127
10
1775
-
https://omeka.binghamton.edu/omeka/files/original/57d2c735b0d4ed516bef629d20d4cdcd.pdf
87de237e952e15716dbd4c262a7199a3
PDF Text
Text
s.u.n.y. at binghamton
dept. of music presents
the harpur college
choir
men's glee club
women's chorus
Sunday, may_27, 1967
harpur theater
8:15 p. m .
the
ways of
love
�program
the ways ofvloe
the
anguish
of love
A tonio Lo tti
piange l'amante ucciso
English Text
Italian Text
Ucciso
Piange L'Amante
lalorieradelSol,
L'Alba ve rmiglia;
E'un avida Conch iglia,
le lagrime ,accoglie,
onde ne forma
candida perla e vaga,
Di cui n'ornano i Regi
le corone regali e pretiose
Di cui cingon'il collo
le Donzelle Vezzose:
Ed'io riflenointan lo
Ch'anch'il fasto mor!al,
nasce dal pianto.
Weeping, a lover languished,
As by first kiss of Sun,
Sky was awakened.
But see, his tears so shining
those tokens of his sorrow,
by love are changed
into a fountain of pearls;
such rare jewels oft are chosen
bya king to adorn his royal diadem,
Or to encircle the neck of
noble maidens delightful.
And musing I thus reflected
All the pomp of mankind
is born of mournir>g.
Ellen Leinwand, Harpsichord
youth
in love
Bela Bartók
love song
romantic lovve
Johannes Brahms
new songs of love
Soloisls, in order of appearance
Carolyn Kimble, Soprono
Alice Hayes, Mezzo Soprano
Ann Grant, Soprano
Alida Stahl, Soprano
Alon Katz, Tenor
Harpur College Choir
David Buttolph,
Conductor
Ellen Leinwand, Donna Hallen, Accompan ists
Intermission
�Gabriel Faure
messe basse
Kyrie Eleison
Alida Stahl, Soloist
Sanctus
Benedictus
Agnus Dei
Women's Chorus and Women of the Choir
James Baldwin* Conductor
Donna Hallen, Accompanist
Randall Thompson
the testament of freedom
A Setting of Four Passages from the writings of
Thomas Jefferson
I. A Summary View of the Rights of British America (1774)
and necessity oftaking up arms
II. Declaration of causes
lll.(July6,l775)
IV. Letter to John Adams, Monticello (September 12, 1821)
Harpur College Glee
Club
Dennis Williams, Conductor
Donna Hallen, Accompanist
�The God who gave us life gave us liberty at rhe same time; the
I.
■
hand of force may destroy but cannot disjoin them.
II . We have counted the cost of this contest, and find nothing so
■
d readful as voluntary slavery. Honor, justice, and humanity forbi d us
tamely to surrende r that freedom which we received from our gallant
ancesto rs, and which our innocent poste rity have a right to receive from
us. We cannot end ure the infamy and gui lt of resigning succeeding gene rations to that wretchedness which inevitably awaits them if we basely
ent ail hereditary bondage upon them.
Our cause is just. Our union is perfect. Our internal resources are
great ... We gratefu lly acknowledge, as signal instances of the Divine
favor reward us, that His Providence would not permit us to be called into
this severe controversy until we were grown up to our present strength,
had been previously exercised in warlike operation, and possessed of the
means of defending ou rselves. With hearts fortified with these animating
reflections, we most solemnly before God and the world, declare that,
exerting the utmost energy of those powers which ou r beneficent Creator
hath graciously bestowed upon us, the arms we have been compelled by
ou r enemies to assume we wi l l, in defiance of every hazard, with unabating firmness and perservance, employ for the preservation of our liberties;
being with one mi nd reso!ved to die freemen rather than to live slaves.
Ill. We fight not fo r g lory o r for conquest. We exhibit to mankind the
■
remarkable spectacle of a people attacked by unprovoked enemies, without any imputation or even suspicion of offense. They boast of their
privileges and civilization, and yet proffer no milder conditions rhan
servitude or death.
In our native land, in defense of the freedom that is our birthright
and which we ever enjoyed ti l l the late violation of it; for the prorecrion of
our property, acqui red solely by the honest industry of our forefa1hers and
ourselves; against violence actually offered; we have taken up arms. We
sha l l lay them down when hostilities shall cease on the parr of the aggressors and all danger of their being renewed shall be removed, and not
before.
IV. J shall not die without a hope that light and liberty are on steady
■
advance ... A nd even should the cloud of barbarism and despotism again
obscure the science and liberties of Europe, this coun lry remains to pre.. The flames k indled on
serve and restore light and libert y to them
the 4th of Jul y, 1776, have spread over too much of the globe to be extinguis hed by the feeble engines of despotism; on rhe contrary, they will
consume these engines and all who work them .
The God who gave us life gave us liberty at the same time; the
hand of force may destroy but cannot disjoin them.
�Johannes Brohms-Liebeslieder Waltzes
■
Ahhough vocal quartets accompanied by piano (two o r four hands)
are a rather exotic experience for modern concert audiences, they are
almost common in the last century as string quartets. The sentiments of the
various texts are not pecu l ia r lo any one country, but are generalized and
traditional observa tions on the theme of love. The words are decidedly
less important than the music as indicated by the statement in the original
edition that the vocal parts were "ad libitum" and could be omitted. To
omit the voices, of course, would be to lose half the sheer joy and fun .
All fifteen numbers show Brahms in his most genial Vienese vein. Despite
the unbroken waltz rh ythm, the music is never monotonous. Frequent
changes of mood as well as vocal mediums p rovides the opus with variety
and order.
Antonio Lolti--Piange l'Amante Ucciso
■
A ntonio Lolli, a baroque Venetian vocal composer, contributed greatly
to the musical realms of both sacred and secu lar music. Du r ing the first
part of hi s life he held the position of chu rch organist which required him
to compose the music necessary for church services. After relinqu ishi ng
this position, Lotti began to compose secular music. It is through his seventeen operas that he won musical fame throug hout Europe. " Piange
l'Amante Ucciso" is from this period. We see in this work a last represen tation of the old severe school combining a largely chromat ic harmony
in adherence with the Baroque doctrine of affects, with a smooth and flowing con trapunt al style.
