treatedwith the greatest f eeling- ("molto di sentimento")" al so bear s out the l eani ng toward Romantic i s m. The Allegretto(the onl y move ment not in Sonata form) is a sche r zo- threef old like t hat of the Ninth Symphony . It appropri atel y incl udes a Ru ssian tune In its alte r nate section (M aggiore) - the sa me as used by M oussourgsk y in Boris Goudonow. The l a.st move ment is an expanded co mbination Rondo- Sonata in which development takes the place of recurring repe tition. T he quartet was p r obabl y originally intended as the first of the six quartets of Opus 18. Schuppanzigh wisely advised agai nst its publication in this pl ace now illustriously occupied by the eminentl y .suitable Quartet 1n F M ajor. A mong the ori ginal j udgements, the Allge meineMusikalische Zeitung, August 1801, said: •outstandi ng works". .. "complete evidence of his art; but they must be played often and very well since they are difficult to perform and by no means 'popular.'• The most striking movement of Opus 18 no. 3 is the finalein which basic rhythn11c materials of a dance-game are rende r ed incandescent by a headlong tempo and the lightest, most unconstrained possible movement, an exhilarating, effortless escape from time. �The Qu artet i n E - Flat , Opus 127 appear s 10 have been begun {sketches f or t he fir st movement) in ea rl y 1822. In No vembe r , we hea r of i nquiries by Prince NicholasGalitzin as to whether Beet hoven would undertake the composition of two o r three new quartets to be dedi cated ("avec reconnaissance") to him. This se t in motion the effo rts which l ed to the composition of the quartets Opp . 127, 130, 132. The work on the earlier materials of Opus 127 p r oceeded In 1823 after an interruption caused by the Ninth Symphony. embodies the circu ms tances The f i gu r e of Price Galitzin and conditions III whi ch the chamber music of the Cl assic Viennese Period reac hed Its acknowledged pinnacl e to such a degree th at it may be useful to exam ine in the sixth decade o r a se lf-congratulator y centu r y (in which the do-it-yourself p r incipl e however appears not to go beyond attracti ve pe r iphe r al s). Not s i mply the Maecenas-he was a good 'cellist and hi s wi fe a good pi anist . Lik e many of Beethoven's patrons, including Archduke Rudo l ph of Hapsburg, they were able to perform and often did perform in domestic circumstances the works they had commissioned and we r e eminentl y able to judge directly without cri t ical or journalistic "assistance" of its worth and qual ity. T he first movement opens with a formal fanfare, a very compressed version of an invocatio11-1nt r oductlonwhlch also serves to ma r k off the principal subdi visions of the movem ent - a sonat a for m in which the princ ipal deve lopment of the materials is reserved for the closing section after obligations of exposition devel opment and the "contractual" recapitu l ation have been tersely but unanswerabl y complied with. T he Adagio is highly regarded. It is, lik e many such move ments, a theme and (five) variations whi ch brings to mind t he Benedictus of the Missa Solemnis, (compl eted in the same year), here possibl y in an even mo r e exalted, because 111ore disembodied, medium. The textural comp l exity of the central va r iations are not merel y "devices• but bear the stamp of organic growth, evol ution and regeneration-the theme of life itself-which begins, proceeds from and returns to an elemental state. The analogy to the world of Nature, (with which we must always be prepared to deal In Beethoven's work) 1s intens1hed by a generic resemblance to the slow movement of the Pastoral Symphony, "The Scene by the Brook,• in which the "blessing" of the worship of the Earth is overtly acknow ledged. The Scherzo is a kaleidoscopic t r eatment of a variety of compressed aphorisuc el ements all of which ultimately derive f rom the satiric, dynamic increment upon Menuet types whose traditions also dictate t he (alternating) form. T he Finale again emphasizes the re l ationship to the (Continued on back page) �State Unjversity of New York at Binghamton HARPUR COLLEGE The Department of Mus ic presents THE GUARNE RI STRING QUARTET (in residence) Arnold Stei nha rdt violin John Dalley violin Michae l T ree viola David Soyc r ce llo R EC IT ALS Q SEASON 1966 - 6 7 SUMMER SERI ES WINTER SE RI ES SPRING SERIES Sunday, Sunday, Sunday, Sunday, Sunday, Sunday , Sunday, November 6 Tuesday, December 13 Wedne sday, January 4 Wednesday , January 11 Sunday , February 12 Sunday , Marc h 12 Saturday, March 18 July 10 July 24 August 7 August 14 Septembe r 11 October 9 Sunday , Ap r il 2 Sunday , April 30 Saturday, May 6 All performances at 8:1 5 p.m . in the Harpur College Theater. Late comers will be seated after the first quartet. Ushering courtesy of Alpha Phi Omega and Gamma Sigma Sigma. NOTES (continued) natural, pastoral wo rl d-always close at hand when Beethoven writes in his be loved key of E- !lat. The Dionysian principle of transfo r mation is the key to the final pages; bread and wi ne , leaf and flower and seed are transcended in a new vitality, s m all in dimension but of infinite im pli cation-t he re turn . Programdesign 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.) 