130
10
1775
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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
�
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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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38:21
24:44
37:27
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Winter Series Recital Guarneri Quartet, November 6, 1966
Recital Tape 1966-11-6
Subject
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Concerts
Instrumental music
Live sound recordings
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Works of Beethoven.
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Guarneri Quartet
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Beethoven, Ludwig van, 1770-1827
State University of New York at Binghamton. Department of Music
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1966-11-6
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Winter Series Recital Guarneri Quartet Recital Tape 1966-11-6.pdf
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�PROGRAM
SUnday, Oct obe r 9, 1966
8:1 5 p.m. College Theate r
Q UARTET No . 75 i n G MAJOR Op . 76, No . 1
All egro con spirito
Adagio sostenuto
M enuetto. Presto
Allegro ma non t r oppo
J.HAYDN
SIXTH QUARTET
I M es to, Pu i Masso, Vivace
II Mesto, Marcia
III Mesto, Bu rletta
IV M esta
B.BARTOK
intermi s sion
QUARTET i n G MAJOR Op . 18, No . 2
All egr o
Adagio Cantabil e
Sche rzo . Alleg r o
Alleg r o molto quasi Presto
L. v. BEETHOVEN
A RECE PTION honoring
the Quartet will be
held by the residents
of Johnson Hall in the
Lounge of their dormitory immediately following the performance.
The audience is
cordially invited lo attend. Johnson Hall is
situated directly across Center Drive from
the Student Center Building.
�Notes
by William
Klenz
osef Haydn's seventy-fifth quartet is the first
ol the set of six known as Op. 76 written in the
--:
mid 1790's and published in the last year of the
century. They are thus the products of Haydn's
period of transcendent mastery - the decade
which also produced the London symphonies.
The first movement opens with the briefestof fanfares
(three chords) and proceeds at once to the principal, generating theme which is tossed back and forth amongthe single
instruments before being heard in a massive presentation.
From •tus moment on there is a constant development and
intensification of both rhythm and tonal relationships. All
elements of design are extracted from the principal theme
whose apparent naiveté 1s really the cover for an ultimate
in sophistication and "know how.• Even the fresh-seeming,
innocent, wide-eyed tune which finishes off this exposition
1s really not new at all, but a reworking of its elements.
The development begins as a study in simple counterpoint,
gives way to schematic dynanusm . Emerging from this we
encounter a passage of really complex counterpoint winch
gradually simplifies
itself t o prepare for the masterly r eturn
of the 111it1al material and another,
this time definitive,
working-nut of its elements.
The fortll of the Adagio is oft he simp l est strophic order.
A sustained choral-like verse alternates with sections of
beautifully contrived textural writing, writing which certainly
did not go unnoticed by Beethoven.
T he Me 1111, /lo (once the symbol of courtly etiquette and
the long shadow of Louts X IV) 1s not sedate or courtly - 1t
is marked Presto and 1s a caricature o f the ancie 11 régime
The Revolution has taken place - and do we see Citizen
Capet, wig askew, trundling along a rough road in undignified haste 111 his carriage?
T he final movement begins in the minor key and its
materials have, as often with Haydn, a Central European
flavor.
These are subjected to a complex development
marked by subtle am\ remote modulations. These ultimately
re t urn us to the starting point and then to the major key for
a bnlliant ending.
€ The quartets of Béla Bartók have become recognized as
masterpieces lll our time.
It has been observed and with
c onsiderable justice that as a body they are th, o nly worthy
�successors to the quartets of Beethoven. They are based
on the same principle and mode by the same method, that of
integrative organic unity, closeness of derivation and the
stnrtest economy which saturates every detail, every
rhythm, every 111terval - 111 short the method createdbv
!laydn and followed by Mozart and Beethoven. The materials
a re the distinctiv
ve and extremely personal assimilation made
by Bartok of the basic materials of the racial and national
music ol Eastern Europe which he collected so faithfully and
studied with such love and care that it seems to have offered
hLm as a reward a flawless omnipotent language for the
expression of his intransigent originality. This process the forging of a "classical" language from basic materials
1s usually the product of centuries. To Bartok it was granted
to accomplish it in one hfetime. To those who realize the
achievements of Ins life work 1t seems that he deserved it.
The sixth quartet is Bartok's last and was completed in
Budapest late Ill 1939. Its movements are bound together
by a recurring "motto" theme, slow, Mesto, which embodies
the element of lassu,
brooding melancholy and concealed
fire, typical of Hungarian music. In contrasting rapid kinesthetic movements, friss,
the materials become incandescent and propose exhilarating experiences of muscles,
mind and spirit.
€ The quartet, Op. 18 No. 2 bears the nickname, "Compliment Quartet" because of the florid, elegant nature of its
opemng phrases which set thetonefortheenure first movement. However the rnatenal is not empty flattery, but rich
in patterns and motives which receive a searching analysis
and resynthesis lll the course of the movement. Juxtaposition, mutual modification, interaction are 1hr devices which
make the work a reflection of the natural world and the
Force behind it. These are carried out at obvious, overt
levels, and at recondite, arcane depths whence they operate
directly upon the subconscious which senststhe "rightness"
and precision of things for which the
"small-change counting"
consciousnesshas no recognition or epistemological terms.
The quartet is all of a piece. The Adagio has many
thematic and motivic references to the first movement it also contains a surprise, a miniature Sonata Allegro
tucked between
its two broad statements which are themselves a Lied formand its variation. The Scherzo continues
th, atmosphere of elegance and wit while the very Haydnlike finale develops a motive first presented (f) at bar 20
of the firstmovement.
�State University of New York at Binghamton
HARPUR COLLEGE
The Department of Music presents
THE GUARNERI STRING QUARTET (in residence)
Arnold Steinhard t
violin
Michael Tree
viola
John Da lley
violin
RE C ITALS
O
David Sayer
cello
SEASO N 1966-67
SUMMER SERIES
WINTER SERIES
SPRING SERIES
Sunday, July 10
Sunday, July 24
Sunday , November 6
Tuesday , Decembe r 13
Wedne sday, J anuary 4
Wednesday , January 11
Sunday , Mar ch 12
Saturday, March 18
Sunday, August 7
Sunday , August 14
Sunday, September 11
Sunday, Octobe r 9
Sunday, February 12
Sunday , April 2
Sunday , April 30
Satu rday, May 6
All performances at 8:15 p.m. in the Harpur College Theater .
Late comers will be scaled after the first quartet.
Ushering cou rtesy of Alpha Phi Omega and Gamma Sigma Sigma.
OPEN REHEARSALS
The public is co rdially invited to attend the Quartet's
rehearsals, held the day prior to each recital, at 3 p.m. in the music room (C .A.-183)
near the theate r .
Program design
by William Mihalko
�
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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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19:44
29:26
22:25
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Summer Series Recitals Guarneri Quartet, October 9, 1966
Recital Tape 1966-10-9
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Haydn, Bartók, Beethoven.
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Guarneri Quartet
Publisher
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Binghamton University Libraries
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Haydn, Joseph, 1732-1809
Bartók, Béla, 1881-1945
Beethoven, Ludwig van, 1770-1827
State University of New York at Binghamton. Department of Music
Date
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1966-10-9
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Summer Series Recitals Guarneri Quartet Recital Tape 1966-10-9.pdf
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The nextrecital in the Summer Recital Series wi
ill takeplace
on September 25 when Martha Fouse, soprano accompanied by
William Jones, Jr., will give a program of songs by Vivaldi,
Brahms, Obradors, Samuel Barber, and Benjamin Britten. The
recital will be at 8:15 p.m. in the Theater.