Gabriel Foure- Messe Basse
■
It is often said that Faure's music is the embodiment in sound of
French civilization al is most fastidious. The " Messe-basse" and ea r ly
choral work, greatly supports this statement. What the listener finds here
is a melodic gift of long sinous and supple phrases shaped by an unobtrusive chormatic harmony. One feels as if Faure is wandering through
a maze of harmonies while never losing what may romantically be descr ibed as " pure and eloquent" beauty.
Belo Bartók--Love Song fro m 4 Hungar ian Folksongs
■
One of Bartok's most significant contr ibutions l ies in h is sellings of
folk music. It is here that Bartok is able to fuse the national folk elements ,
both rh ythmic and harmonic, with h ighly developed techn iques of art
music. This particular fol k song from Hungary maintains a cho rd al homophonic structure as well as a subtle irregular meter and offbeat accents.
The particular ethnic character combined with a universal sense of g aiety,
provides the listener with an exuberant aff irmation of love and life.
(Program notes by Ellen Leinwand)
�COLLEGE CHOIR
SOPRANOS
ALTOS
Candace Bergan
Judith Ellerman
Ann Grant
Alice Hayes
Carolyn Kimble
Alida Stahl
Carol Anthony
Susan Jurk owski
Cheryl Kindt
Chrystyna Pry lula
Elizabeth Demsky
Elaine Dukot
Mary Brock
Jeanne Cook
Jean Elison
Margaret Haller
Ch r istine Livingstone
Saly Baron
Linda Fishkin
Jayne Kaplan
Margaret Jackson
Susan Genis
Helen Hirsh
WOMEN'S CHORUS
Linda Holgers
Deborah Huffman
Millie James
Nancy Master
TENORS
William Ahroon
Frederick Forman
Alan Katz
Craig O'Neill
Jon Paul Robbins
James Van Ha rt
MEN'S GLEE CLUB
BASSES
Paul Darnell
Steven Millheise r
Alan Sande rs
Harry Waisblatt
TENORS AND BASSES
William Ahroon
lee Connor
Ben Erlitz
Terry Howell
Alan Katz
Jim Baldwin
David Crowe
Stephen Foulk
Keith Wi l lcox
Linda Rosen
Linda Stiles
Cher ie Vick
Diane Winters
BARITONES
Thomas Baynes
Clemente D'Alessio
Domine Defazio
Edward Marion
Irvin Schwartz
Thomas Strain
�
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1960's - present
Title
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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. <br /><br />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.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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27:21
32:41
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Title
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Harpur College Choir Recital, May 27, 1967
Subject
The topic of the resource
Concerts
Description
An account of the resource
Works of Lotti, Bartók, Brahms, Thompson.
Creator
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Harpur College Choir
Publisher
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Binghamton University Libraries
Date
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1967-05-27
Rights
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Contributor
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Lotti, Antonio, -1740
Bartók, Béla, 1881-1945
Brahms, Johannes, 1833-1897
Thompson, Randall
State University of New York at Binghamton. Department of Music.
Type
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sound
Identifier
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Harpur College Choir Recital 1967-05-27.pdf
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https://omeka.binghamton.edu/omeka/files/original/bd94756bda37a903e3dac774a44e18dc.pdf
e55d35103934976b605e656f312dd87e
PDF Text
Text
State Univers ity of New York at Binghamton
Harpur College
The De partment of M usic
Presents
THE HARPUR ORCHESTRA
David Buttolph , Conductor
Robert Mos ley, Guest So lois t
SATURDAY , APRIL 8th , 3:00 P.M .
at Binghamton Wes t Junior High Schoo l
SUNDAY , APRIL 9th , 8: 15 P.M .
at Harp ur Aud itorium
�P R OG R AM
CONCERTO GROSSO in D Minor
Opus 3 No.I I for Orchestra
An tonio Vivaldi
(c. 1675-1741)
Vittorio Giann in i
(1903-1966)
Allegro
Largo
Allegro
Adagio - Allegro Energico
The CONCERTO GIi.OSSO in ll Minor is one of twelve
c oncertiwhich comprise
Opus J , perhapsthe most celebrated o( Vivaldi's Concerto publications written in
1712, and dedicated to Ferdinando !II. Grand Duke of Tuscany Originally written
as • concerto for two Violins and Cello obli
gat
o, this work well representsschool
a
of violin playing which made a defin a
ble
badvancebeyond 18th centurypractice. The
popularity of this concerto wa &u<h that Bach reworked
it for soloOrgan.
l n this
instanceit is setfor full orchestra by the
late American composer, Vittorio
Gianinni.
ABOUT
\/, , Robert
Mosley is a
winnerof
OUR
SOlOIST
the Rockefeller, Whitney
and Marian
Anderson
ards as well as the Metropolitan auditions.
in South
He was
America
on tour
for the StateDepartment
with
the company
of "Porgy
and Bess."
Recently he has
Bohuslav Martinu
(1890-1959)
performed in "Aida" and "Pagliacci"with the Brooklyn Civic OperaCompany
and
thisfall will sing with the Los AngelesCivic Opera.
RobertMosley, Baritone Solo
Men's Chorus*
and Orchestra
Bohuslav Martinu,
living in France near
centering
ingall
forhere
America
Pres
his thoughts on leav
had already
where Martinu, too, wanted to help in the task of awakeningthe world on behalf
of his martyred homeland All performancesof hi, works in Prague wereforbidden
b_,. the Nazis,
who also blocked the fees from hi, internationalroyalties.
