132
10
1775
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STATE UNIVERSITY OF
EW YORK AT BINGHAMTON
HARPUR COLLEGE
THE DIVIS10
OF MUSIC
Presents
THE HARPUR TRIO
Patricia Isham, Violin
Harry Lincoln, Flute
Myroo Fink, Piano
8:30 P. M.
ovember 1, 1965
College Theater
�PROGRAM
OTES
H ind mith w as important both as a prolific and s ucc ssful composer
a nd as a theorist and t ach r. H e cam to this country from G rman in
late 1930's and for som fife n yea rs was on th faculty of Y al
niv rsity . H has wr itt n a w i d variety of works in all genres and for
v ry orch stral instrum nt. The Sonata for Flut app are d in 1936, JUSt
two y a r s b fore his most famous work , th op ra
a his d r Male r . Th
onata illus tra s several t n ts of H in d mith's theories of composition
and of his st l in g n ral.
mong th s a re th us of fourths and fifths
in the m lo dic lin s, th contrapun al interplay of soloist and accompaniment
(bo h qually important ) and h car ful control oft nsion an d r laxa ion in
h phras
Th la ter charac eri stic i s specially evident in he beautiful
and pow rful slow mov m nt. The last movement closes with a march, an
unusual f ature in a onata.
Schumann's Second Violin onata in D Minor Op. I 2 I was written in 185 1
during a period of r n w d er ativi y and vigor for the composer . H had
suff r d a s v r m ntal br akdown in 1844 and for five years ook little part
in musical activit i s . In 185 0, howev r, h accepted the post of conductor in
Duss ldorf, and h following y ar composed besid s th first and second violin
sona as, the hird piano trio, thre ov rtures, two cantatas, and a revision of
th D Minor ymphony. !lo w v r, h was unabl to b ar the strain of composition and conduc ing, and in 1854 collapse d complet ly, leading to his death
(1 856 ). Th
ond onata in no way fort lls this tragic dénoueme nt. The
firs movem nt opens, ith a pow rful introduction, intersp rsed with cadenza lik pas g s. Th main body of the movem nt is in sonata-allegro form, th
sharp con ours of th first th me contrasting with the lyricism of the s cond.
Th piano and violin carry on cont inuous imitativ dialogue achieving an effcc iv
musical balanc
Th s cond mov ment is a scherzo of M ndelssohnian
sprightlin ss. Two rio s ctions occur b tw e n succ ssive returns of the
main th m , r suiting in an BA A form , followe d by a coda in which th
th m of the third mov m nt is introduced in broad chords and doubl st ps.
This third mov m ent them is bas d on a choral , " G elobet s ist du , Jesu Christi , "
u d b Bach in anta as 64 and 9 1 among oth rs ttings . Schumann changes
the rn t r from 4/4 to 3/8 an d writ s a series of variations using an extraordinary numb r of colorful ff cts, ranging from pizzica o (th e th me ) , double stops
(s ond variation ), o pon ic llo (third variation ) . Also in h third variation
th sch rzo h m of the s cond movem nt returns twice, linking thes e two
mov m nts organically. Th fourth movement , a perp tual motion type of
mov m nt cast in sonata form, is r minisc nt in its th ma ic leaps and chordal
cad nces of the first mov ment, and th work closes with a brilliant coda in the
major k y .
. Bach an d a talen d com. P. E . Bach, t h old sl surviving son of J.