38:21 24:44 37:27 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54669">Winter Series Recital 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 Winter Series Recital Guarneri Quartet, November 6, 1966 Recital Tape 1966-11-6 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works of Beethoven. Creator An entity primarily responsible for making the resource Guarneri Quartet Publisher An entity responsible for making the resource available Binghamton University Libraries 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 Date A point or period of time associated with an event in the lifecycle of the resource 1966-11-6 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 Winter Series Recital Guarneri Quartet Recital Tape 1966-11-6.pdf https://omeka.binghamton.edu/omeka/files/original/b53f68f141dc8577affc7f43cfaaebec.pdf 76594d5343de55f067206e48f29d3f18 PDF Text Text Guarneri Harpur String Quarter Season Winter Series 66-67 �Wednesday, January 4, 196 7 8: 15 p.m. College T heater L. v . BEETHOVEN QUART ET in F MAJ OR, Op . 18, No. I Allegro con brio Adagio affettuoso ed appassionato Sc herzo. Allegro mol to A llegro QUART ET in E-FLAT MAJOR, Op. 74 P oca Adagio; Allegr o Adagio Pres to Allegretto con Variazioni intermission QUART ET in C - SHARP MI NOR, Op. 131 Adagio, ma non troppoe mo lto espressivo A RECEPTION honoring the Quartet will be held in the Faculty Lounge adjacent lo the theater following this evening's r ecital . The audience is most cordially invited to attend. �Notes by William B eethoven's Klenz Quartet in F major {published in 1800) was not in fact the first composed of the six quar- tets of Op. 18. However its position is justified and appropriate in that it shows the purport and direction of Beethoven's quartet wr iting from the first. Based on the highl y integrative " essayist" method forged by his teacher, Haydn, it is a work of far g r eater density and specific gravity than its attractive surface alone might l ead one to expect. The organic thematic process - whichresemblesnothingso much as the unity of l iving organisms, especially the trees of Beethoven's bel oved out-of-doo rs - is everywhere operative if not at once apparent. The work has been described as "seeming to have been cast in a single pou r ing,• so gr eat ts its unity. However the truth is that it cost Beethoven much eff ort. The opening, acor n •like theme - which contains the gr eat t r ee - appears i n Beethoven's notebooks first in forms which are unbelievabl y clumsy and ungainly. No fewer than five distinct versions are visible with finally onl y the initial motive (6 notes) showing Itself strong enough to retain its iden111y under the hammer of Beethoven's seU criticism . Its inner premises are detectable in the thematic material of all the movements. Also, while the work was still In manusc ri pt, Beethoven recalled it and substituted (1st movement) an entire new development section, saying " I have only Just learnt how to write quartets properly.• The power and beauty of the Adagio str uck Beethoven's contemporaries who asked what he had been thinking of. Beethoven the Shakespeare. Jove r replied "the tomb scene in Romeo and Juliet.• We can do no be tter . T he Scherzo and Finale r ecove r the youthful "Spring morning• exuberance which illuminates the inner complexities of the first movement and also complete the cycl e of universals which comprise the design - organism in cosmos. Beethoven's tenth quartet, Op. 74, was written in 1809 and published in 1810. Of all the quartets , it perhaps conveys the greatest beauty of sheer sonority. The magical spacing of the parts in the l abryinthine introduction and the arpeggios -bowed and plucked- of t he Allegro (which give the work its nickname, the "Harp") are all disposed in such a way t hat the physical beauty of the sound becomes (as ts not always the case with Beethoven) an unusuall y affective di mension. This is especially true of the Adagio where t he considerabl e use of subdominant harmonies contributes to the �exalted serenity of the movement. The form Is strophica Lied, or aria of three stanzas-each repeat being varied, and, something exceptional, the principal melody (I violin) cast each time an octave lower so that the final verse can make use of the earnest entreaty of the violin's lowest string. The Presto (not actually marked "Scherzo") is built upon the famous "V" motive (•••-)which has already appeared at the coda of the first AJ l egro. The key (C minor) and the motive inevitably recal l s the Fifth Symphony (Op. 67) and the relationship between the "Scherzo" and "Trio" certainly suggests a similar rhythmical juxtaposition in the Scherzo of the Ninth. The theme of the Allegretto con Varizioni is taken from a Symphony (in C) by Haydn. The movement, though genial, is re l atively slight. It should be