�State Universityof New York at
Harpur College
Binghamton
PIECES OE CLAVECIN EN CONCERT
þÿIII.I
Concert
La La Polinière
La Timide
þÿ 1 I ³ T a m b o u r i n
þÿ2.ITambourin en rondeau
The CONVOCATIONS COMMITTEE and the
DEPARTMENT of MUSIC present
CHRISTINE LINDSAY, harpsichord
JOHN HSU, viola da gamba
þÿv.I Concert
NANCY DALLEY, flute
AN EVENING OF FRENCH ANO GERMAN BAROQUE MUSIC
OF THE 18th CENTURY
Thursday, Sep. 22, 1966
8:15 P.M.
J.-Ph. Rameau
The
College
La Forqueray
La Cupis
La Marais
þÿIV.IConcert
La Pantomime
L'Indiscrète
La Rameau
Theater
A RECEPTION honoring Mrs. Lindsay, Mrs. Dalley and
Mr. Hsu w ill be held in the Faculty Lounge adjacentto the theater immediately following the recital. The audience is cordially invited to attend.
THIS EVENING'S ARTISTS
SONAT A IN A MINOR for viola da gamba and harpsichord
G.P. Telemann, 168 1-1767
Largo
Allegro
Soave
Allegro
SUITE IND MINOR for viola da gamba and harpsichord
M. Marais
1656-1728
Prelude
Couplets des Folies d'Espagne
P IECES FOR HARPSICHORD
J.-Ph. Rameau, 1683-1764
Les Tendres Plaintes
Les Niais de Sologne
SON ATA IN E FLAT MAJOR for flute and harpsichord
J.S. Bach, 1685-1750
Allegro moderato
Siciliano
Allegro
INTERMISSION
�
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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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39:34
28:56
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54660">Evening of French and German Baroque Music of the 18th Century - Christine Lindsey, Harpsichord; John Hsu, Viola De Gamba; Nancy Dalley, Flute Recital </a>
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Title
A name given to the resource
Evening of French and German Baroque Music of the 18th Century, September 22, 1966
Recital Tape 1966-9-25
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Held at 8:15 pm, Sept. 22, 1966, Harpur College Theater. Works of Telemann, Marais, Rameau, Bach.
John Hsu, Viola De Gamba
Nancy Dalley, Flute
Creator
An entity primarily responsible for making the resource
Lindsey, Christine
Hsu, John
Dalley, Nancy
Publisher
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Binghamton University Libraries
Contributor
An entity responsible for making contributions to the resource
Telemann, Georg Philipp, 1681-1767
Marais, Marin, 1656-1728
Rameau, Jean-Philippe, 1683-1764
Bach, Johann Sebastian, 1685-1750
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
1966-9-22
Rights
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In copyright
Type
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sound
Identifier
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Evening of French and German Baroque Music of the 18th Century, September 22, 1966 Recital Tape 1966-9-25.pdf
-
https://omeka.binghamton.edu/omeka/files/original/9b6a51e99b90c24e91090516995b0385.pdf
c75cc5e108f40a2da0d6abc2242353c4
PDF Text
Text
STATE UNIVERSITY OF NE\V YORK AT BINGHAMTON
CONVOCATIONS COMMITTEE
presents
Shinichi and Yasuko Yuize
8:15
AUGUST 15, 1966
COLLEGE
THEATER
�PROGRAM
GODANGINUTA (Five Sections )
THIS EVENING 'S ARTISTS
Kengyo Mitsuzaku
(d. 1853)
(koto duet)
AKIKAZE ( The Autumn Wind )
Kengyo Mitsuzaki
(koto solo)
A THEME AND VARIATIONS
Shinichi Yuize
(1923-
)
(koto solo)
THREE STUDI ES
Yasuko Yuize
(1926-
)
(koto solo)
UMEGAE ( A Plum Tree)
(voice, koto and sangen)
MIDARE HI NZETSU (Disorder)
Jodan Yatsuhashi
(1614-1685)
(koto duet)
KlNUTA (The Sound of Billowing Cloth )
Michio Miyagi
(1894-1956)
(koto duet)
Kozaburo Hirai
( 1910)
ARABESQUES
Flowing, moderato ma
Shinichi Yuize, celebrated koto player and one of Japan's best-known
composers, has been in New York for the spring semester at Columbia
University on a Rockefeller Fund grant as artist-in-residence to train
Americans in koto playing and to lecture on Japanese music. Born in
Hokkaido, Japan, he began the study of koto at the age of 3, and to write
music at the age of 6. He first came to this country several years ago as
koto virtuoso soloistwith the Azuma Kabuki Company, touring with this
group al50in Britain, Italy, Holland, Germany, and France. lie ha, also
performed in Iran and Israel. l n Europe, he has appeared in joint concerts
with Yehudi Menuhin, David Oistrakh, and Ravi Shankar.Henry Cowell
for hlm which he performed last Spring ( 1965) at
wrote a koto concerto
Dartmouth College in premiere with Mr. Cowellpresent. For many seasons, Shinichi Yuize ha, also presented in the fall in Tokyo a concert of
his own compositions--works in large and smaller forms, and of various
combinations and solo instruments. He has been the
representative of his
country in international festivals abroad, and music congresses
at home.
Mrs. Yuize is a graduate of Peninsula College in California. Both
artists are members of families celebrated in Japan for musical heritage
Both also graduated from the Tokyo University of Arts, and have studied
koto with the late Michio Miyagi. The couple recently made their duo
recital debut in New York at Carnegie Recital Hall on May 24th. During
early June, Mr. Yuize was koto soloistwith the New York Philharmonic
Orchestra, Andre Kostelanetz conducting, at three Philharmonic Hall
Promenade Concerts, in a concerto by his teacher, Michio Miyagi, titled
"The Sea in Springtime."
Shinichi Yuize's solo records include one recently made for Nonesuch
also an earlier Cook album. With Tony Scott, clarinetist, Mr. Yuize has
recorded for Verve Records, and with his wife for B. A. M. of France.
con spirito
Contrast, Pocolento
Harmony,
Allegrocon l,rio
(koto duet)
Ushering courtest 01 Alpha Phi Omega and Gamma Sigma Sigma.
Masao Matsumoto
(1915l
WOOD AND STONE
Smoking is allowed in the lobby, but
not
in the theater.
A Scene,, Andante
A
A Struggle, vivace
In order to accomodate •• many people as possible for each of the
Convocations Committee events, the following system of seatpriorities has
been established.
Peace, Rondo
(koto duet)
A RECEPTION honoring the Yuizes will be held by the residents of Johnson I/all in the Lounge of their dormitory immediately following the performance.
The audience is cordially
invited to attend. Johnson Hall is situated
directly across
Center Drir,e from the Student Cente r Building.
Seat reservations will not be honored after 8:15 p. m. In case of a
sell-out seats not occupied at that time will be re-sold. Should a patron
arrive late and find that his seat has been resold, the purchase price of
his ticket will be refunded. No refunds will be made to persons not attending the concert.
This policy has beenadopted
so that while advance reservations may
be made, no one will be turned away from a program while there are
empty seats in the theater.
�EVENTS CALENDAR
t
All programs at 8: 15 p. m. in the College Theater
unless otherwise specified.
• A presentation of the Convocations Committee
Admission charge. Tickets available at College Box Office, 798-2165.
SEPT. 16, 17, 18
Friday, Saturday,
Sunday
þÿ'" " T HFIREBUGS"
E
An exciting new play by one of Germany's leading
playwrights, Max Frisch. Presented by the Theater
Department, and directed by Al Brooks.