At the time Martinu wrote
his FIELD MASS, he was s
•till o'--d by the thought
of his homeland, and he dedicated the work t o the Czechoslovak
of the occupation
The text of the FIELD MASS is from folk poetry and quotations from the
Psalms It wasarrangedby Martinu withthe collaboration of Jiri Mucha.
intermission
�PROGRAM
(continued)
AMERICA
An epic Rhapsody in three parts for Orchestra
Ernest Bloch
(1880-1959)
,
A
-
mer
- i
-
ca!
p poco
jus
Another fragment of the anthem which is usedand found in many parts of the
work is where the text says, "Our fathers builded a nation." It is an ascending passage
descriptive of the struggles
of the Pilgrims ud is heard in the first movement
and also in the third
movement after the "Collapse" episode.
The thematic fragments
seem
to form a march culminatingin the Anthem which Bloch wanted everyone
to sing, - an expression
of hope and deepfaith 1n our country.
(these notes by Suzanne Bloch)
On April 8th Miss SuzanneBloch, daughter of the composer,
abouther
fatherand
d theA me
erican Symphony.
will speak briefly
-
tice an
�MEN'S CHORUS
MEMBERS OF THE ORCHESTRA
Violins
Robbins
*Nancy
*Marianne Wallenberg
*Melba Sandberg
David Vittum
D<boD Booth
TROMBONES
Allen Thompson
John Baldon
*Roger K e a g l e
*Alan Sopper; Robert Giblin; *David Einfeldt; *David Agard
ENGLISH HORN
*Scott Eddy
*Betty Lou Agard
Ruth Wiley
Sally Shafer
*Sophie Horowitz
INETS
CLAR
Candace Duncan
Arthur Abrahams
Beverly Tomasosky
Gary Harris
PERCUSSION
*RussellColton
*Karl Getz
*Margaret
Seward
BASS CLARINET
James Kingsbury
*RichardBrooks
*Kenneth Hollister
Laura Eringer
*Ruth Bro wn
Whitmore
Christine Livingstone
*Jane
Donald Alexander
Chris t ian Granger
Lanny Levine
Gary Mallinson
Dennis Williams
Arnold
Thomas
*Dawn Marr
Marguerite Mizelle;
Diane Phelps
Terry Ho well
William Vigars
Stephen Babb
James Baldwin
*DonalO'Buckley
Christopher Langton
*Sally Pierce ; David Wilson
PICCOLO
Marsha Kadleck
*William Lockwood
*Delbert Cobleigh
an ; Peter Boor
KaplCHAIRMAN
CONCERT
John Wil iams ; Nathan
is aided by a grant from the Recording Industries( Music
This performance
Trust Funds , Samuel R. Rosenbaum, Trustee.
Performance)
John Noxel
John Ozvold
�
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1960's - present
Title
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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. <br /><br />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.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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34:51
40:23
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Title
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Harpur College Orchestra Concert, April 9, 1967
Subject
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Concerts
Description
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America / Ernest Bloch, Donald Brister, tenor.
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Harpur College Orchestra
Bloch, Ernest
Brister, Donald
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Binghamton University Libraries
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1967-04-09
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Harpur College Orchestra Concert 1967-04-09.pdf
-
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
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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. <br /><br />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.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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28:47
36:16
34:31
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE60291">Peter Yates Lecture</a>
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Peter Yates Lecture
Subject
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Concerts
Description
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Lecture presented on March 21, 1967, Harpur College. Peter Yates, together with Frances Mullen Yates, founded the Evenings on the Roof chamber concerts at their home in Los Angeles. He is the author of many magazine articles and two books, An Amateur at the Keyboard (1963) and Twentieth Century Music (1976)--program notes.
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Yates, Peter
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Binghamton University Libraries
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1967-03-21
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State University of New York at Binghamton. Department of Music.
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sound
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39091020093286
39091020093336
39091020093385
-
https://omeka.binghamton.edu/omeka/files/original/7f002a478dd3ecaeff2b546edd234a7e.pdf
c1b20561273b6f895d3b4f1f51619e9c
PDF Text
Text
�STATE UNIVERSITY OF NEI' YORK AT BINGHAMTON
Committee and the Department of Music present:
Convocation
Frances Y ates, Pi ani st
PROGRAM
I
JOHN C AGE: SUITE FOR TOY P I ANO, IN 4 MOVEMENTS, 1948
FRANZ JOSEPH HA YDN: PIANO SONATA, C MINOR , 1771
No. 33 in Vienna UrtextEdition, Hob XVI/20
moderato
andante con moto
allegro
INGOLF D AH L: SONATA P ASTORALE , 1959
moderato,
allegro comodo
Elegia, adagio ma non troppo
scherzino
champetre, allegro con brio.
Fete
INTERMIS SION
C H AR L ES !YES:
SECOND PIANO SONATA:
"Concord . .Mass., 1840-
1860"
Emerson
Hawthorne
The Alcotts
Thoreau
1
the republish
comMrs. Yarevised byand
15, published 1919,
907-1915
poser
190
ThisSonata was composed
performance is from the second
and 1940from the first edition; the present
A RE CEPTION honoring Mrs. Yate will be held in the Faculty Lounge,
adjacent to the Theater, immediately following the performance. The
audience
is
cordially invited to attend.
�FRANCES MULLEN YATES and PETER YATES founded in
1939 at their home in Los Angeles theEvenings on the Roof
chamber concerts, now in their 28th sea
ason the Monday Evening Concerts at the Bing Auditorium of the Los Angeles County Art Museum. In the first years o f these concerts, Mrs. Yates
performed works by Bartók, Busoni, Schoenberg, the Beethoven
Diabelli Variations, and the "Concord" Sonata by Charles Ives,
repertory at that time by no means in fashion or demand. She
played the "Concord" Sonata at Harpur College in 1964, with a
Suite for Piano dedicated to her by Lou Harrison. For the forthcoming Harpur recital she is repeating by request the Ives Sonata, accompanying it with the still unpublished Sonata Pastorale
by Ingolf Dahl a nd the Suite for Toy Piano by John Cage, both
composers longtime friends.