regarded as an elegant, gracious epilogue added like a program encore, the true force of the plece having expended itself in the preceding Presto-which, be it again noted, Beethoven did not mark "Scherzo." The Quartet in C Sharp Minor from the year 1822 is the fourteenth of Beethoven's quartets. It is in six movements pl ayed without a break. They are 1: Adagio, Fugue, C#; 2: Allegro Vivace, Sonatina, D; 3: Recitative and Andante wit h seven va r1 a11ons, A; 4: Presto, Scherzo, E; 5: Adagio, Lied, G#; 6; Allegro, Sonata, with extended terminal development, C#. The fugue is on an austere subject, granitic and gnomic which inevitably reminds us of Bach's fugue in the same key from the first book of the Well Tempered. It is a philosophical discussion of the thorny subject which somehow manages to clarify and lighten itself, but remains the generating idea of the thematic materials of the entire quartet. The second section is in extreme contrast, a simplified sonata form with only one real subject which flows without hindrance to its natural conclusion. The third section begins with a recitative and proceeds to a theme and variations whose successive emotional states are the assurances needed to balance the disturbance of the initial fugue. The Presto, No. 4, Is a Scherzo of headlong energy and drive, the kind of movement which is the exclusive property of Beethoven. T he Adagio, Lied, is a concentrated expression of sublime cal m and assurance which engenders the confidence to undertake the construction of thefinal,sonata, movement. This is a vast construction which unites the materials of the preceding sections and comments on their underlying unity and ends with the mcandescentdithyrambic transformation of the original proposition. �Sta te University of New York a t Bingham ton H ARPUR COLLEGE The Depart ment of Mus ic prese nts THE GUARNERI STRI NG QUARTET (in residence) Arnold S teinh ardt violin John Dalley violi n R EC I TALS O Michael Tree vio la Dav i d Soye r cello S E A SO N 1 9 66 -6 7 SUM M ER SERI ES W INTER SERI ES SPRING SER IES Sunday, July 10 Sunday, J uly 24 Sunday, November 6 Tuesday, Decembe r 13 Wednesday , January 4 Wednesday , January 11 Sunday, April 2 Sunday, April 30 Sunday, February 12 Saturday, May 6 Sunday, August 7 Sunday , August 14 Sunday, September 11 Sunday, M arc h 12 Saturday, March 18 Sunday , October 9 All pe r formances at 8: 15 p.m. in the Hnrpur College Theater . Lale comer s will be seated af te r the first quartet. Ushe ring courtesy of Alpha P hi Omega and Gamma Si gma Sigma. The fin al Open Rehearsals of the Winter Series will be hel d Tuesday, January 10 at 12 noon and Satu r day, Febr uary 11 at 3:00 p .m. in room 18 3 of the C.A. Building. Admis s i on is fre e . T hei r purpose is to provide the campus and commun i t y an opportunity to observe the Quartet in r ehearsal and t o view and painstaking preparation which is som e of t he detailed given t o each perfo rman ce. Pe r sons may quietl y ente r and l eave the rehearsal area at any time dur i ng the sess i ons. 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.) 36:25 34:01 26:57 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54698">Winter Series Recital Guarneri Quartet</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 Winter Series Recital Guarneri Quartet, January 4, 1967 Recital Tape 1967-1-4 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works of Beethoven. Creator An entity primarily responsible for making the resource Guarneri Quartet Publisher An entity responsible for making the resource available Binghamton University Libraries 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 Date A point or period of time associated with an event in the lifecycle of the resource 1967-1-4 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 Winter Series Recital Guarneri Quartet Recital Tape 1967-1-4.pdf https://omeka.binghamton.edu/omeka/files/original/6acdcefd96de033bc2608d118f6d7c1b.pdf a578831026ab82cca4c1ac04ffbc4ee8 PDF Text Text Beethoven nach (1819) chim on Guar String ne Quart Harpur Season - 66-67 Winter Series �Tue sd ay, Dece mb e r 13, 1966 8 : 15 p.m. Coll ege The ater L.v. BEETHOVEN QUARTET in C MAJOR, Op. 59, o. 3 Introduzione, Andante con mot o: Allegr o vivace Andante co n moto quasi All egr etto Me nue tto : Gr az ioso Allegr o Molto QUARTET in A MAJOR, Op. 18, o. 5 Allegr o Me nu etto Andant e Cant abil e Allegr o int e rmissi on QUARTET in B FLAT, Op . 