SEPTEMBER 21
Wednesday
þÿ'" F I L
"HAND
M:
lN HAND"
"Hand in Hand" dramatizes with warmth and insight the friendship of a boy and a girl. Their
world is happy and serene until it is invaded by a
religious prejudice.
AUGUST 16
Tuesday
!Oa.m.
C.A. 183
LECTU RE / DISCUSSION ON JAPANESE MUSIC
Shinichi and Yasuko Yuize in an informal discussion
of Japanese music. Mr. Yuize is one of Japan's foremost composers.
AUGUST 17
FILM: "THE CRANES ARE FLYING"
Cannes Grand Prize drama of two young lovers
caught up in the tragic eventsof World War II
which strikes a universal note and is revealing of
SEPTEMBER23
Friday
°FILM: "WHAT PRICE GLORY" (United States,
by Mikhail
Russian dialogue,
subtitles. Presented by the Student Center Board.
BEGIN SU!'.1\1 ER RECESS
SEPTEMBER 25
Sunday
°MARTHA FOUSE, SOPRANO
Youth Artists Series
SEPTEMBER 30
Friday
°FILM: "ANTIGONE" (Greece, 1961 )
T he problem of Sophocles play lies in the rival
claims of the state and the individual conscience:
on the one hand, the state's need to prosecute the
war on its enemies ruthlessly and, on the other
hand. the individual's need to honor his personal
sense of justice. Irene Pappas stars.
OCTOBER 2
Sunday
YATES, PIANIST
þÿ'"FRANCES
Young Artists Series
OCTOBER 5
Wednesday
°SEYMOUR LIPSET,LECTU RE
Internationally known for his studies of political
sociology in the United States and Europe and in
emerging nations.
Wednesday
attitudes
AUGUST 20
Kalatozov,
Directed
Saturday
AUGUST 28
Sunday
AUGUST 29
Monday
SEPTEMBER 2
Friday
SEPTEMBER4
Sunday
SEPTEMBER
9
Friday
SEPTEMBER 10
Saturday
7:00
Gymnasium
SEPTEMBER 11
Sunday
FILM: " MIDNIGHT LACE"
A spellbinding and starkly realistic mystery drama
with a shocking climax. Doris Day gives a fascinating and emotional performance. Presented by the
Student Center Board
CLASSES RESU!'.1E
°FILM: "THE GOOD SOLDIE R SCHWEIK"
(Germany, 1961 ) The Germans know all about
good soldiers. and this comedy ( from the novel by
Jaroslav Hasek) shows us some of what they have
learned. At least, the film is saying, somebody must
be crazy.
°AN EVENING OF FOLK SONG
English, Irish. Scottish and American songs and
ballads, sung by Hollis Rinehart. baritone, accompanying himself on the guitar. Young Artists Series
SUMMER WEEKEND FILM
(to be announced)
Presented by Student Center Board
þÿ'"
"THE CAMBRIDGE CIRCUS"
From five months at the West End in London , and
six months touring Australia and New Zealand, this
mirthful revue with music is directed by John
Cle,,;,, and produced by John II. Morris, Jr., producer of "THE ESTABLISHMENT••
GUARNERI STRING Q UART ET
Quarter in C Major, K. 387, Mozart; Quartet in F
Major, Op. 18 c'>o. I. Beethoven; Quartet in G
Minor, Grieg.
SEPTEMBER 22
Thursday
CHRISTINE LINDSAY, HARPSICHORDIST
Presented
by the Music Department.
1926)
w ay play, starring Victor Broadw
McLaglen, Edmund
EnglishLowe,
and Dolores Del Rio.
OCTOBER 6
Thursday
°FRANK PULLANO, BARITONE
Young Artists Series
OCTOBER 7
Friday
°FILMS: "THE RED BALLOON" AND "LORD
OF THE FLIES'"
Two films about what children are: one shows us
a child whose delight is the vulnerable and beautiful balloon that accompanies him through the
vaguely hostile streets of Paris; the other shows us
whose game is war and whose toys are
OCTOBER 8
Saturday
þÿ'" F I L"DOCTOR
M:
STRANGELOVE"
This film has been granted some sixty intcma·
tional awards. It is a brilliant example of screen
satire at its finest and funniest. Starring George C
Scott and Peter Sellers. Presented by the Student
Center Board.
children
weapons
�
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Coverage
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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
Duration
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33:54
26:04
22:06
Streaming Audio
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54655">Duo Concert of Japanese for Koto, Voice and Sangen Shinichi and Yasuko Yuize 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>.
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Title
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Duo Concert of Japanese for Koto, Voice and Sangen Shinichi and Yasuko Yuize, August 15, 1966
Recital Tape 1966-8-15
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Mitsuzaki, Yuize, Yatsuhashi, Matsumoto.
Creator
An entity primarily responsible for making the resource
Yuize, Shin'ichi
Yuize, Yasuko
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Contributor
An entity responsible for making contributions to the resource
Mitsuzaki Kengyō, -1853?
Yuize, Shin'ichi
Yatsuhashi Kengyō, 1614-1685
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
1966-8-15
Rights
Information about rights held in and over the resource
In copyright
Type
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sound
Identifier
An unambiguous reference to the resource within a given context
Duo Concert of Japanese for Koto, Voice and Sangen Shinichi and Yasuko Yuize Recital Tape 1966-8-15.pdf
-
https://omeka.binghamton.edu/omeka/files/original/3706516d0d029c76c93d4e95e745d917.pdf
6cff451854c6bf3b731183c2cc10aad6
PDF Text
Text
�PROGRAM
Sunday, August 14, 1966
8:15 p. m
College Theater
QUARTET in F MAJOR, K. 590
Allegro moderato
Allegretto
Menuetto, Allegretto
Allegro
W . A. MO ZART
CONCERTI NO for STRING QUARTET
(1920)
I. STRAVI NSKY
intermission
QUARTET Op. 130 in B FLAT
I Adagio, ma non troppo; Allegro
II Presto - L'istesso tempo
III Andante con moto, ma non troppo
IV Alla d anza tedesca. Allegro assai
V Cavatina. Adagio motto espressivo
VI Finale; Grand Fugue (Op. 133)
L. v . BEETHOVE N
A RECEPTION honoring the Quartet will be
held in the Faculty Lounge adjacent to the
theater following this evening's recital . The
audience is most cordially invited to attend.
�Notes
by William
Kl enz
ozart's last quartet, K. 590 in F Major, is the
third of the (proposed)
series of six (17B9-90)
for Frederick William II of Prussia. It is the
largest in scale and of brilliant, masterly effect,
relying upon no unusual forms or procedures.
The highly developed 'cello part is in recognition
of the patron's predilection for that instrument.
€ The Concertino
of Stravinsky 1s a concise, highly inte-
grated work relieved by some elements of virtuosity by the
first violin. Written in 1920, it reflects the reaction of the
period against "systematic" composition and traditional
forms and seeks to exploit and extend tonal resources, speci-
fically by de-emphasizing the classical consonant relationships of thirds, and supplanting them with fourths. The
unsentimental and even cynical aphorism that results is a
c l ear reflection of the post World War I era.
• The Quartet in B Flat, Op. 130 is one of the three works
undertaken fo r P rince Nicholas van Galitzin. The series
begins with op. 127 in 1823-24, followed by Op. 132 in 1825
and Op. 130 in 1826. (The seeming contradiction in order is
the result of the order of publication.) With an unusually
large number of movements, the work is complex, varied
and extensive. In the original version, performed this evening, the work ended with a iitanic fugue.
