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                    <text>STATE UNIVERSITY OF NEW YORK AT BINGHAMTON
HARPUR COLLEGE
THE DEPARTMENT OF MUSIC

THE LENOX STRING QUARTET
in residence
Peter M arsh, vio lin
D elmar Pettys, violin, viola

Monday, May 11, 1970

Paul H ersh, viola, piano
Donald M cCall, cello

8:15 p.m.

Don A. Watters Theater

PROGRA M

Quartet in F Major, opus 18 No. 1

Beethoven

Allegro con brio
Adagio (Affettuoso ed appassionato)
Scherzo (Allegro nolto)
Allegro

Quartet No. 2 (premiere performance)

Calabro

Lento assai
Adagio
Allegro

Intermission
Quartet No. 1, opus 7 (1907)

Bart6k

Lento
Allegretto
Allegro vivace

over

�PROGRAM NOTES

LOUIS CALABRO
Born Nov. 1, 1926, Brooklyn, N. Y.
U. S. Paratroups 1944-46
Juilliard School of Music 1948-53
Taught Bennington College since 1955
Prizes:
Richard Rodgers Scholarship in Composition 1953 (first recipient)
Alice Ditson Award for Chamber Music 1953
Guggenheim Fellowships: 1954 and again in 1959
Commissions:
Jacksonville Symphony (First Symphony)
Philadelphia Art Alliance (for choral work, Rain Has Fallen)
Music In Our Time (Violin Sonata)
Walter Trampler (Viola Sonata)
Harpur College (Second String Quartet)
Works include all areas of chamber, choral and symphonic works.

Latest Work:
An oratorio for chorus and orchestra, "Latitude 15. 09°N (Longitude
108.5° E)" - to be premiered May 24, 1970, at the Mount Anthony
High School in Bennington
Recent Performance:
The premiere of "Environments," for solo clarinet and brass ensemble, on April 1, 1970, at Bennington College.
Tonight is the premiere of the Second String Quartet, by the Lenox String
Quartet, at Harpur College of the State University at Binghamton, N. Y.

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                    <text>STATE UNIVERSITY OF NEW YORK AT BINGHAMTON
HARPUR COLLEGE
THE DEPARTMENT OF MUSIC

THE LENOX STRING QUARTET
in residence
Peter Marsh, violin
Delmar Pettys, violin, viola
Sunday, November 2, 1969

Paul Hersh, viola, piano
Donald McCall, cello

8:15 p.m.

Don A. Watters Theater

PROGRAM
Quartet No. 12 in C Minor (Quartett-satz)
Sincronie (1964)

Schubert
Luciano Berlo

Intermission
Piano Quartet No. 1 in G Minor, Op. 25
Allegro
Intermezzo (Allegro, ma non troppo)
Andante con moto
Rondo alla Zingarese (Presto)

FUTURE EVENTS

Sunday, November 16, 8:16 p.m.
HARPUR COLLEGE WIND. ENSEMBLE
Sunday, November 23, 8:15 p.m.
JEAN CASADESUS, Solo Recital•
Friday, December 5, 8115 p.m.
THE LENOX STRING QUARTET*
*Chamber Music Series

Brahms

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                    <text>STATE  UNIVERSITY  OF  NEW  YORK  AT  BINGHAMTON
HARPUR  COLLEGE

THE  DEPARTMENT  OF  MUSIC

Presents

THE  LENOX  STRING  QUARTET
in residence

Peter  Marsh, violin 
Delmar Pettys, violin, viola 

Paul Hersh, viola, piano
Donald  McCall,  cello

and

THE  NEW  YORK  WOODWIND  QUINTET
in residence
Thomas  Nyfenger,  ﬂute 
David  Glazer, clarinet
Ronald Roseman, oboe 
Arthur Weisberg, bassoon
Ralph Froelich, French  horn

The Don  A.  Watters  Theater
Sunday,  September  28,  1969
8:15  p.m.