130 I II III IV V VI Adagi o, ma no n troppo ; All egr o Pre sto - L'iste ss o te mpo Anda nt e con mot o, m a non troppo All a danz a tede s ca. All egro assai Cavatin a . Adagio molto exp r e ssi vo Finale; Grand Fugue ( Op. 133) A RECEPTION honoring the Quar tet will b held in th e Fa culty L ounge adjacent to the theater fo ll owing this ev ening 's r ecital . T he audience is most cordially invited to att end . �by William Klenz he third of the three quart ets dedi cated t o Count Rasou m osk y and first perfor med in his home was, l ike the others, written in 1806 . It was from the first considered t he m ost acce ssi bl e of the t hree . T he Allgemeine mus tka l i che Zeitung of 27 F ebru ar y 1807 repo rts: "Three new ve r y l ong and difficult Bee thov en qu artets . . . attract the attention of all connois seurs . They ar e profound and spl endidl y m ade, but not generall y com prehensibl e - w i t h t he exception of the third whi ch, f or its o r i gmality, m el ody, and harmonic fo r ce cannot fail t o impress eve r y cultivat ed am ateu r of musi c ." The opening i s yet another cl assi c i ntroducti on - "invocation" of a num inous or der which galvanizes the audi t o r ' s attention and l eads him into the r i tu all y designated t i m e space wher em the subs equent act i on is t o unfol d. Th e first movem ent pr oper is a sonat a m ove ment of the breadth and i nt ensit y we expect of Be ethoven at t hi s period . Likewise pres ent, i f not obvi ous, is the cha r act en sh c fastidiousness and economy . The compl etel y m co nspi cuous initial as cend m g half step of the Allegro becomes a ubiquitous gener atmg p rincipl e (bars 40-41 ; 5f; 65ff; 70-74 ; 86 - 87; 90 - 92 ; 104 - 109)(both endings - et pas i 11,) and fin all y gene r at es an entire chro mati c half st ep - s cale in the coda (bar 259-261). The Andante is a Lied for m devel ope d into a sonata b y the p r inciple of devel opm ent and r eturn . T he Menuetto ls at once " gr aci ous" (Grazioso) and smcere, even mten se . I t is, like the l ate M ozart quartet minuets , deepened by co nt r apuntal writing beneath the polish the r e li es a co mpl et el y devel oped stru ct ure. Also, the rh yt hmi c dyna mism transcend s t hat of the simpl y schem ati c dance fo rm . The l ast movem ent, Allegro molto, is a sonat a f orm 111 whi ch the m at er ial is initiall y presented in a regul ar and ext ensive fugal exposition . Like t he Final e of M oz art' s Jupiter Sym phony and other f ugal final es, this mo ve m ent i s to be tr aced to the bri lli ant Amen" chor uses of l ate Baroque chur ch music as given "Alleluia their final dynami c for ce by t he earl y 18th century eapolit an s . Thi s is clea r from the natu r e of the subject (conjunct motion) and t he •squ ar e" counter subje cts (e .g . ba r 210) and confirm ed in the coda by the appear ance of the typi cal four note motivv e (c .f. "Jupiter") in bar 391 , V .2 . In t hi s wo r k we see Beethoven carefull y studying hi s pr ede ce ssor s . We know t hat Bee thoven copi ed out the Finale of M ozart' s Quartet in A Major K . 464, obviousl y fo r stud y and B eethoven' s qu artet also contains, like Mozar t's, a set of variati ons as i ts s l ow movem ent. I t is probably the fi nest movement of the qu artet and is the first of the variation works found i n the quartets - the va n ah on fo rm 111 whi ch so much of t he weightiest wr i ting of the l at er quar t ets wil l be cast. The Quartet in B Fla t , Op. 130 is on e of t he t hre e works under t aken fo r Prince i chol as von Galitzin . The series begins with �127 in 1823-24, followed by Op. 132 in 1825 and Op. 130 in 1826. (The see ming cont r adiction in order is the result of the o rd er of publication.) With an unusually l arge nu mb er of movem ents, the work is co mplex, varied and extensive. In the original version, performed this evening, the work ended with a titanic fugue. At the first performance, 1826, the second and fourth movements had to be repeated whereas t he final fugue, which is of transcendent difficulty for both player and listener, was felt to be without effect. F or this, and practical r easons suggested by the publisher (with an eye to sales!), Beethoven supplied in November, 1826 a new finale which was his last completed co mposition. The "Grand Fugue" was published, and is often played, separately as Op. 133 with a dedication to Ar chduke Rud olph. The first movement is a sonata form which begins with a s low introduction before its brilliant principal theme. The movement is co m plicated by a number of reappearances of the introductory material at crucial moments in the form, e.g. the beginning of th e development and of the coda . This most unusual procedure may at first disturb the listener's formal accounting, but in r eality it is a powerful unifying factor imposing both order and moments of respite-variety upon the somewhat intractable materials of the s onata proper. The multipl icity of movements is occasioned by Beethoven's use of two Sch rzi, one in binary meter, one in ternary meter, movements 11 and IV . The inclusion of the second may have been due to its pre-existence . Intended originally for the A Minor quartet, Op. 127, wher e it was to have been in A Major, it is labelled "Alla danza ledesca" ("like a German dance"). Its popular el ements ar e we l come in the rarefied, intense atmosphere of the rest of the work. Another possible reason for its removal to this quartet where it appea rs in the key of G is that this key permits the us e of the hurdy - gurdy drone-like "open" D string in the waltz -like passages of the first violin in the