At the first performance, 1826, the second and fourth
movements had to be repeated whereas the final fugue, which
is of transcendent difficulty for both player and listener,
was felt to be without effect. For this,and practical reasons
suggested by the publisher (with an eye to sales I), Beethoven
supplied in November, 1826 a new finale which was his last
completed composition. The "Grand Fugue"was published,
and is often played, separately as Op. 133 with a dedication
to Archduke Rudolph.
The first movement is a sonata form which begins with a
slow introduction before its brilliant principal theme. The
movement is complicated by a number of reappearances of
the introductory material at crucial moments in the form,
e .g. the beginning of the development and of the coda. This
most unusual procedure may at first disturb the listener's
formal accounting, but in reality it is a powerful unifying
factor imposing both order and moments of respite-variety
upon the somewhat intractable materials of the sonata proper.
�The multipl icity of movements is occasi oned by Beethoven ' s use of two Scherzi, one in bina r y meter, one in
ternary meter, movements II and I V . T he i ncl usion of the
second may have been due to its pre-existence. Intended
originally for the A Minor quartet, Op. 127, where it was to
have been in A MaJor, it is labelled "Alla danza tedesca"
("like a German dance"). Its popular elements are welcome
in the rarefied, intense atmosphere of the rest of the work.
Another possible reason fo r its removal to this quartet where
it appea r s in the key of G 1s that this key per mits the use of
the hurdy-gurdy drone-like "open" D stringinthewaltz-like
passages of the first violin i n the trio.
T he third movement, Andante _ ts, in the classic Viennese
tradition, the result of the application of the pri nciples of
Sonata development an d variation to lyr ic {r ather than theatrical) materials. The resulting richness, variety and fantasy of design el ements and texture are nowhere surpassed
even by Beethoven himself. The Cavatina, V, is as its name
implies, a direct lyric utterance of s i mple form without
extensive deve lopment. It is of the exal ted, subllmeexpressio11 accessible only to the greatest maste r s.
The Fugue-finale 1s accordmg to Beethoven'sownsuperscription "now free, now st r ict,• and r esembles no other
then existing work. Its form:
I. Introduction ("Overtura")
a stark exposition of its "Euclidian" or perhaps better "Cartesian" kernel-theme,
which incidentally bears not a little resemblance to
the co r e-materials of both Op. 131 and 132. Also presented are fragments of a second fugue theme.
ll. First Fugue (strict, subject in wide, jagged intervals
accompanied by kernel-theme) followed by three variations or (free) developments.
a. Triplets.
b. Eighths and sixteenths .
c. Subject (wide intervals mod1f1ed by triplets).
III. Second Fugue (strict, subject flowing sixteenths with
kernel-theme) followed by the va r iations or (free)
devel opments.
a. Allegro, /(, kerne l -theme .
b. Kernel-theme augmented and subject inverted.
c. Subject diminished, modulation.
IV. Threefold deve lopment of the two fugues, reminiscences and development of preceding sections.
V. I. Repetition of first variation of the second fugue.
2. Further development of second fugue.
(Continued on back page)
�State University of New York at Binghamton
HARPUR COLLEGE
The Departm ent of Music presents
TH E GUARNERI STRING QUARTET (in residence)
Arnold Steinhardt
John Dalley
violin
violin
R EC I TALS
O
Michae l Tree
viola
SEASON 1966-67
SUMMER SERIES
WI NTER SER IES
Sunday,
Sunday,
Sunday.
Sunday ,
Sunday,
Sunday ,
Sunday, November 6
Tuesday, December 13
July 10
J uly 24
August 7
August 14
Septembe r 11
October 9
Dav id Soyer
cello
Wedne sday , January 4
Wednesday, January 11
Sunday , February 12
SPR ING SER IES
Sunday, March 12
Saturday, Ma r ch 18
Sunday , April 2
Sunday , April 30
Saturday, May 6
All performances at 8:15 p.m. in the Harpur College Theater.
Lafe comers will be seated after the first quartet.
Ushering courtesy of Alpha Phi Omega and Gamma Sigma Sigma.
OPEN REHEARS ALS
During the month o! August, the Guarneri Quartet
will be holding open rehearsals according to the following schedule:
Mondays . . . . . . . . . . . . . . . . . . . . . . . . . . August 15, 22
Wednesda ys . . . . . . . . . . . . . . . . . . . . . . August 10 , 17 , 24
Fridays . . . . . . . . . . . . . . . . . August 12 (at 3:00 p.m.), 19 , 26
All rehe arsals will be held in the Musi c Rehearsal Room (Classroom• Administrahon
Building-Room 183), and will begin at 11 :00 a.m., except for the August 12 rehearsal.
The public is cordially invited to attend. Persons may quietly enter and leave the
rehearsal a rea at anytime.
NOTES (Continued)
VI. Coda
l. Ke rnel•theme //, massive, unison.
2. Subject of second fugue, (transformation
by tr ill s) .
3. Recapitulation of first subject (wide mtervals v. 1) with kernel•theme
in augmentation (v . 2 , 'cello) and characte risti c rhythm (in viola).
4. Brilliant, r esonant statement of simplest e lements of the subject.
A towe r ing edifi ce indeed, nor is its access easy, o r gamed at the hrst attempt!
Program design by William Mihalko
�
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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>
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In copyright.
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3 sound tape reels
Duration
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31:27
09:57
37:21
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54650">Summer Series Recital Guarneri Quartet 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>.
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Title
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Summer Series Recital Guarneri Quartet, August 14, 1966
Recital Tape 1966-8-14
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Mozart, Stravinsky, and Beethoven.
Creator
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Guarneri Quartet
Publisher
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Binghamton University Libraries
Contributor
An entity responsible for making contributions to the resource
Mozart, Wolfgang Amadeus, 1756-1791
Stravinsky, Igor, 1882-1971
Beethoven, Ludwig van, 1770-1827
Date
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1966-8-14
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sound
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Summer Series Recital Guarneri Quartet, August 14, 1966 Recital Tape 1966-8-14.pdf
-
https://omeka.binghamton.edu/omeka/files/original/af4f7b15d5180b7c4cc6e12a092ebc13.pdf
ecc2450b6e0a65170aa6ed3c8cd2e335
PDF Text
Text
Harpur. Season 66·67
Summer Series
�PROGRAM
Su nday, Augu s t 7, 1966
8 :15 p . m. College Theater
QUART ET in E FLAT MAJOR, K.171
Adagio, Allegr o assa i
M enuetto
And ant e
Alleg r o assai
W. A.MO ZART
STRING QUARTET No . 2
Lento -
All eg r o Appassionato, all a br eve V ar i ations, Andant e tranqu illo Prest o - Adagi o -
R . SESSIONS
interm ission
QUARTET in F M AJOR, Op. 135
Allegr etto
Vivace
Le nto as sai , cant ante e tr anquillo
De r Schwer gefassl e Entschluss;
Gr ave, ma non troppo tratto, Al leg ro
L. v.BEETHOVE N
A RECEPTION honoring the Qua rtet will be
held in the Faculty Lounge adjacent lo !he
theater following this evening's recital. The
audience is
most
cordially invited
to attend.
�Notes
by William Klenz
ozart ' s quartet in E flat, K .171 bears the date
1773 and was w ritten in Vienna, afterthe l tal1an
visit of that year . In it we pe r ceive the influence
of the taste of the capitol and of the works of
Joseph Haydn whose then "newer" quartets, Op.