�PROGRAM  NOTES

PROGR AM

Quin te t  No. 8 i n A  minor, O p. 91, No. 2

Anton  Rciclia

QUINTET NO. 8 IN A MINOR, OP. 91,  no. 2 —Ant
  on  Reicha
Anton  Rcicha ( 1770­1836).  born  in  Prague.  can  add  to  his  name  as  a
composer  tha t  of  a  magniﬁcen t  theorist  a n d  pedagogue.  A t  both  Bonn  a n d
V ienna he  was intimate with Bee thoven and among his pupils numbered such

Adagio—Allegro  a ai

Andante

notable ﬁgures as Franz Lizt, Hector  Berlioz, Charles Gounod,  Cesar Franck.
The notable clarity of his mind is shown in his dextrous chamber­music and in
the  brilliance  of  his  theoretical  works,  through  some  of  his  doctrines  in  the

Min ue t
Finale—Allegro

la t te r  have  been  challenged.  Along  wi th  F ranz  Danzi  h e  pionee red  i n  the
developmen t of  the wi n d q uintet, having writ ten 36 works for th e combination

alone.
Jean  Francaix

Quatour
Allegro

Q U ATOUR — Jean  Francaix

Andante

Jean  F rancaix  born i n  L e  Mans i n  1912, in to a  family of  musicians, be­
came a gen uine child prodigy i n composition publishing his ﬁrst wo rk wh en h e
was  ten  years  old.  He studied  with  the  famous  Nadia  Boulanger,  where  he
displayed  an astonishing mastery and  facility i n all  branches of  music  theory.

Allegro  molto
Allegro  vivo

He is among the French composers of our time who have already secured their
uncontested  position  in  the  international  music  world.  His music  is  typically
F rench,  rich  in  piq uancy,  spirit  a n d  ch a rm  a n d  is invested  wi th  a  sparkling
technique  and  polish  along  with  an  un rivalled  sense  of  humor.

I nter missio n

Q
Qua r te t i n D  Ma jor, K . 575

Wolfgang Amadeus Mozart

Allegretto

Andante
Men uetto.  Allegretto

Allegretto

String  Qua r te t  No. 5

Allegro
Adagio  molto
Scherzo,  alla  bulgarese
Andante

Finale. Allegro  vivace

U A R T E T  I N D
   MA J OR, K . 575 — W .  A .  Moza r t

The Quartet in D  Ma jor of  Mozart  (K . 575 )  is one of  the projected set
of six  ( only three were written )  dedicated  to Frederick William  I I and there­
fore  known  as  the  “Berlin”  or  “King  of  Prussia”  quartets.  Th e King  was  a
’cellist which accounts for the importance given the cello in  their fabric. Char­
acterized  by  a  richness  and  beauty  of  sound  and  genial  melodic  inspiration
they  represent  the  balance  among  the  elements  of  spontaneity,  tradition  and
science  which  Mozart achieves in his latest works.

Copyright  William  Klenz
Bela  Bartok

QUARTET  NO. 5  Bartok
7 

Bartok’s Quartet No. 5, commissioned  by the Elizabeth Spraguc Coolidge
Foundation,  was  composed  between  August  6  and  September  6,  1934,  af ter
his  return  f rom  Turkey, where he  had  been  collecting folk  songs for  theHun­
ga rian  Academ y  of  Science.  I n  this  wo rk  a n d  the  preceding q uarte t  ( 1928 ) ,
Bartok’s style  changed  decidedly  f rom  the  more  dissonant  and  expressionistic
music of  the early twenties. He described his music as increasing in polyphonic
complexity a s  i t  became ha rmonically simpler, while folk elemen ts were totally

�integrated.  These  two  q uartets  ( Nos. 4  and  5 )  a re  constructed  i n  an  archi­

tectonic arch form, in which the ﬁrst and ﬁf th movements and the second and

fourth movemen ts reﬂect each other i n mood and thema tic material while the

third  movement,  in  each  case, is the  keystone  of  the  arch. Although  Quartet