trio . The third movement, Andante, is, in the classic Viennese traditi on, the r esult of the appli cation of the principles of Sonata deve lopment and variation to lyri c (rather than theat ri cal) ma terials. The r esulting ri chness, variety and fantasy of design e lements and texture are nowhere surpassed even by Beethoven himself. The Cavatina, V, is as its name implies, a direct l yric utterance of simple form without extensive development. It is of t he exalted , sublime exp ressi on accessible only to the greatest masters . The Fugu e -finale is according to Beethoven's own superscription "now free, now strict," and resembles no other then existing work. Its form: I. Introduction ("Overtura") a stark exposition of its "Euclidian" or perhaps better "Cartesian" kernel-theme, whi ch incidentall y bears not a little resemblance to the corematerials of both Op. 131 and 132 . Also presented ar e fragments of a second fugu e theme. TI. First Fugue (st ri ct , subject in wide, jagged inte rvals ac companied by kerne l-theme) followed by three variations or (free) Op. (Continued on back page) �State University of New York at Binghamton HARPUR COLLEGE The Department of Music presents THE GUARNERI STRING QUARTET (in residence) Arnold Steinhardt vio lin John Dalley vio lin Michael Tree iola Dav id So er ce llo RECITALS O SEASO N 1 966-67 SUMMER SE RIES Sunday, Sunday, Sunday, Sunday , Sunday, Sunday, W INTER SERIE S S PRIN G SERIES July 10 Sunday, November 6 Sunday , Ma r ch 12 July 24 Tuesday, December 13 Saturday, March 18 August 7 Wednesday, January 4 Sunday, Apr il 2 August 14 Wednesday , January 11 Sunday , April 30 September 11 Sunday, February 12 Sa turday , May 6 October 9 All performances at 8:15 p.m. in the Harpur College Theater. r_ Late com ers will be s eated after the firs t quarte t . Ushering courtesy of Alpha Phi Omega a nd Gamma Sigma Sigma . T he Quartet wi ll hold an open rehearsal tomorrow , Dec. 14th at 12:00 noon NOTES (continu ed) deve lopments: a. Triplets; b. Eighths and sixteenths; c . Subj ect (wide intervals modifi ed by triplets). Ill. Second Fugue (st ri ct, subject fl owing sixteenths with kerne l-the me) fo llowed by the va ri ations or (f r ee) de velopments: a. Al leg r o, ff, kernel-the me; b. Ke rnel-the me augmented and subject inve rt ed; c . Subject diminished, mod ulation. IV . Threefold development of the tw o fugues, r e minis cences and development of preceding sections. V. 1. Repetition of first vari ation of the se cond fugu e. 2. Furthe r development of second fugue. VI. Coda 1. Kernel-the me ff, massi ve, unison. 2. Subject of second fugue, (transformation by trills) . 3. Recapitul ation of first subject (wide inte r vals v . 1} with ke rn el -the me in aug me nta ti on (v. 2, 'cello) and cha r acte risti c rh ythm (in vi ola) . 4. Brilliant, r esonant statement of simple st ele me nts of the subje ct. A tow ering edifi ce indeed, nor is its access easy, or gained at the first attempt! Program design by William Mihalko Copyright 1966. by William 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 4 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 22:46 33:47 23:29 30:38 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54688">Winter Series Recital 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 Winter Series Recital Guarneri Quartet, December 13, 1966 Recital Tape 1966-12-13 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works of Beethoven. Creator An entity primarily responsible for making the resource Guarneri Quartet Publisher An entity responsible for making the resource available Binghamton University Libraries 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 Date A point or period of time associated with an event in the lifecycle of the resource 1966-12-13 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 Winter Series Recital Guarneri Quartet Recital Tape 1966-12-13.pdf https://omeka.binghamton.edu/omeka/files/original/422e84d5b50f03a9bba4378d96af66ab.pdf d20866168bf534a1515b2668b7932ffb PDF Text Text Winter Series - First Recital Sunday, oven,ber 14, 1965 PROGRAM STRING QUARTET in D Major, Op. 20 #4 HAYD Allegro di molto Un poco adagio affettuoso M enuetto. All egretto alla zingarese Presto scherzando STRI G QUARTET #11 KIRCH ER Alle gro ma non troppo Ad agio Divertim ento and Trio Adagio INT ERMISSIO QUARTET in A Minor Op . 51, No. 2 Allegro non troppo Andante moderato Quasi Minuetto, moderato Allegretto vivace Finale. 1965-66 All egro non assai BRAHMS �NOTES by Patricia Isham ■ H aydn' s s ix Op . 