pos r , s rv d at the court of Fr derick h G reat (17 38-6 7) as cembalist and
accompanist to h king . llis ability at h keyboard is documented not only by
cont mporary accounts but also by his famous treatis , Versuch übe r die wahr
___.!!_ das Clavier
zu
s pi sp
1 n, in which h formulates his th n "modern"
zu
approach
to his instrum nt. H is compositions fall within th p riod d vote d to the
"Doctrin of Affections," of Empfindsamkeit , an ra characterize d by th e emphasis plac d on th af f c ions and sensibil.ti s . In music this m ant the por-
�trayal of one mood or sentiment throughout a movement or piece, and took the
form of lavish embellishme nt s an d ornamentation, chromaticism, an d startling
modulations and harmonizat ions . In the Third Trio for Flute, Viola and Piano
Bach uses the familiar trio - sonata arrangement of two melody instruments
supported by a keyboard instrument as a continuo, but he deviates from the usual
polarity of this form by giving the keyboard a brilliant solo part. In th e first
moveme nt, a monothematic rudimentary sonata form, the piano at times assumes
th e role of a soloist, while at others it retains the function of a continua. The
second movement, however, is like a miniature concerto in which t he flute
and viola function as the ripieno, accompanying the piano's free and improvisatory
solo . The third movement, again a rnonothematic sonata form, returns to a
more tradiational tripartite distribution of material, with imitative figurations
passing continually from one to another of the three instruments.
A very prolific Cz echoslavakian composer, Martinu successfully fus e d nationa l a nd international elements in his music. Although he st udi e d in Paris a nd came
under the influence of Stravinsky, many of hi s melodics were derived from Czech
an d Moravian folk songs. His numerous chamber works em ploy a wid variety
of i nstrume ntal combinations. The Madrigal Sonata derives its nam from the
similarity of its texture to that of a R enaissance madrigal in wh ich each part phrases
independently of the others, although there may be imi t ation between th e parts. The
fi rst movement is in a modified sonata form with exposition, middle section , r capitulation, and coda; the middle section can hardly be consi de red to develop the
original material however. The second movement i.ncorporates both a slow and a
fast movement as it begins with a moderate which is followed by a rapid allegro ,
each section being r ecapitulated to create an ABAB form. Both movements are
ch aracterized by a wide variety of effect s--pizzicato, natural and artificial harmonics, double steps, rapid metrical an d rhythmical changes , syncopations of
all kinds, s t a rtling dissonance , and a highly complex contrapuntal texture.
1though th e flut e, violin, and piano have both homophonic and contrapuntally imitativ
sections, each instrument is also gi ve n independent i diomatic material, which
makes the best use of tha t particular instrument's characteristic qualities and
gives an interesting and unique text ure t o the work.
Conce rts for Nove mber:
Tuesday, November 9
Thursday, November 11, 12
Sunday, Novemb e r 14
Friday, November 1 9
Sunday, November 21
Mus ic from Marlboro
Max Morath and the Original Rag Quart et
The Guarneri String Quartet
ew York City Ballet
Jean Casades us, pianist
The Departme nt of Music is please d to announce tha t pianist, Jean Casadesus
will give a series of informal Wednes day e vening recitals in Rafuse Lounge on
the following dates:
November 3, 10
December 8, 14 (Tuesday)
January 5, 26
February 2, 9
******
A reception for the Harpur Trio will b e held immediately
following the concert in the faculty lounge, a djacent to the
Theater. Everyone is cordially invited.
�PROGRAM
Sonata for flute a nd pi ano - - -- --- -- - ----------------Pa ul Hin demit h
H iter b wegt
Se hr langs am
Sehr lcbhaft - Marsch
Sonata for violin and pi ano - ----------- - --- - --- -- -- - Rob
rt
chumann
Ziem li ch langsam - L cbhaft
S hr lebhaft
L is , infach
**II ntermission
Trio in G major for flut e, viola an d piano --- ------ -- C. P . E . Bach
Allegretto
Adagio
Prest o
Madrigal
onata for flute, violin and piano- - - - - - - - - -Bohuslav
P co llegro
Mod rato - Allegro
Martinu
�
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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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2 sound tape reels
Duration
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42:13
24:06
Streaming Audio
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54204">Harpur Trio Recital </a>
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Title
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Recital Harpur Trio
Recital Tape 1965-11-1
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works by Paul Hindemith, Robert Schumann, C. P. E. Bach, Bohuslav Martinu. Recital held Nov. 1, 1965 at the College Theater.
Creator
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Harpur Trio
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Contributor
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Hindemith, Paul, 1895-1963
Schumann, Robert, 1810-1856
Bach, Carl Philipp Emanuel, 1714-1788
Martinů, Bohuslav, 1890-1959.