No. 5  is no t diatonic i n a ny sense, each movemen t is centered a round a  tone,

the  ﬁrst and ﬁf th on  Bb,  the second, a  third  above  on  D, the fourth, a  third
below  on  G,  and  the  third  on  C # .  Unity is  achieved  not  only  through  the
arch structure and  the related  tone centers, but also through motivic relation­
ships  between  all  the  movements.  The  ﬁrst  movement,  in  a  type  of  sonata­
allegro  form,  opens  with  a  forceful  rhythmic  ﬁgure  which  combines  with  a
theme  based  on  a  chromatic  progression  opening  into  an  augmented  fourth
( tritone )  to  f o rm  the  ke rnel  mo tives  of  th e  ﬁrst  a n d  ﬁf th  movem en ts,  T h e

second  and  fourth  movements,  ternary  in  form,  run  closely  parallel ;  for
example,  trills  in  the  former  become  pizzicati  and glissandi in  the latter, and
plain  double  stops  become  tremolo,  The  interval  of  the  fourth  is  a  highly

im por tan t mo tive i n both cases. T h e thi rd movem en t stands as a sha rp con trast
to the slow movem en ts encompassing i t. I t  is wri t ten i n 9 / 8 time, bu t according

to its  designation—alla  bulgarese, in  Bulgarian rhythm—each measure is sub­
divided irregularly in groups of four, two, and three, The trio in 10/8, grouped
in  three, two, two, and  three, has a highly chromatic ostinato ﬁgure, ﬁrst run­
ning  through  the ﬁrst violin part and later taken up by the other instruments.
This movement demonstrates the complete integration of  the folk idiom in  the
composer’s own  personal style. A simple folk melody is introduced  in  the ﬁfth

movem en t  i n  a n   incongruous  se t ting  i n  a  short,  humorous,  polytonal  section

showing still  another  aspect  of  Bartok’s use of  folk  material.

Patricia Isham

A  reception  honoring  the  Quartet  and  Quintet  will  be  held  in  the
Green  Room  Lounge  immediately  following  the  concert.  The  audience  is

cordially  invited.

FUTURE  EVENTS
SUNDAY, OC TOBER 12, 8 : 15 p.m. 
Men’s  Gymnasium 

BUF FALO  PH I LHARMONIC  ORCHESTRA
Works by Ives, Kay and Copland

TUESDAY, OC TOBER 14, 8 : 15 p.m.  BUFFALO  PH ILHARMONIC  ORCHESTRA
Works by Stravinsky, Korte and Liebermann
Men’s  Gymnasium 

SUNDAY, OCTOBER  19,  8:15  p.m.  LENOX  STRING  QUARTET
MONDAY, OCTOBER  27, 8:15 p.m.  NEW  YORK  WOODWIND  QUINTET

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                    <text>STATE UNIVERSITY OF NEW YORKAT BINGHAMTON

Harpur College
Department of Music

LENOX QUARTET
with

guest artist

WALTER PONCE, piano

Summer Series
June 6, 1975 at 8:30 p.m.
University Union Social Room

�SUMMER SERIES
FOUR EVENINGS OF CHAMBER MUSIC

Delmar Pettys, Violin
Donald McCall, Cello
Walter Ponce, Piano
Trio Concert

JUNE 6

Trio Concert
Haydn Trio in G
Beethoven opus 70 no. 2
Brahms Trio in C major

Trio in G
Andante
Poco adagio. Cantible
Rondo all'ongarese

Franz Joseph Haydn

(guest artist Walter Ponce, piano)
JUNE 13

All Mozart Program

Trio Opus 70 no. 2
Ludwig van Beethoven
Poco sostenuto- Allegro ma non troppo
Allegretto
Allegretto, ma non troppo
Finale. Allegro

Quartet in G major, K. 387
Quartet in C major, K. 465
· -Quintet in G minor, K. 516
(with guest artist Judy Geist, viola)
JUNE 20

JUNE 27

Haydn Quartet opus 16 no. 4
Webern Five Pieces
opus 5
Schubert Quartet opus post.