17 and 20, opened the dimenslonsof organization
and econom y which mak e t he form the most highl y regarded
musical expression of ou r culture. We see Mozart at eighteen, not yet so sure-handed as he will become, borrowing
and "trying out" what he will later assimilate completel y .
The opening is a formal introduction in the taste of the
"classic" theatre, an intrada or invocation. There follows a
movement which cont ains the recognizable elements of a
sonata move ment, but, as often with Haydn, arranged in an othe r fashion. Here Mozart abandons the dramatic principle
which gover ns so much of his work, and also like Haydn,
becomes the thoroug h and systematic essayist, returning to
his main premise threetimesinordertoround out his argu m ent- structure. T he fugal nature of this main (sustained
tone) idea and incidental use of counterpoint are pa r t of the
"bor rowings" from Haydn, and contribute t o the more sinewy
s t yl e. The reappearance of the ce r e monial in1 r oduction at
the end is most unusual and serves to frame and suppor t the
ir r egular structure it bounds. The Menuetto also shows definite signs of the influence of Haydn's "new" manner in its
use of imitation among the parts, and. al so of Haydn's wit,
in the little three bar solo for the first violin. The Andante
is even mo r e ambitious in this r espec t , eschewing theatrical,
Italian l yricism fo r a rather severe "churchy" manner remin iscent of the styl e of the p r eceding century . T he Finale,
Allegro Assai , however r everts to the I talian, Milanese
manne r and coul d be the last movement of an opera-overture
symphony such as t hose of J.C. Bach or his own K . 16. The
fast terna r y meter and. the uncomplicated material s are its
earmarks.
- One of the most articul ate American co mposers alive
today, Roger Sessions, studied. at Harvard, Yal e, in Paris
and Rome, and. at the Cleveland Institute of Music,
as a pupil
and later the successor of Bloch. He al so taught at Snuth,
Princeton, and the University of California at Berkeley and
has been the recipient of many d ifferent g rants. Acutely
aware of the r esponsibility of the modern composer to his
audience, he has treated this probleminartlcl esand a book.
The Second Quartet, written in 1950, is in hve movements,
played without pause. About this work the compose r writes:
�" In three of the move ments I have adapted to my own purposes so-called standard forms which I have never he ret ofore used i11 what I conside r my mature compositions. The
first move ment may be roughl y described as a double-fugue
. . it g r ew literall y from one phrase to the next and while
I was co mposing it, each happening seemed to me the onl y
possibl e result of what had gone before.• Th e Variations of
the third movement he re fers to as "restrained,"
in that
the y do not depart far from the theme itself, although changing in dynamics , tempo, and rhythm. In the fourth movement ,
Scherzo, he uses the "da capo" form, but explains that the
"da capo• is not complete but m o re concentrate d and at a
different pitch. The second movement he describes as having
two contrasting sections, "one fast and one quieter and more
rhapsodic"; the fast section returns thr ee times enclosing
tw o quite different statements of the sl ow section. The last
movement "is the shortest and least elaborate .. and has
in a sense the charact er of an epilogue.''
• The last of Beethoven's string quartets, Op. 135 in F
m ajor, was c r eated 111 the Summer and F all of 1826. The
first public performance was in March, 1828. The work 1s
short but concent rated. A friend of Beethovenobservedt!1at
he had deliberatel y held down its l ength because the publisher
paid h11n in mere n orms instead of the agreed aristocratic
ducats; "he sends short ducats, he'll get a sho rt quartet"
was the t ypical mock-cynical
r eJoinde r. The form 1s severely cl assica l. A sonata movement Allegrettousing nonth eatri c al materials is followed by a most c harac teristi c
Scherzo, Vivace. The s l ow move ment, Lento assai, cantante
e tranquillo consists of two parallel strophes of Lied form .
The last movement bea rs the superscription, DerSchw er
gefasste Entschluss, (the d1fhcult decision). In the original
parts copied by Beethoven himself, he has inserted beneath
the notes the text Muss es sein? (Must it be?) which we hear
at the beginning, Grave f rom the viola and cello, and the
answe r, Es muss sein!
{It must be!)wh1chthe violins reply,
Allegro.
Two stories, ei ther o r even bo th of which may be
true , are gi ven for theor1ginofthesewords. We have documentary evidence - his com·ersation notebook, 1823, where
his housekeeper wrote, "Today is Saturday and I must have
money. [I must be." This pe r emptory, sybilline
utterance
of the coo k apparentl y amused Beethoven and it may have
become a household joke. In the July book of 1826, a friend,
Holz, writes ". . he laughed and asked,'must 11 be?'" Then
in the Dece1nber book there appear in Beethoven's own hand
the musical fragments which are used in the quartet. Holz
also provides a short catch for four men's voices using the
same material. This appears to have been occasioned by
(Continued on back page)
�State University of New York at Binghamton
HARPUR COLLEGE
The Department of Music presents
THE GUARNERI STRING QUARTET (in residence)
Arno ld Steinh ardt
violin
Jo hn Da lley
violin
RE C ITALS
S UMMER S ERIES
Sunday ,
Sunday,
Sunday,
Sunday,
Sunday,
Sunday ,
July 10
July 24
August 7
August 14
Septembe r 11
Octobe r 9
Michae l Tree
viola
Davi d Sayer
cello
O SE A S O N 1 96 6 -6 7
WI NT ER SERIES
SPRING SERIE S
Sunday, November 6
Sunday, M ar ch 12
T uesday, Decem be r 13
Wednesday, January 4
Wednesday, Janua r y 11
Saturday, Ma r c h 18
Sunday, April 2
Sunday, April 30
Satu rday, May 6
Sunday , Februar y 12
All pe r for mances at 8:1 5 p.m. i n the Har pur College T heater.
Lafe comers wi ll be seated after
the first
quartet.
Ushering cour tesy of Alpha Phi Omega and Gamma Sigma Sigm a.
OPEN REHEARSALS
During the month of August, the Guarne ri Quartet
will be holding o pen r ehearsals according to the fo llowing schedule:
Mondays .
. . . . . . . . . August 15 , 22
Wedne sdays .
. . . . . . . . . . . . . . August 10 , 17 , 24
F ridays .
. . . . . . . . August 12 (at 3:00 p. m .), 19, 26
All re hearsals will be held in the Musi c Rehearsal Room (Classroo m- Admi nis tration
Building- Room 183), and will begin at 11 :00a. m. ,except for the August 12 r e hear s al.
The publi c is cor dially invited to attend. Pe rsons may qui etl y ente r and le ave the
r ehearsal area at anytime .
NOT ES (Continued)
the sam e words E s muss sei11, used byBeethoveninanot her connection (the fi r st per fo rmance of Op. 130), and who was then amused to find himse U as or acula r as his
cook . Beethoven's sense of humor and unvarying abilit y to perceive the large within
the s mall and take fresh strength from eventhetrivial has not failed him even a mong
t he tribulations of his last year. This was , as he knew and said, his last quarte t -"a difficult decision ," which he faces with yet one mo re profession of faith and abunda nt humanity.
Program d esig11 by Will iam Mihalko
�
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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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27:39
24:03
27:42
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Summer Series Recital Guarneri Quartet, August 7, 1966
Recital Tape 1966-8-7
Subject
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Concerts
Instrumental music
Live sound recordings
Description
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Works of Mozart, Sessions, Beethoven.