Peter Yates was coordinator of "the Roof" for 15 years. Since
1940 he has written monthly articles about music and the arts
for the magazine Arts and Architecture, and his writings have
appeared in Saturday Review,High Fidelity, Vogue, Holiday and
Horizon. lie is a Contributing Editor of Arts in Society (University of Wisconsin).
He has lectured in recent yearsat more than
thirty American universities and at the Salzberg Seminar in American Studies.
He has published two books, An Amateur at the
Keyboard (1963) and Twentieth Century Music (1967). He was
a co founder of Poetry Los Angeles and broadcasts regularly
over KPFK Los Angeles.
�
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1960's - present
Title
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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. <br /><br />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.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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3 sound tape reels
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33:42
19:58
39:05
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59465">Frances Yates Recital</a>
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Title
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Frances Yates Recital, March 20, 1967
Subject
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Concerts
Description
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Works of Haydn and Dahl. Held 8:15 pm, March 20, 1967, Harpur College.
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Yates, Frances
Publisher
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Binghamton University Libraries
Date
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1967-03-20
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Haydn, Joseph, 1732-1809
Dahl, Ingolf, 1912-1970
State University of New York at Binghamton. Department of Music.
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sound
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Frances Yates Recital.pdf
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https://omeka.binghamton.edu/omeka/files/original/d25f11ac0a13c7404639378dfea4de1e.pdf
eb50a201d7bfab31a8dbbcbbbe197a44
PDF Text
Text
vox
�.
· •
. : •..
.
• • .:
;
. . ..
.
�State Univer sity o f New York at Binghamton
Department of Music presents
HARPUR
COLLEGE C HOIR and G L E E CL UB
Harpur Theater
8:15 p .m
PROGRAM
L ob: Mein' Seel', Den
Magnificat in G minor
Alice Hayes,
Alida Stahl, s oprano soli
CHOI R
';:'
Down
Brothers Sing'
Stopping
Ry Woods
Among The Dead Men
Ralph
Fa Una Canzone
11on Coeur Se Re commande A \'ous
Lasciate Mi 'lorirc
Revecy \lcnir Du Printans
CHOIR
J.S.
Bach
Vivaldi
Edward Grieg
Randal l Th ompson
Va ughan Wil iams
Orazio Ve cchi
Orlando
di Las so
Claudio Monteverdi
Claude Le Jeune
/\ TERMISSION
The Spring Time of The Year
Ralph Vaughan Williams
B onnie Ran T he Burnie
Doun
Eric Smith
Béla Bartók
Four Slov,,k Folk Songs
Whup ' Jamboree
Robert Shaw - Parker
Haul Away, Joe
Robe rt Shaw - P arke r
What Shall We Do With A Drunken Sailor
\lar shall Bartholomew
GLEE CLUB
Mountain
Nights
Psalm of David
Alida Stahl, soprano solo
Geographical Fugue
CHOIR
La s Agachadas
CHOIRAND GLEE C L UA
Zoltan Kodaly
Robert Starer
Ernst T och
Aaron Copland
�II ARPl ' R COLLEGE CHOIR
Mr. David Buttolph, Director
Ellen Leinwand, Accompanist
President
Executiive Secretary
Librarian
Robe Mistress
Stage Manager
James Baldwin
Carol Anthony
Margaret Jackson
Marsha Kadleck
David Crowe
SOPR
I NOS
ALTOS
-, ENORS
Carol Anthony
Vi r_1sinia Baker
Candace Bergan
Judith Elterman
Joanne Grizzanto
Rosemary Gruss
Alice Hayes
Sue Jurkowski
Alida Stahl
Marcy Walter
Sara Baron
Elaine Bolton
Mary Brock
Nancy Car lson
Jeanne Cook
Linda Fishk.in
Margaret Jackson
Christine Livingstone
John Bennethum
!.ee Connor
Ben Erlitz
Roy Gordon
Terry Howell
Jim Baldwin
David Crowe
Stephen Foulk
Steve Walker
Keith Willcox
HARPUR COLLEGEGLEECLUB
Mr. Dennis Williams, Di rector
Donna Ha llen. Accompani s t
TENORS
BARITONES
Wi lliam
Clemente D' Alessio
Dominic Defazio
lrvin Schwartz
Edwin R. Squiers
John Witmer
Ahroon
Frederick Forman
Roy Gordon
Alan Katz
Jon Paul Robbin s
Paul Darnel l
Peter Lewis
Stevan Millheiser
Alan Sanders
Ronald Vandervall
There u•ill be a RECEPTION in the Faculty Lounge
fo r the membe rs of the Harpur College Choir. and Glee
Club . follow ing their performance
�
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Coverage
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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. <br /><br />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.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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2 sound tape reels
Duration
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37:45
38:35
OHMS Object
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https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59468
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59468">Harpur College Choir Recital</a>
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Harpur College Choir Recital, March 10, 1967
Subject
The topic of the resource
Concerts
Description
An account of the resource
Works by Bach, Grieg, Monteverdi, Bartók, Copland. Held at 8:15 pm, March 10, 1967, Harpur College Theater.
Creator
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Harpur College Choir
Publisher
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Binghamton University Libraries
Date
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1967-03-10
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Bach, Johann Sebastian, 1685-1750
Bartók, Béla, 1881-1945
Copland, Aaron, 1900-1990
Grieg, Edvard, 1843-1907
Monteverdi, Claudio, 1567-1643
State University of New York at Binghamton. Department of Music.
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sound
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Harpur College Choir Recital.pdf
-
Dublin Core
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1960's - present
Title
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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. <br /><br />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.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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3 sound tape reels
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27:30
23:00
33:49
OHMS Object
URL
https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59474
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59474">Community Symphony Society Concert</a>
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Community Symphony Society Concert, February 18, 1967
Subject
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Concerts
Description
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Works of Chansson, Wagner, Karl Korte.