D minor

Beethoven Quartet opus 132
Borodin Quartet no. 2 in D major

SERIES ADMISSION: $10 public, $3 students
SINGLE ADMISSION: $3 public, $1 students

INTERMISSION
Trio Opus 87
Allegro
Andante con moto
Scherzo. Presto- Poco meno Presto
Finale. Allegro giocoso

Johannes Brahms

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                    <text>STATE UNIVERSITY OF NEW YORK AT BINGHAM TON

Harpur College
Department of Music

LENOX QUARTET

with guest artist
Judy Geist, viola

Summer Series
June 13, 1975 at 8:30 p.m.
Univer sity Union Social Room

�Peter Marsh, violin
Delmar Pettys, violin

Toby Appel, viola
Donald McCall, cello

All Mozart Program
Quartet in G major, K. 387
Allegro vivace assai
Menuetto (Allegretto)
Andante cantabile
Molto Allegro

Wolfgang Amadeus Mozart

Quartet in C major, K. 465
Adagio
Andante cantabile
Menuetto
Allegro

Wolfgang Amadeus Mozart

INTERMISSION
Quintet in G minor, K. 516
Wolfgang Amadeus Mozart
Allegro
Menuetto
Adagio ma non troppo
Adagio
Allegro
Judy Geist, viola

�</text>
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                    <text>THESTATEUNIVERSITYOFNEWYORKATBI NGHAMTON
DEPARTMENT OF MUSIC

presents

THE LENOX STRING QUARTET
in residence

Peter Marsh,

violin

Delmar Pettys, violin

Toby Appel,

viola

Donald McCall, cello

Saturday, November 11, 1972
Recital Hall – 8:15 p.m.
Fine Arts Building

�Program Notes

All Beethoven Program

Tonight ’s Beethoven program has an unusual
feature.

Beethoven wrote Opus 130 between 1823
and 1826, the last years of his life, when he

was totally deaf.

In its original form, Opus 130

had as its ﬁnale The Grosse Fugue.

Quartet in A Major, Opus 18, No. 5

Beethoven

Allegro
Menuetto
Andante cantabile
Allegro

The Fugue,

considered unplayable by string players contem–
porary to Beethoven, was radical and incompre–

INTERMISSION

hensible to the audience at the ﬁ rs t performance.
Artaria, Beethoven ’s publisher, persuaded him to
write a new ﬁnale , which proved to be the last
work completed before his death.

It is of

felicitous character, entirely diﬀerent from the
heroic feeling and proportions of The Fugue. The
Fugue was later published as Opus 133, a separate
work. As you will notice, tonight ’s program
juxtaposes both ﬁnales of Opus 130.

Quartet in BP Major, Opus 130

Beethoven

Adagio, ma non troppo – Allegro
Presto
Andante con moto, ma non troppo

Allegro assai (Alla danza tedesca)
Cavatina
(Adagio molto espressivo)
Allegro
Quartet in BP Major, Opus 133

Beethoven

“The Grosse Fuge”
Overtura
Fuga (Allegro)
Meno mosso e moderato
Allegro molto e con brio

The next concert in the Chamber series will be
presented by Toby Appel, violist, and Walter Ponce,
pianist, Wednesday, December 13, 1972 at 8:15 p.m. in
the Don A. Watters Theater.

�</text>
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                    <text>THE STATE UNIVERSITY OF NEW YORK AT BINGHAMTON

DEPARTMENT OF MUSIC
presents

THE LENOX STRING QUARTET
i n res idence
Peter Marsh,

v io l in

Delmar Pe t tys , v io l i n

Toby Appe l ,

v io la

Dona ld McCa l l ,

c e l lo

Wednesday, October 25 , 1 9 72
Don A . Watters Theater – 8 : 1 5 p . m .

�P rogra m

Quar te t i n C Ma jor , Opus 33, No . 3

Haydn

“The Bird”
A l le g ro moderato
(A l le g re t to)
Scherzo
Ada g io
(P res to)
Rondo

Ezra Laderman

(1969)

Quartet No. 3

(Composer i n res idence)

In Four Movements

INTERMISSION

Quartet i n C Minor , Opus 5 1 , N o . l

Brahms

A l le g ro
Romanze (Poco adag io)
A l le g re t to mo l to moderato e comodo
A l le g ro

The Un i ve rs i t y Orches t ra conduc ted by A l f red Mor r is ,
w i t h gues t a r t is t Seymour Fink , p ian is t , w i l l presen t
the next concert November 3, 1 9 72 a t 8 : 1 5 p . m . i n the
Watters Thea te r . The Lenox Quar te t w i l l present the
nex t concert i n th is Chamber Se r ies Sa t ur day , Novem–
ber 1 1 , 1 9 7 2 .

�</text>
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