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Guarneri Quartet
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Binghamton University Libraries
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Mozart, Wolfgang Amadeus, 1756-1791
Sessions, Roger
Beethoven, Ludwig van, 1770-1827
State University of New York at Binghamton. Department of Music
Date
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1966-08-07
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Summer Series Recital Guarneri Quartet Recital Tape 1966-8-7.pdf
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https://omeka.binghamton.edu/omeka/files/original/f21256b3fd313b991dd0492c7d577d59.pdf
82cb833d08ae07499ff8d56e15422499
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Harpur • Season 66·67
Summer Series
�PROGRAM
Sunday , Ju ly 24, 1966
8:15 p . m . College Theate r
QUINTET, Op . 115, F OR C LARINET, TWO
VIOLINS, VIO LA, AND VIOLONCELLO
Allegro
Adagio
Andantino, Presto non assai ma con
sentimento
Con Moto
J . BRAHMS
Harold Wright, Clarinet
STRING QUARTET No . 2 (1958)
Mode rato, Allegro Moderato
Adagio
Allegr o Molto
(played without pause )
L . KIRCHNER
intermission
QUARTE T, Op . 131
Adagio, ma non troppo e molto e spre ssivo
L. V . BEETHOVE N
A RECEPTION honoring the Quartet will be
held in the Fa culty Lounge adjacent to the
theater fo llowing this evening's recital. The
audience is most cordially invited to attend.
�Notes
by William Klenz
he clarinet quartet of Brahms is one of
his most generally admired chamber
works. Like the other works for clarinet
it was inspired by the remarkable playing
of Mühfeld, to whom we owe thanks for
extending Brahms' chamber output beyond Op. ill.
The combination of instruments, although not without
problems for the performers, gives rise to a great
variety of tone color ranging from brilliant to sombre .
Also, the presence of the visiting wind instrument
with its long range and variety of articulation leads
to the creation of thematic types and textures which
go beyond the normal language of Brahms' string
quartet writing. The work dates from ca. 1892 and
exhibits at every turn the consummate craftsmanship of the experienced master, especially his infallible rhythmic sense.
The work, in the key of G minor, has been described as •sorrowful," but it seems more proper
to say that it is passionate, alternating fire with
melancholy and lyricism. The movements are spacious and completely developed. The most remarkable moment is the central portion of the adagio
where the clarinet "takes off" with the stunning
arabesques which are the characteristic feature of
Hungarian popular music. Genuinely rhapsodic in
nature, disturbing and exotic, they are descendants
of the oriental influences which intrigued the Greeks
(to the dismay of Plato and Aristotle) and predecessors of the wonderful uses of Bartok, whose
Contrasts were recently heard in this room.
• The second string quartet of Leon Kirchner bears
the date, 1958. It is in three movements played
without pause, but with many incidental changes of
pace. It is composed accordrng to no system except
that of the composer's own powers of invention and
conception which are primarily directed toward the
creation of intrinsically beautiful, even delicate,
sonorities from whose exploration an inner logic
�emerges. It makes no use of arbitrary techniques
or method. The musical ideas and motives retain
their identities but are subject to metamorphosis
as their interaction, which creates the structure,
unfolds. The mood is lyrical and unharried, and the
substance light and transparent.
These properties characte rize the first movement, Moderato Allegro Moderato, which is a "construct," free in form but using traditional, logical
methods including recapitulation and repetition. The
second movement, Adagio, is rhapsodic in nature,
mercurial and yet poetic. The last movement, Allegro Molto is also a unique structure which combines
the characteristics of the other two in intensified
form. A formal recapitulation in an almost classical
sense (bar 259) follows a quotation from the second
movement, gains momentum and then gives way to a
calm coda, which brings the work to an end in serene
lyricism.
• The Quartet in C Sharp Minor from the year 1822
is the fourteenth of Beethoven's quartets. It is in
six movements played without a break. They are 1:
Adagio, Fugue, C#; 2: Allegro Vivace, Sonatina, D;
3: Recitative and Andante with seven variations, 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. The Adagio, Lied, is a
(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
violin
John Dalley
violin
Michael Tree
viola
David Sayer
cello
R EC IT AL S O S EA SO N 1 966-67
SUMMER SERIES
W INTE R SE RIES
SPRI NG SE RIES
Sunday,
Sunday,
Sunday,
Sunday,
Sunday,
Sunday,
Sunday, November 6
Tuesday, December 13
Wednesday, January 4
Wednesday, January 11
Sunday, February 12
Sunday, March 12
Saturday, March 18
Sunda y, April 2
Sunday , April 30
Satu rd ay, May 6
July 10
July 24
August 7
August 14
September 11
October 9
All performances at 8:15 p.m. in the Harpur College Theater .
Late com ers will be s eated after the first quartet.
Ushering courtesy of Alpha Phi Ome ga and Gamma Sigma Sigma.
OPEN R E HEARSALS The public is cordially invited to atte nd the quartet's
r ehearsals, held the day prior to each r ecital, at 3 p.m. (during August 10 a .m .),
in the music room (CA - 183) near the theater.
NOTES (Continued}
concentrated expression of sublime calm and assurance which engenders
the confidence to undertake the const ru cti on of the final, sonata, move ment.
This is a vast constructi on which unites the m ate ri a ls of the pre ceding sections and comments on their underlying unity and ends with the incandescent
dithyrambic transfor mation of the or iginal proposition.
TONIGHT'S GUEST ARTIST
HAROLD WRIGI-IT is the first c larinetist of the ationa l Symphony and has made
numerous solo appearances with the Was hington, D. C. Orchestra. He has been heard
in c hamber music performances with the Budapest and Juilliard String Quartet s .
In addition, Mr. Wright has participate d in the Casals Festiva l in Pue rto Ri co and
at Marlboro, Vermont. He has r ecorded extensively for Columbia Records.
Program design by William Mihalko
�
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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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38:55
17:17
38:50
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Title
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Summer Series Recital Guarneri Quartet
Recital Tape 1966-7-24
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Brahms, Kirchner, Beethoven.
Creator
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Guarneri Quartet
Publisher
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Binghamton University Libraries
Contributor
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Brahms, Johannes, 1833-1897
Beethoven, Ludwig van, 1770-1827
State University of New York at Binghamton. Department of Music
Date
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1966-7-24
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Summer Series Recital Guarneri Quartet Recital Tape 1966-7-24.pdf
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https://omeka.binghamton.edu/omeka/files/original/752105b27beb9693ae54e2e1c1ec9743.pdf
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state university of new york at binghamton
harpur college
y
0
u
convocations
committee
presents
N
G
A
R
T
1
s
rec ital
students from the piano master class
T
s
E
R
I
E
s
july 17, 1966
8:15 p.m.
college theater
�State University of New York at Binghamton
HARPUR COLLEGE
CONVOCATIONS COMMITTEE presents:
YOUNG ARTISTS SERIES
program two
RECITAL
by students from the
Piano Master Class
Sunday, July 17, 1966
8:15 p.m .
College Theater
A RECE PTION honoring th e pe rfo rmers w ill be he ld in the
Faculty Lounge adjacent to the theater immediate ly fo llow in g
th e recital. The audience is cordially in v ited to attend.
THIS ·EVENING'S ARTISTS are advanced students who are members this summer of the Piano Master Class being held by Harpur Faculty Member , Jean Casadesus .
�PROGRAM
TOCC ATA IN C MINOR
Bach
Ellen Leinwand
SONATA IN B FLAT MINOR , Op. 35
Chopin
Grave - Do pp io Mov im ento
Sche rz o
Marche Funebre - L ento
Fin ale - Presto
Arlene Portney
- IN T E RMISS ION -
Beethoven
SON AT A, Op , 109
V ivace, ma non troppo
Pres ti ss imo
Andante mo lt o cantabile
Ariane Josef
Debussy
PR E LUDE S
Dan se us es de De lp he s
Vo iles
Le Ve nt dan s la plaine
L es sons et !es par/ums ...