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Community Symphony Society
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Binghamton University Libraries
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1967-02-18
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In copyright
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Wagner, Richard, 1813-1883
Korte, Karl
State University of New York at Binghamton. Department of Music.
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sound
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39091020093351
39091020093401
39091020093450
-
https://omeka.binghamton.edu/omeka/files/original/b70d96ca2e89db8b657cac902b3a1cd5.pdf
abd1c04a71b24a3c3ae7c1eba9f5171a
PDF Text
Text
gSQ uarter
tring
Guarn eri
rHarpuSeason
ries
Winter Se
66-67
�Sunday, February 12, 1967
8: 15 p.m. College T heater
L.v . BEETHOVEN
QUARTET in B - FLA T MAJOR, Op . 18, No. 6
Alleg ro con br i o
Adagio, ma non troppo
Sc'her zo, Allegro
La Malinconia
Adagio: Allegretto quasi
Allegro
QUARTET in F MINOR, Op. 95
Allegro con brio
Allegretto ma non troppo
Allegro assai vivace ma serioso
Lar ghetto espressivo, Allegretto agitato
intermission
QUARTET in C MINOR, Op . 18, No. 4
Allegro ma non tanto
Sc herzo Andante scherzoso quasi Allegretto
Menuetto: Allegre tto
Allegro
QUARTET in F MAJOR, Op. 135
Allegretto
Vivace
Lento assai , cantant e e tranquillo
Der Schwer gefasste Entschluss;
Grave, ma non troppo tratto, Allegro
A RECEPTION honoring the Quartet will be
held by the residents of Johnson Hall in the
Lounge of their dormitory immediately fol lowing the performance.
The audience is
cordially invited to attend. Johnson Hall is
situated directly across Center Drive from
the Student Center B uilding.
�Notes
by Wi lli an, Kl enz
EA
!though the last in the series as published, the
B-flat quartet was al most certainly not the last
composed. The work presents a curious mixture
of styles and l ooks both backward and forward. The firs t
movement is a sonata movement of the most regular pre•
Haydn construction. Many of its details are reminiscent of
the style o! the Mannheimorchestralcomposers;theopemng
theme is a vers ion or the 'Rocket' and the heavily defined,
tutti cadences also show their infl uence. However, the farrea ching modulations and key references bespeak the young
master, especially in the way they transform the rather
banal march - like second subject and l et it "break ranks" for
a spirited skirmish before bemg marshal l ed into formation
again by the reappearance of the efficient martinet-grenadtersergeant-like, first subJect (end of exposition and end of
movement).
The second movement is a si mple ABAformwith a s ho rt
coda based on both the mes. What is astonishing is the
filigree-like figuration which, both on the page and in the
ea r , reminds one of the s l ow movements of t he very latest
work s. We hear things that are to figure in the last cello
sonata (Op. 102 No. 2) - tne dotted figures in bar 13 - and
others that will appear in the variations of the Archduke
Trio. The Scherzo isanotherofthe l onghst of comic pieces
o ri ginal l y called alla Zoppa in early Italian instrumental
music - the effect is one to the opposi tion of rhythms of two
and of three and resembles the uneven progress of two unequally-gaited individuals, who nonethel ess insist upon conversing. The Trio, in contrast , is a moment of the lightest
and easiest movement before the frog march resumes.
The last movement, La Malinconia (Mel ancholy) alternates a slow rntroduct1011 and interludes of a kind of vexa!Lous, exasperated hypersensnivity with lighter but far from
jocose principal sections. The effect 1s febrile and hectic
and only in the last moments does a cl ear gust of vitality
dispel the sultry atmosphere.
0
The sketches for the Quartet in F minor Op. 95 appear
in the summer of 1810, following the composition of the
incidental theatrical music for Goethe's "Egmont,"finished
1n June. The autograph o!thefinishedworkls dated October
1810, and bears the superscription Quartetto serioso.
It
resumes the unusual tonality, F nunor,ofthe most considerable part - the Overture - of the Egmont music and also
the stormy atmosphere of that work which deals with the
cumulative catastrophe of Egmont's life which is a story of
�heroic intransigency and tragic Issue - condemnation and
execution.
For the eighteenth century the key of F minor denoted
deep, resigned o r gentle melancholy, and it was so classified
and treated by theorists and co mposers . As in "Egmont"
Beethoven here augments and transforms that effect by the
use of convulsive forceful thematic material suggest111g the
dangerous ferocity of the trapped, overdriven man who is
aroused to a super-state of will and f orce, but yet with a
dream of l onged-for peace and completion for whi ch immolation is not too great a price. We see here the emergent
concept of the nineteenth century transcendent super-man ,
the cult of genius, which will appear in works of Nietzsche
and Wagner. The quartet really marks a definitive step
toward the Romanticism which will suffuse the final, third
period of Beethoven's creativity .
The second movement is cast In the far more idiomatic
string key of D major - a start ling relat ionship to the precee ding. The effect is of sudden warm se r enity, a kind of
exalted state of grace following the alarums and excu r sions.
The opening, a misleadingly simpl e-seeming scale for the
'cello is a kind of motto or escutcheon which r eturns at key
structural points of the movement which combines the
features of a set of variations, a fugue and a sonata movement. The coda reaffirms the serene exaltation and raises
it 10 a new level.
The scherzo-like third movement returns to the original
tonality of F mmor and contrasts a very mordant, telling
figure, vigorous and truculent with a smooth, gliding Laendler-hke alternate section which, in Lts second appearance
(bar 145) is, hke the second movement, in D Major. The
atmosphere 1s strained and even marked by exasperation.
in F minor, begins in the
The last movement, again
melancholy mood appropriate to the key, which givesway to
an agitation from which the resoluuon and endeavor of the
first movement seem to have disappeared and are replaced
by a kind of desperation induced by the short, breakless
figures. Gradually, the equilibrium 1s restored and the movement ends with a rush of returmng confidence and triumph.
D
l.1 Beethoven's favorite "mood" key, the first movement
of Op. 18 No. 4 marks theearhest appearance of the atmosphere which will have its most complete expression in Op.