20 qua rtets ma rk a turn ing point in his chambe r mus i c. He r e hi s o wn pe rsonal style begins to take s hape with a bala nced mixture of polyphoni c and hom ophoni c t exture s . Op. 20 #4 opens with a r e ite r at ed three -not e figur e whi ch fo rms the basi c motive of thi s monothe ma ti c s onata fo rm movement. Haydn also introduces a fals e r ecapitulation, a n identifying devi ce of his late r s onata-form move ment s . The second m ove m e nt is in the me and va ri ation fo rm, the first variation being devote d to an o rna m e nted dialogue between s econd violin a nd vi ola, the s econd t o embellishme nts by the ce llo, the third t o triplet orname nta tion by the first violin , and the fourth t o an exten s ion of the them e through syncopation a nd o rna m e ntation in all the voi ces. The Menue tto, alla zingar es e , i s cha r act e r ized by a two -beat me lodi c patte r n whi chi sfitt edinto the triple met e r through skillful syncopa tions a nd a cce nts on eve r y s econd beat. The fourth movement r eturns t o s onata -allegr o fo rm prese nting contra sting theme s , the fir s t a peas a nt-like dance figure, the second m a r ch-like in characte r , and i ntroducing still a nothe r them e in the development sec tion. The four string instrume nts pa rtake a lmost equally of m elodi c m at e rial and e nte r into contrapuntal inte rplay i n a ll m ove ment s. se ve r a l wo r ks for vi olin and piano, a piano t r io, and a s econd qua r tet. His st yle is cha r acte rize d by chromaticism , s et within a fr a mewo rk of s wiftly cha nging moods and rh ythmic pat terns . He us e s the m ode rn idio matic s t r ing device s fr eque ntl y em ployed by Bartok, Be r g, a nd othe r s, su ch as snapped pi zzi cati , po r tam e nti, colle gno, and a ll t ypes of gli ssandi, but has expe ri me nted onl y s li ghtl y with the 12 -tone r ow. T he fou r m ovement s of the qua r tet are fu r t he r di vided into seven sections , a lt e r nating in te mpi , fo r t he opening a llegro is inter r upted by an andant e whi ch anti c ipate s the mat e ri a l of the a dagio, and the fina l adagi o conclude s with an a lle gr o . In Aaron Copland' s r e vie w of this wo r k, he write s that Ki r chne r ha s "a c r ea tive ur ge s o vital as to burst a ll bonds of o r dina r y control. It is the 'out- of-c ont r ol ' quality t hat give s an y o ne of his wo r ks e no r m ous excitement. To date it would see m t o me t hat that is his pr in cipa l claim to origi nality; the da r ingly fr e e stru ctural or ga ni zati on of his com po sitions .n And furt he r "the impr essi on ca rri ed a way fr om a Kir chne r pe r fo r mance is one of ha ving mad e co ntact not me r e ly with a compos e r but with a highl y s e nti e nt human be ing; of a ma n who c r eates his musi c out of the spec ial climate of toda y' s uns ettl ed wo rld ." ■ Leon Kirchne r ' s First String Qua r tet , dedicated to Roge r Se ssions , was written i n 1949 a nd first pe r fo rmed in 1950. Kirchne r , bor n in 1919 in Brookl yn, s tudied mainl y at the Unive rsit y of Califor nia, Be rkeley, unde r Elkus, Se ssions , Bloch, a nd Schonbe r g, a nd afte r completing his MA degr ee i n 1947, he ente r ed the tea ching profession . He has b een the r ecipie nt of s eve r a l gr ants, including a Guggenheim F ellowship , an a war d fr om t he Nationa l Institute of Art s and Lette rs , a nd a Fromm F oundation commission . His c hamb e r works include, be sides the qua r tet, ■ In 1873 at t he age of fort y Bra hms com pos ed the fir st t wo of his t hree existing s tri ng qua r tets, afte r des troying ove r two do zen pr evi ous attempts . He had bee n inhi bit ed in t he writ ing of string qua r tets and s ymphonie s by the gr e at pr e cede nts found in the wo rks of Beethove n. The Quart et in A Mino r had been intended fo r his fr iend, the violi ni st J oseph J oachim, and included s ev e r al devices that we r e meaningful only to t he t wo of them . As a student J oa chim had chos en t he motto F r e i aber Einsam (fr e e but (Continued) �State University of New York at Binghamton, HARPUR COLLEGE The Department of Music presents THE GUARNERI STRING QUARTET (in residence) Arnold Steinhardt violin Mi chae l Tre e viola John Dalley violin Dav id Saye r cell o RECITALS O SE A SO N 1965-66 SUMMER SERIES WINTER SERIES SPRING SERIES Sunday, August 1 Sunday, August 8 Sunday, August 15 Sunday, August 22 Sunday, Octob er 10 Sunday, No ve mb er 14 Sunday, Decemb er 5 Sunday, January 2 Sunday, January 9 Sunda y, February 13 Monda y, March 28 Sunda y, April 3 Sunday, April 10 All performan ces at 8:15 p.m . in th e Harpur Coll ege Th eater. Late com er s will be s eated after the first quartet. Ush erin g co urtes y of Al pha Phi Omega OPEN REHEARSALS The publi c is cordially in vi ted to att end th e qu artet's rehea rs als, held the day prior to each recital, at 3 p.m., in th e musi c room (CA-183) nea r th e th eat er. NOTES Continued a l one) - FAE - for hi mse lf whi le Brahms had se lected F rei ab er Froh (fr e e but happ y) -- F A F . Thus in r e m emb r an ce of thei r friends hip Brahms constructed the them e of t he fir st mo vement out of t hese two mottos , using t he notes f a e andininve r si onfaf, i. e . a f a , thus a rriving at t he notes a fa e . T he ir co mmon inte r est in writing canons was also r efl ecte d i n t he va r ious types of canons whi ch appear thr oughout this wo rk, as fo r e xamp le, t he mir r or canon in the coda of the fi r s t m ovement and the canon near the end of the fourth m ove me nt. A s li ght mi s unde rstanding be t wee n the fri ends later led Brahms to change the ded icati on befo r e pub l ication to a Dr. Bi ll r oth. Ident ifyi ng cha ra cte risti cs of Bra hrn ' s s t yle ca n be r e cognized in this wo rk in hi s use of com pl ex rhythms , su ch a s the two notes played aga ins t thr ee in the first move me nt , the cha ngi ng m etri ca l s che m es in the third move ment, and the num e r ous exa m ple s of syncopati on, a nd in his fr eque nt pa iri ng of voi ces i n pa r al le l thirds and sixths . Cover Des ign by El ai ne Luc as � 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.) 