L es co/lines d' Ana capri
De s pas sur la n eige
Dans e de Pu ck
Ce q'ua vu le vent d'Ouest
Anita Carlton
�EVENTS CALENDAR
All programs are at 8:15 P.M. in the College Theater unless
otherwise indicated.
JULY 22
Friday
Admission
Free
JULY 24
Sunday
Admission
Fee
RLMS:
"POTEMKIN" (Odessa Steps Sequence)
"ALEXANDER NEVSKY"
"Potemkin recreates the spirit of the 1905 revolution through the depiction of one of its incidents, utilizing new techniques of manipulation of
film materials to communicate physical sensation.
"Alexander Nevsky,"
an epic film monument ,
deals with the invasion of Russia by the powerful
Order of Teutonic Knights, as crusaders, and the
decisive battle of the Ice where Nevsky won a
brilliant victory. The famous musical score for
the film by Sergei Prokofief has won international
acclaim as the "Alexander Nevsky Cantata."
Sponsored by the Convocations Committee.
THE GUARNERI STRING QUARTET
Sponsored by the Department of Music. Series
and individual recital tickets available at the college Box Office.
�
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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In copyright.
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26:20
20:53
32:35
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Title
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Recital By Students From the Piano Master Class
Recital Tape 1966-7-17
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Performances by students Ellen Leinwand, Arlene Portney, Ariane Josef and Anita Carlton. Works by Bach, Chopin, Beethoven, Debussy. Held at 8:15 pm, July 17, 1966, Harpur College Theater.
Creator
An entity primarily responsible for making the resource
Leinwand, Ellen
Portney, Arlene
Josef, Ariane
Carlton, Anita
Publisher
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Binghamton University Libraries
Contributor
An entity responsible for making contributions to the resource
Bach, Johann Christian, 1735-1782
Chopin, Frédéric, 1810-1849
Beethoven, Ludwig van, 1770-1827
Debussy, Claude, 1862-1918
Date
A point or period of time associated with an event in the lifecycle of the resource
1966-7-17
Rights
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In copyright
Type
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sound
Identifier
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Recital By Students From the Piano Master Class Recital Tape 1966-7-17.pdf
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https://omeka.binghamton.edu/omeka/files/original/849fdcf2afa4e919e385c1943cd0f49e.pdf
b496ad15d8e70bd34f83624976c52fba
PDF Text
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WILLIAM S.
EWMA
�State University of New York at Binghamton
Harpur College
Convocations Committee and
the Department of Music present
THE ACCOMPANIED CLAVIER SONATA
--AMissing Link in Classic Chamber Music-
LECTURE-RECITAL by WILLIAM S. NEWMAN
Assisted by
Marianne Wa llenber g, violin
Fritz Wa llenberg , cello
Anic a Carlton , piano
The recita l port ions will include excerpts fr om t he fo llowing sonatas :
Sonata in G " for the Harpsichord or Piano Forte
with an accompaniment for the Violin or German
flute ," Op. 16, No. 2 .. .... .... .. ........ .. .......... J ohann Christian Bach (ca . 1776)
Allegretto
Andante gra zioso
Sonata in C Minor "pour le Clavecin " w ith the accompaniment
"ad libitum ," Op. 14, No. 3 .
.... ... .. .. .. ...... Johann Schobert (ca . 1765 )
Allegro m oderate
Andante cantabile
Menuetto grazioso
Sonata in F fo r Two Perform er
upon one Instrument ... ............ ... .
Largo
Allegro
.... ..................... Charles Burney (1777 )
Sonata in A per Cem balo o P iano-for te con Accompagnamento
...... ...... Franz An ton Rosetti (Rossler ) (ca . 1781 )
d' un v iolino ............... .
Allegro m olto
Andante stacatto
Rondo allegretto
Sonate pour le Piano avec Accompt. de
Flute on Violon ad Libitum .. .. .... .................. ......... Ferdinand Ries (ca . 1830 )
Allegro
Allegre tto vivace
Thursday, July 14 , 1966
8:15 p.m . College Theater
Sonata in B- fl a t "per cembalo con violin o
obbligato," Op . 5, No . 3 .. . .....
Moderate
Allegro
.. ... ...... Luigi
Boccherini ( 1768 )
�EVENTS CALENDAR
WILLIAM S. NEWMAN :
Dr. Wi lliam S. Newman is na t i ona ll y kn own as pi a nis t ,
teac her , re searc her and a ut ho r (T H E P I
I T ' S PROBL E M ,
UN O E RST ANDING MUSIC , seve ral c ri t ical e di t i on s o f mu s ic
incl uding T HIRTEE N KEYBOARD SO AT AS a nd numerou s
s cho l arl y a rt icles in Am eri can a nd fo reign p ublic a t i on s , and
period i cal s) .
As Alu mni Di s t ing uished P ro fe ssor of Music a t the n1 versit y of North C aro li na , he ha s re ce ntly comple t ed the fi rs t
t wo vo lu mes (Baroq ue , C l ass i c ) in his monumen t a l s t udy d e a ling with t he " His t ory of th e Son a ta Ide a " which ha s been in
progre ss fo r more th an t we n ty years .
•
A reception honorin g the perf orm e rs w ill be h eld in the
Fa c ulty Lounge adjacent to the the at e r immediat e ly /o llo ing
the rec ital. The audien c e is cordially in v i ted to a tte nd .
A ll prog ram s are at 8: 15 P. M. in th e Co llege Th e at e r un less
oth e rw is e ind ic ate d.
J ULY 15
Fri d a y
Admi ss i on
Free
F ILM: "ALL Q IE T ON T H E WE TE R FRONT"
s tarrin g L ew Ay res , Lo ui s Wolheim . A grim s a ga
of war a s se en th rough German e yes , tra c in g th e
adventure s o f s e ve n youn g boys who ente r th e
Imperia l Arm y in 19 14 a nd le a rn o f fear , fi lth , a nd
destruction durin g four year s o f c ombat. Spon sored
by the C on voca ti ons C omm i tte e .
J U LY 1
Admis s i on
Free
YO UNG ARTI STS SE RI ES
Spons ore d by th e C on vocati ons C ommitt e e .
J U LY 22
F rida y
Admission
Free
"POT E MKI " (Ode ss a Steps Sequen c e )
"AL EX AND E R NEVS KY"
"Potemkin recreates the s pirit of the 1905 revolution through the d epicti on of one of its in c i dents , utilizing ne w technique s o f man ipulati on o f
film ma terials to communicate ph y sical s en s ati on .
" Alexand er Ne vs ky , " an e pic film monument ,
deals with the in vasion of Russia by the pow e rful
Ord er o f Teutonic Knight s , as c rusa d er s, and the
decisi ve battle of the Ice where Nevsky won a
brilliant victory .
FILMS:
�
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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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In copyright.
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2 sound tape reels
Duration
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29:18
30:54
32:06
Streaming Audio
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54452">Accompanied Claver Sonata: A Missing Link in Classic Chamber Music: Lecture-Recital by William S. Newman</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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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
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Accompanied Claver Sonata: A Missing Link in Classic Chamber Music: Lecture-Recital by William S. Newman
Recital Tape 1966-7-14
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of J.C. Bach, Schobert, Burney, Rosetti, Ries.
Creator
An entity primarily responsible for making the resource
Newman, William S.