95. Here the emotional tension 1s sustained by a buoyant
drive and relieved by materials and rhythms which although
play, and fun
strenuous have the quality of exhilaration,
against which the serious first theme seems to be held as a
mask - the whole has a very theatrical quality.
In the second movement Beethoven has audaciously com•
Continued on back page
�State University of New York at Binghamton
HARPUR COLLEGE
T he Department o f M u sic p resents
TH E GUARN ERI STRING Q UARTET (in residence)
Arn old Steinhardt
violin
John Dalley
vio lin
Michael Tree
vi ola
Da vid Soyer
cello
NOTES {Continued)
b i ned the fun ction of sl ow mo vement and Scherzo In one of his ve r y finest move ment s.
Its r estrained grace, wit, and great el egance have endeared it to all fromthe fir st.
It ma y even see m easyto pla y; oothl ng could be furt he r f rom the truth. The economy
a nd finesse of the writi ng are dime nsions which themselve s lead the playe r to gr e ate r
and gr eater efforts or concentration and attention and the "surface"
of the music is
so deli cate that the s lightest misc alculation of s pacing or acce nt can break
its
t ensi on.
The nature of Scherzo i s such that a true dynami c dance fo r m is needed and t hi s
is suppli ed by l he Menuetto.
T he l ast movement has much the fla vo r or a Haydn movement usi ng Hungari an
materials - t he r ese mbl ance t o t he Gy psy Rondo will be apparent - syncopations ,
ab r upt Juxtapositions of major and minor, et c . It r ounds out t he cycl e of mo vement s
with appropriatel y Dionysian materials without undertaki ng any we 1ghty p r opos it1ons
and expl oits the minor key ro r its col oristi c effects rathe r t han its mood.
D
T he last or Beethoven's st r ing quar t ets, Op. 135 in F majo r , w as c r eat ed i n t he
Summer and Fall of 1826. T he first public performance was In M ar ch, 1828. T he
work is sho r t but concen t r ated. A f riend of Beethoven observed t hat he had delibe r atel y held down its l ength because t he publis he r paid hi m in me r e florins i nste ad or
the agr eed aristroc rati c ducats ; "he sends short ducats, he' ll get a sho r t quart et •
was the typi cal mo ck-c yni cal r ejoi nder . The fo r m i s seve r el y classical. A sonata
movement Allegrettousing nontheatrical mat er i als i s followed by a mo st c haract e r i sti c Scherzo, Vivace. The sl ow mo ve ment , Lento assai, cantante e tranquillo cons ists or two parallel st rophes of Lied form.
T he l ast movement bear s the supersc ripti on, Der Schwer gefassteEntschluss,
(the difficult decis mn). I n t he original part s copied by Beetho ven himself, he has
inserted beneath t he notes the text Muss es s cm? (Must 11 be?) whi ch we hear at the
begi nning, Grave Crom t he viol a and ce llo, and the ans wer , Es muss semi (It must
be!) which t he vi olins repl y , Allegro. Two stories, either o r even both of wh ich may
be true, are given f or t he ori gin of t hese words. We have documentary evidence his conve rsa t ion notebook, 1823, w here hi s housekeepe r wrot e, "Today i s Saturda y
be." This perempto r y, sybilline utterance of the cook
and I must have money. It must
apparently amused Beethoven and it ma y have become a househol d j oke . In the Jul y
.. . he l aughed and asked, ' must it be?'" Then
book of 1826, a fri end, Hol z, writes ".
i n t he Dece mber book ther e appear in Beetho ven's ow n hand the musical fragments
w hi ch are used in t he qua.rtet. Hol z al so provides a sho rt c atch fo r fou r men's voices
using the same material. T his appears to have been occas ioned by the same words
Es muss sc m, used by Beethoven in anot her connection (the first pe r f ormance of
Op. 130), and who was then amused t o find hi mseU as o r acular as his cook. Beet hoven' s sense of humo r and unvar ying ability t o percei ve the l arge withi n the small
and take fresh strength fr om even the tri vial has not failed him even among th e tribulations of his l ast year. This was, as he knew and sai d , his l ast quartet - "a diffi cu lt
decision," whi ch he faces with yet one more prof ession of faith and abundant humanity.
Program design by William
Mihalko
�
Dublin Core
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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. <br /><br />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.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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3 sound tape reels
Duration
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21:02
23:46
25:44
Streaming Audio
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59477"> Guarneri Quartet Recital </a>
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Title
A name given to the resource
Guarneri Quartet Recital, February 12, 1967
Subject
The topic of the resource
Concerts
Description
An account of the resource
Works of Beethoven. Held 8:15 pm, February 12, 1967 at Harpur College Theater.
Creator
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Guarneri Quartet
Publisher
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Binghamton University Libraries
Date
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1967-02-12
Rights
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In copyright
Contributor
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Beethoven, Ludwig van, 1770-1827
State University of New York at Binghamton. Department of Music.
Type
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sound
Identifier
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Guarneri Quartet Recital, February 12, 1967.pdf
-
https://omeka.binghamton.edu/omeka/files/original/56261ed1cddd0d0aaf792b9c0a40aea8.pdf
eceaff114b29a661aa168aee13c2bd26
PDF Text
Text
CONCERT
THE HARPUR COLLEGE
WIND ENSEMBLE
�OFNEW
STATE UNI VEHSITY
YORK AT BINCHAMTON
Tl-I E DEPAHTMENT OF M USI C presents
TI·IE
Harpur College Wind Ensemble
ROBERT
WERNE
.R, Conductor
SU ND AY, FEBH UAHY 5, 1967, 8: 15 P.M.
l·IAllP UR T H EAT ER
PROGRAM
Norwegian March .................................... Johannes Hanssen
"Valdres"
First Suite in þÿE&m
.............................................. .................... Gustav Holst
Chaconne, Intermezzo, March
.... Louis Jadin
Symphonic for Band .