32:39:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54348">Winter Series Recital 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.) FacingCover 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 Winter Series Recital Guarneri Quartet Recital Tape 1965-11-14 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works of Hayden, Kirchner and Brahms. Creator An entity primarily responsible for making the resource Guarneri Quartet Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Haydn, Joseph, 1732-1809 Brahms, Johannes, 1833-1897 State University of New York at Binghamton. Department of Music Date A point or period of time associated with an event in the lifecycle of the resource 1965-11-14 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 Winter Series Recital Guarneri Quartet Recital Tape 1965-11-14.pdf https://omeka.binghamton.edu/omeka/files/original/543647be4fb5f2f424db43856807f445.pdf 855fc2782a210d3edb6c94870aed5e82 PDF Text Text BINGHAMTON UNIVERSES? State University of New York ’ 1 D 2 E P A R T M W INTER CONCERT \N L V — with Women ’s C ho rus K ristina R uﬀo, cond uctor Assisted by Jody Schum. piano and Mary Schappert. harp Harpur Chorale Peter Browne. cond uctor Saturday, March 17, 2007 8:00 p.m. Anderson Center ( ‘hamber Hall E N T �PROGRAM TRANSLATIONS I. I. Women ’s Chorus Kristina Ruﬀo, conductor Jody Schum, piano Oddi Ol lpe p i m i cmsi nd ia i l is i : r i s Odi Odi “Untold millions of people run and run. constantly seeking, grow desperate and die looking for the light that is within them.” .. Tamil Song A rr by Stephen Hatﬁeld 1 Herbstlied (Aut u m n Song) Oh. how soon the c ycle ends, Spring turns into wintertime! Oh how soon all happiness Turns to sad silence! .. T raditional Celtic “Am. by David Fanshawe C H E D I E The last sounds soon fade! The last songbirds are soon ﬂown! The last green is soon gone! They all want to return home! Felix Mendelssohn Hetbstlicd (18091847) Choral Hymns from the Riglula Group l l l : For Women ’s Voices & Harp Oh. how soon the c ycle ends, Merriness turns to longing sorrow. . Gustav Holst (l874 l 934) Were you a dream, you thoughts o f love? Sweet as spring and fast disappearing? Only one thing will never wane : l. Hymn to the Dawn 2. Hymn to the Waters 3. Hymn to the Vena (The Sun Rising Through the Mist) 4. Hymn to the Travellers Las Amallllas The longing that never goes. Ah, how soon the c ycle ends! Oh how soon all happiness Turns to sad silence! Las Amarillas The yellow calandras ﬂy from the cactus No longer w ill the cardinals sing happily To the song na na To the song na no Traditional Mexican Stephen Hatﬁeld WINTERMISSIONOS } Because the tress on the hillside have not come back to li fe For that the calandras will either sing or crush their nests. You are small and beautiful and l love you just the way you are You are like a little rose from the coast of Guerrero Everybody has their own farewell, but there’s non like this one F our t imes ﬁ v e i s t went y, three t imes se v en 1s t went y one. �11. H a rp u r Chorale Peter Browne. conductor Now é T e m p o . . . aiviinelaitaie a Fugitiva Mia Speranza Translations i i . Marco C orl (d.c. 1530) Non 6 Tempo There’s no time for idle waiting. Sixth Evening Service l. Magniﬁcat Thomas Weelkes (15761623) Jaclyn Hochreiter, Lynsey Zuar. A llison Metcal fe; sopranos Sophie Nusinov, Corinne l’aull and Jennifer Paull; altos Alexander Blitstein. tenor; Adam Hess, bass ll. Nunc Dimittis Rachel Newby, Emily Creo, Sophie Nusinov; altos The BIuebird...........cowiviiamessisinse n i a : Charles Villiers Stanford ( l852 1924) . A rthur Sullivan (1842 l 900) Echoes Cantique de Jean Racine........................ecccosureeeunnene... Gabriel Fauré (18451924) DUMCIUE i s riniprvsssrasirmionsisssiersiissastpasisasessnasseserarty Fauré from Requiem Eliazabeth Sterling, violin Hamba LuLu. Oh What a Beautiful City ZuL u Wedding Song arr. by Mike Brewer Spiritual arr. by Jeﬀrey Webb Whether calm or stormy weather, See the moment as it happens B e l l rising or abating. Fugiti va M ia Spera nza Hope, you cannot escape me ever. Though you may think you are leaving ; You’ll remain with me with no more grieving, Feters so strong you cannot sever. I know full well all your displeasure In my unhappy condition. Secking a far richer treasure Is your heart ’s ultimate mission; I shall not heed your petition. Cantique de J ea n Racine Word equal to