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Contributor
An entity responsible for making contributions to the resource
Bach, Johann Christian, 1735-1782
Schobert, Johann, -1767
Burney, Charles, 1726-1814
Rosetti, Antonio, approximately 1750-1792
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
1966-07-14
Rights
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In copyright
Type
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sound
Identifier
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Accompanied Claver Sonata_A Missing Link in Classic Chamber Music_Lecture-Recital by William S. Newman Recital Tape 1966-7-14.pdf
-
https://omeka.binghamton.edu/omeka/files/original/4a26d75c7a2cb60cef9a2766c8743853.pdf
1e2d1fa542b1df7cc3665bb7d04d4e59
PDF Text
Text
Harpur • Season 66·67
Summer Series
�PROGRAM
Sunday, Jul y 10 , 1966
8:15 p.m.
Coll ege Theate r
QUARTET FOR TWO VIOLINS,
VIOLA AND VIOLONCELLO
in B Flat Major, K. 589
Alle gr o
Larghetto
Menuetto and Tri o
Allegro Assai
W. A. MOZART
FIVE PIECES FOR STRING QUARTET
Op . 5 (1909)
A. WEBERN
intermission
STRING QUARTET
in E Flat Major, Op . 12 7
Maestoso, Allegro
Adagio, m a non troppo e molto cantabile
Sche rzando vivace
Finale
L.V. BEETHOVEN
A RECEPTION honoring the Quartet will be
held in the Fa culty L ounge adjac ent to the
theater following this evening's Yecital. T he
audi ence is most cordially invited to attend .
�Notes
by William Klenz
he B Flat Quartet of Mozart, K. 589, is
from the year 1790 and is the second of
the three quartets dedicated to Frederick
William II of Prussia. An amateur of the
'cello, his taste was recognized by Mozart
in the highly developed, not to say formidable, part
given to that instrument. Of the most limpid clarity
of construction - one is struck on examining the
score by the surprising number of rests - every
note is indispensable and calculated with the most
exquisite precision for its balance, proportion and
effect - a sublime economy with no trace of poverty.
The delay (five bars) of the entry of the 'cello at
the beginning serves to highlight the instrument when
it does appear and gives the clue to the method of
construction - "nothing that is not necessary, notlung
simply for convention's sake." The first movement is
of the most regular construction, which however gives
the impression of being foreordained and inevitable
and in no sense imposed. The LarghetIto again features the 'cello in a cantabile style and register so
that at the opening the viola must be the bass. The
movement consists of two equal, parallel sections,
and a particularly masterly moment 1s that when
midway, the 'cello, tiring of the "small talk" of his
colleagues, directs the events to the return of his
serious cantilena. The Menuettoand Trio comprise
a large-scaled movement in which the dance form
has been subjected to the working-out of a sonata .
The Trio is a jewel box of instrumental effects, and,
it may be observed, begins with only three players.
The Finale is a sonata movement with a theme
appropriate to a rondo. It gives the impression of
a complex ritual-game - ring dance, follow-theleader - and is the distillation of the original
magical purposes of all such ritual observances
which properly inform this movement of a Classical
work.
• These pieces have been acknowledged as master-
�pieces since their first performances. They are
the realization of the direct desire to communicate,
by-passing preconceived mechanisms and formalities, which while comfortable and reassuring, eventually become "dead" weight and empty formalism.
There is no room for "dead" weight here - the
pieces are of an almost incredible, even legendary,
brevity - a necessary brevity, because of their
extreme intensity. The preoccupation is with the
unique event in time; no mechanical repetition is
possible and the sole object is expression. The
result in terms of sound is of an unearthly, fleeting
physical beauty. While constructed with penetrating
logic and unassailable musical "grammar," they are
passports to a subjective-dream world, vivid chronicles of the inner life intimately illustrated by such
painters as Klee and Kandinsky whose work they
resemble not a little in both method, dimension and
intent.
• The first of the "last" great Quartets seems to
have been begun by Beethovenin early 1822 . Later
that year Prince Galitzin (to whom the Quartet is
dedicated) approached Beethoven about "two or three
new quartets." In the course of 1823 Beethoven
resumed work on the E Flat Quartet, but set it aside
to finish the Ninth Symphony. The first performance,
March 6, 1825, by the Schuppanzigh Quartet "was
unfortunate"; another on March 23 was "more successful." It was published in the following year as
"GRAND QUATUOR/ en Partition/ pour deux violons
Alto et Violonc ell e composé et dedié/
Son Altesse
Monseigneur l e Prince/ Nicholas de Galitzin, / Lieutenant-Colonel de la Garde S,,#M,,#J,, de toutes l es
Rus s i es/ par/ LOUIS V. BEETHOVEN/OEUV 127... 11
àS
The atmosphere of the work is pastoral, not to say
sylvan, where Beethoven seems to draw strength
and peace from contact with nature. It seems pointless to reduce its structure to words when you are
about to experience the work itself . Suffice it to say
that the first movement is of normal components,
although large in dimension and is created by the
organic processes of development which unite Beethoven and his beloved natural world and sets an
(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 Stein hardt
vio lin
John Dall ey
violin
RECIT A LS
Mi chael Tree
viola
David Soyer
cello
O SE A SO N 1966-67
SUMME R SERIES
W IN TER SERIES
S PRI N G S ERI ES
Sunday,
Sunday,
Sunday,
Sunday,
Sunday,
Sunda y,
Sunda y, November 6
Tuesday , Decembe r 13
Wedne s day, J a nuar y 4
Wednesday , Janua r y 11
Sunday, Febr ua r y 12
Sunda y, Ma r c h 12
Saturda y, Ma r c h 18
Sunday, Ap r il 2
Sunday, April 30
Satu r da y, May 6
July 10
J uly 24
Augu st 7
August 14
September 11
October 9
All performa nc es at 8:15 p.m . in the Ha rpur Colle ge T heate r.
Late com ers will be s eated afte r th e fir t quartet.
Ushe r i ng courtesy of Alpha Phi Ome ga a nd Gamma Sigma Sigma .
OPEN REHEARSALS
The publ ic i s co r di a lly invite d to atte nd the qua rte t' s
r e hea r sals, hel d the da y prior t o eac h r ecita l , at 3 p.m . (during Augu s t 10 a .m .),
in the mus ic room (CA- 183) nea r the theater.
NOTES (C ontinu ed)
unmistakable s i gn on the work . An e spec iall y tr easu r ed de t ail i s the clos ing
section whi ch de velops a small exp r e ssi ve phr a s e into a vast summing -up .
The s econd move ment is a theme and five va ri a ti ons - the or ganic princ ipl e again (plus ça clumge, plus c 'est la même chos e} in the hand s of the
m a ste r of the va r iation. The Scherzo exploits a shifting rhythmi c module a nd its joke ena ble s one to he ar t he Cos m ic laught e r which the Indi a ns say
is the act of Cre ati on itse lf. T he Final e is anothe r s onat a fo rm built of
musi cal mate rial s t hat are in t hemse lve s unpr eposses si ng but whi c h fo r
Bee thoven clea rl y he ld the ge r m cells of life and whi ch he leads to a powe rful de monstr ation of the vitalit y of simpl e , na tural for ces guided by inne r
organic unities and t r uth.
�
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
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
39:48
38:23
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54448">Summer Series, Recitals 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
Summer Series Recitals, Guarneri Quartet
Recital Tape 1966-7-10
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Mozart, Webern, 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
Mozart, Wolfgang Amadeus, 1756-1791
Webern, Anton, 1883-1945
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
1966-07-10
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
Summer Series, Recitals Guarneri Quartet Recital Tape 1966-7-10.pdf