T ra.uersinfo nie .
...................................... Richard Wagner
Chester O verture ......................................................... William Schuman
-
INTERMISSION
-
. . Vittorio Giannini
Fantasia for Band .
Serenade No. 12 in C Minor ...................... Wolfgang Amadeus
Allegro, Andante, Minuetto in Canonc, Allegro
Mozart
David Vittam and Geoffrey Barron - Oboe
Candace Duncan and Arthur Abrahams - C larinet
Tim Sm ith and Faith \ Vagncr - French hom
Steve Walker and Dennis Williams - Bassoon
Incantation
and Dance ........................................ John Barnes Chance
evening's
performers
witol thebe held
in A RECEPTION honoring this
the Faculty Lounge adjacent
follo wi11g the concert. The audience is cordially invited to attend.
�PROGRAM NOTES
The Wind Ensemble as we know it today came into being through
the efforts of Frederick Fennell at the Eastman School of Music in
t he early 1950's. Mr. Fennell crea ted a wind and percussion organization with a basic instrumentation from which all ty pes of wind and
percussion ensembles could be derived in almost countless combinations. Basically the instrumentation of this wind group is the same
as that which developed in the late Nineteenth Century as the wind
and percussion section of the large romantic symphony orchestra. By
the use of various combinations within the \Vind Ensemble the conductor has at his disposal the resources, with but few exceptions, for
all the great music written fo r wind instruments from the Sixteenth
Century to the form idable contributions of our leading contemporary
composers.
The literature
serenade of
for th e Wind Ensemble is virtual ly limitless and it
Mozart, early band
military
of Hanssen and
music of Jadin a and Wagner, the
examples of
composer Holst,
strains
the marchin
Schuman
This
medium reflected by the compositions of
to wind and
offers the listen
cussion playing which can now have appeal even fo r the music critic
who fo nncrly may have denounced bands fo r their unwield iness or
saccharine pedestrian taste. T he \Vind Ensemble is not a replacement
for the traditional Concert Band, but rather an important supplemen t
to the American band program which seeks a vital means of musical
expression.
With this rationale for the Wind Ensemble our program was
chosen to show some of the diversified approaches, through the centuries, in writing for wind instruments. At the tum of the Twentieth
Century, the wind band began to change its idiom from one of
primarily military and functionalintended
ceremonial music
major works in
this newly evolving literature was the First Suite for Band in þÿE&m
by
Gustav Holst, composed in 1909. AJI of the musical material for the
three movements is taken from the opening Chaconne theme. Its
development throughout the composition shows a composer of un-
the
common technique who
with
applies
awareness
skill. It is more
than fi tting that this work has been called "the authentic projenitor
and fo undation stone of the modern repertoire of concert music for
band."
The Symphonic fo r Band by Jadin is a product of the Fren ch
Revolutionary period in which the wind music showed a combination
of its military background
and the existing classical style.like
Quitethe
un- Viennese class
�th.is time this "Symphonic" turns out to be no more than a one movement sonata fo nn . It was written for a small wind band as typical of
the period. In contrast, the Trauersinfonie of Richard Wagner com•
posed in 1844, fo r the fu neral cortege of Carl Maria von Weber, uses
a much larger wind ensemble than utilized by Jadin. This music based
composed
Century.
directly for the
stands as one of the few significant works
T he Serenade in C minor is an unusually profound work by comparison wi th most of the other works in this fo rm written for wind
instruments by either Mozart or his contemporaries. It was written
in July, 1784, th e same month as his "Haffner'' Sym phony. 1t is interesting to note that some of the most deeply moving music that Mozaart
ever wrote was written in the key of C minor and it tJ1crefore must
notby accident thathe turned toTheused with t key
instruments
in
telling
writing thi Serenade.
to achieve an interplay of both a very stringent quality, particularly
his Mozartian
lyrical motifs. The Serenade
is scored for pairs of
instruments as they were used in the classical symphony orcl1estra.
The remainder of the program is devoted to three contemporary
works. The Fantasia fo r Band is perfonned in memoriam of Vittorio
Giannini who died November 28, 1966. Mr. Giannini was a composer
and music educator of the first order. His effect upon t he band music
of the past decade has been of importance in bringing to this literature a significant number of compositions in the dramatic neo-romantic
tradition. This Fantasia composed in 1962 is a good example of hi s
works fo r band .
Both the Chester Overture and the Incantation and Dance make
effective use of tJ1e percussion section for striking tone colors and
rhythmic effects. The fonner is based on a tune appeari ng in 1778
in a book of tunes and anthems composed by William Billings.
Chester became the most popular song of the American Hcvolution,
being sung arou nd the campfires of the Continen tal Anny and played
by fifers on the march. It was the unofficial national antJ1cm of the
Revolutionary pe riod .
The final work is a product of tJ1e Ford Foundation Young Composer's Project and was written fo r the Greensboro, North Carolina
Senior High School Band where Mr. Chance was a composer in residence. Hs use of the tona l resources of the entire wind and percussion
spectrum in the modem band are exceptional. Its relationship to the
Rite of Spring must be more than accidental in its dependence on
the polyrhythms and elementary hannonizations of th.is style known
as "primitivism."