the most high, our sole hope, eternal day of the earth and heavens, o f the peaceful night. we break the silence. Divine Saviour, cast your eyes on us! Shed on us the ﬁre o f your powerful grace, so that all hell ﬂees at the sound of your voice, disperse the sleep o f languishing soul that drives it to forget your laws! O Christ be favorable to this faithful people now gathered together to bless you. Receive the songs that they oﬀer to your immortal glory that they may ret urn in total joy. Sanctus Holy, Holy, Holy Lord God of Hosts. Heaven and earth are full of thy glory. Hosanna in the highest. Hamba L ulu Go Lulu, listen to all the things they are telling you. �Woman ’s Chorus ABOUT T H E PERFORMERS ? Women ’s Chorus Sop rano I K R I S T IN A RUFFO 1s a graduate choral conducting student at Binghamton Universit y. She received her BA from Ithaca College in Music Education. This is her second semester conducting the Women’s Chorus and is very proud of their success as an ensemble. She is a member of the University Chorus, and also teaches a sight singing class to help students improve in their reading abilities and conﬁdence in singing. She is also involved in an African Drumming class with Professor James Burns. She was awarded the Keeler Scholarship this year that has helped her continue with her education. During the day, she teaches fulltime at the Maine Endwell High School and is director of the Mixed Chorus, Madrigal Choir, and Quartet, as well as teaching a theory course. Kristina resides in Binghamton, NY with her husband and is looking forward to a successful semester with the Women ’s Chorus. > Sop rano II Boccuzzi, Dina Bose, Anjuli Choi, Esther EspinosaThomas, Eliza Haigney, Stephanie Hassfurter, Katherine Havener, Crista Indovino, Shaina Manukian, Denise J O D Y S C H U M is a versatile pianist, organist and vocal coach originally from Windsor, NY. Currently on faculty at SUN Y Cortland and Binghamton University, he also is resident pianist with Tri Cities Opera in Binghamton, NY. Mr. Schum has performed with the Binghamton University Symphony Orchestra, TriCities Opera and on numerous solo and collaborative recitals at Bi ngha m ton Uni versit y. Murphy, Maria Pouchic, Priscilla Press, Amanda Wallach, Jaclyn Welby, Kate H is most recent engagement was performing and studying on fellowship with the International Institute of Vocal A rts in Chiari, Italy last summer. Upcoming engagements include a sacred music concert with soprano Julia Ebner and a recital with baritone Timothy LeFebvre at Elebash Recital Hall in New York City. Mr. Schum is Music Director at the First United Methodist Church of Endicott, N Y. Cheng, Hiu Nam Wien Cohen, Rebecca Epstein, Jodi Haines, Alex Karp, Jillian Kucera, Jana Liebowitz, Liann Rabideau, Erin Sones, Melissa Winnett, Desiree q Alto I Bass, Desiree Colah, Perin Groteke, Laura Maughan, Carly Navarette, Katherine Weiss, Elisa Alto l l Barbanell, Danielle Blake, Daron Caruso, Alicia Courage, Katherine Golden, Sarah Wong, Randall �Translatio ns Non é Tempo There’s no time for idle waiting, Whether calm or stormy weather, See the moment as it happens Be it rising or abating. Fugitiva Mia S pera nza Hope, you cannot escape me e ver, Though you may think you are leaving; You’ll remain with me with no more grieving, Feters so strong you cannot se ver. I know full wel l all your displeasure p ln my unhappy condition. Seeking a far richer treasure I s your heart ’s ultimate miss ion; l shall not heed your petition. Cantique de J ea n Racine Word equal to the most high, our sole hope, cternal day of the earth and heavens, of the peaceful night, we break the silence. Divine Saviour, cast your eyes on us! Shed on us the ﬁre of your powerful grace, so that all hel l ﬂees at the so und of your vo ice, disperse the sleep of a languishing soul that d rives it to forget your laws! O Christ be favorable to this faithful people now gathe red together to bless you. Receive the so ngs that they oﬀer to your i m mortal glory th at t hey ma y ret urn in total joy . Sanctus Holy, Holy, Holy Lord God of Hosts. Heaven and carth are full ot ’thy glory. Hosanna in the highest. Halnba Lulu Go Lulu, listen to all the thing s they are telling you. 1 l � 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 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 57:42:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196779">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196779</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.) Single 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 Winter concert, March 17, 2007 Recital Tape 3-17b-2007 Description An account of the resource Held at 8:00 p.m., March 17, 2007, Anderson Center Chamber Hall. Program includes translations of songs. Creator An entity primarily responsible for making the resource Ruffo, Kristina Schum, Jody Schappert, Mary Browne, Peter 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 2007-03-17 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 1bed6357-120f-4679-8d17-771a59780940