Program notes by Robert Werner
�WIND ENSEMBLE PEHSONNEL
l'iccolo
Kadleck, Marsha
Flute
Kadleck, Marsha
Shulman, Barry
Gira, Debbio
Fintushel,
Eliot
Kadum, Jo Anne
Oboe
Eddy, Scott
Barron, Geoffrey
Bassoon
Arnold, Thomas
Williams, Dennis
þÿE&m
Clarin et
Duncan, Candace
Clarinet
Abrahams, Arthur
Duncan, Candace
Hymes, Allan
Joffee, Monte
Wurtzel, Gary
Knox, Nancy
Noel, Paul
Villani, Susan
Rejszel, Rosemary
Todd, Joyce
Alto Clarinet
Halpern, Judy
Limbacher, Honda
Bass Clarinet
Kingsbury, James
Alto Saxophone
Shapot, Susan
Blakesly, Trudy
Tenor Saxophone
Marion, Edward
Baritone Saxophone
Fry, David
Cornet
Williams, John
Kaplan, Nathan
Boor, Peter
Utter, Glenn
Trumpet
Dutcher, Douglas
Jacobson, Craig
French horn
Maragus, Nick
Smith, Tim
Wagner, Faith
Bogusky, Joyce
Baritone
Baldon, John
Beach, Ole
Trombone
Starr, Michael
Sprague, Andrew
Sullivan, Grant
String Bass
Blanton, Lynn
Tuba
Leiden, Steven
Smith, Bill
Prensky, Stephen
Timpani
Crowe, David
Percussion
Granger, Christian
Ale...:andcr, Donald
Cordon, Jeff
Mallinson, Gary
�
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. <br /><br />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.<br />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
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Original Format
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3 sound tape reels
Duration
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34:25
28:54
12:23
OHMS Object
URL
https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59484
Streaming Audio
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59484">Harpur College Wind Ensemble Recital</a>
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <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
Harpur College Wind Ensemble Recital, February 5, 1967
Subject
The topic of the resource
Concerts
Description
An account of the resource
Works of Hanssen, Wagner, Schuman, Mozart. Held at 8:15 pm, February 5, 1967, Harpur College Theater.
Creator
An entity primarily responsible for making the resource
Harpur College Wind Ensemble
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
1967-02-05
Rights
Information about rights held in and over the resource
In copyright
Contributor
An entity responsible for making contributions to the resource
Hanssen, Johannes, 1874-1967
Wagner, Richard, 1813-1883
Schumann, Robert, 1810-1856
Mozart, Wolfgang Amadeus, 1756-1791
State University of New York at Binghamton. Department of Music.
Type
The nature or genre of the resource
sound
Identifier
An unambiguous reference to the resource within a given context
Harpur College Wind Ensemble Recital.pdf
-
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. <br /><br />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.<br />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
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Original Format
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3 sound tape reels
Duration
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22:59
35:31
22:30
OHMS Object
URL
https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59506
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59506">Harpur College Orchestra Concert</a>
Accessibility
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <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
Harpur College Orchestra Concert
Subject
The topic of the resource
Concerts
Description
An account of the resource
Works by Hayden, Mennin, Beethoven. Held 8:15 pm, January 29, 1967, Harpur College Theater.
Creator
An entity primarily responsible for making the resource
Harpur College Orchestra
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
1967-01-29
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
Haydn, Joseph, 1732-1809
Mennin, Peter
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
39091020059394
39091020058909
39091020058958
-
https://omeka.binghamton.edu/omeka/files/original/83ea3b72d65734b44da573f76f13e06e.pdf
9237516ef2bfe180f93a549a013a4771
PDF Text
Text
�The DEPARTMENT
OF MUSIC presents
THERE WILL BE A RECEPTION FOR MISS PORTNEY
IN THE FACULTY LOUNGE FOLLOWING
HER RECITAL.
SONATA NO. 17 IN D MAJOR, K.
576
Allegro
Adagio
Allegretto
SONATA IN A MINOR, OP. 164
Allegro ma non troppo
Allegretto,
quasi Andantino
Allegro vivace
Des Abends (Evening)
Aufschwung(Soaring)
Warum?
(Why?)
Grillen(Whims)
In der Nacht (In the Night)
Fabel (Fable)
Traumes W
- irren (Dreams Visions)
Ende vom Lied (The End of the Story)
�THIS EVENING'S ARTIST
Arlene Portney, pianist of Meadowbrook, Pennsylvania, began her
recital
training
and has
been appearing before the public ever since.
ship studenttheat
years
Instituteof MM
uusicin Philadelphia.
CurtisThat
G Major with
the Philadelphia
Orchestra at the Academy of Music.
with
the Robin Hood
Dell Orchestraat the Robin ltood Dell inPhiladelphia (home for the Philadelphia Orchestra during July of each
year). Since then she has appeared with the Philadelphia Orchesthe Pennsylvania, New Jersey, Delaware and NewYork area.
other
andtelevision
music
Anshel Brusilow, many
recitals
the
of the newly
director
formed Chamber Symphony of Philadelphia has hosted several
television programs in
which Arlene hasappeared.
At the age of eleven,Arlene gave her first full-length evening
c c ert performing an entireconcerto with orchestra ,n addition to
recital works.
At the age of fifteen, Arlene graduated from the Curtis Institute of
Music - one of the youngest to hold this distinction.
That summer
she attended the American Conservatory in Fontainebleau, France,
1n master classes
with Arthur Rubinstein, Mlle Nadia Boulanger,
Clifford Curzon, Robert and Jean Casadesus. She was selected
to perform for these great artists andclosedthe summer recital
conductoa
This past summer was spent in master classes
with Jean Casadesus at the State University of New York at Binghamton.
Arlene, now 17 years old, is a scholarship student at the Juilliard
School of Music in New York City, and is studying with Sascha
Gorodnitzki. This year promises to be an exciting one, for Arlene
will be performing in anumber of concerts throughout the East.
�
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. <br /><br />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.<br />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
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Original Format
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2 sound tape reels
Duration
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26:42
40
57
OHMS Object
URL
https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59509
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59509"> Piano Recital Arlene Portney</a>
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Title
A name given to the resource
Piano Recital Arlene Portney, January 25, 1967
Description
An account of the resource
Works by Schumann and Scarlatti. Held Jan. 25, 1967.
Creator
An entity primarily responsible for making the resource
Portney, Arlene
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
1967-01-25
Contributor
An entity responsible for making contributions to the resource
Schumann, Robert, 1810-1856
Scarlatti, Domenico, 1685-1757
State University of New York at Binghamton. Department of Music.
Identifier
An unambiguous reference to the resource within a given context
Piano Recital Arlene Portney.pdf