Date
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1965-11-1
Rights
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In copyright
Type
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sound
Identifier
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39091019619356
39091019619406
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GUARNERI
SEVE VARIA TIO S
BEETHOVE
on "Bei Manne rn welche
Liebe fuhlen" fr om Mozart's
The Magic Flute
SO ATA
in E Mino r, Op. 38
BRAHMS
Allegro non troppo
Allegretto quasi menuetto
Allegro
I TERMISSIO
DEBUSSY
SO ATA
in D Minor (1915)
Prologue
Serenade
Finale
SONATA
in G Mino r, Op. 19
HARPUR
RACHMA
Lento - Alleg r o moderate
Allegr o scherzando
Andante
Allegr o mosso
David Soyer, cello
Zaidee Parkinson, piano
SU
SEASON
1965-66
ER SERIE
Fifth Rec i ta!
Sunday, October 10, 1965
ov
�NOTES by Patricia Isham
■ Be ethove n's l as ting interest i n the va r iation fo r m i s
evince d by t he more than t hi r ty compositions of this
type whi ch he wr ote during his lifetime (not incl uding
move ments within l arger wo r ks), wnd his musi cal de ve l opm ent can almost be t r aced in his handling of this
form . The t hree sets of variations for ce llo and
piano (two based on themes fr om M ozart's Magic Flute
and the other on one from H andel ' s Judas Maccabäus )
exe mplify his earl y use of this formal structur e al ong
lines cl ose l y adhering to those of Haydn and M ozart.
M ozart's Th e Magic Flute had been pr oduced earl y in
1801 in Vienna and had been greeted with great ac c l aim, and its subsequent popul arity pr obabl y pro vi ded
B eethoven with the stimul us to wri te the Sev en Varia t i ons (180 1) dedicated t o Count von Browne. Mozart's
simple fourteen - measure m el ody is divided into two
paralle l antecedent phrases of four m easur es each and
a contrasting consequent phrase of six me asur es, and
B ee thoven adheres to this structural design throughout.
The cello and piano alternate in presenting and imitat in g the material in the four measure phrases, but often
j oin in dialogue in the co nsequent phr as e . T he orna m entation in the first thr ee variations be co mes success ivel y co mpl ex in the use of thi r t y -s econd notes,
trill s, and other embellishments . T he minor mode is
used in the fourth variati on while the fifth, sixth and
seventh va riations are given differ ent tempo indica ti ons - "Allegretto," "Adagio," and "Allegro ma non
tr oppo" r espe cti ve l y . T he seve nth va riation is extend ed by a coda which modul ates to C minor, but the composition closes with a return t o the opening gigue - like
rhythm and gaiety of this fina l variation .
■ The Sonata for ce llo and piano, Op . 38, was the
first of seve n sonatas Brahms wr ot e for piano and
s ol o instrum ent, (two for cello, three for violin, and
two fo r cl arinet). T he first two movements were writ ten in 1862, with an Adagio which B rahms l ater des tr oyed , while the final Allegro was not co mposed unti l
1865. Dedi cat ed t o Josef Gansbacher, a profess o r at
th e Vi enna Akad emi e, the sonata abounds with many
of Brahms' chara ct eristi c passages -- syncopations
hei ghtene d by ti es over the ba rl ines, unmetri cal acc entuations, wide-spaced l eaps, and m el odi es present ed in parallel thirds or sixths or in thi ck chor ds . Gei ringer in his book on Brahms suggests the who l e sonata
might be in homage to J. S . Bach . He points out a
possible r el ati onship betwee n the first th em e of the
first movement and B ach's Third Cont rapw1 ctus from
the Art of the Fugue and again a m a rked sim il arity
betwee n t he them e of Brahms ' fugu e subject in the
last m ove m ent and that of Cont r apunctus 13 fr om th e
sam e work of Ba ch. T he fir t m ovement i n sonata
fo r m expl o res t he l yric potentia l ities of U1e cello's
l o west r egi st er , but the deve l opm ent section r ea hes
a cli max of g r eat intensity with arpeggios and widespaced l eaps in both instrum ents. T he second movement is built on a four-note figur e first pl ayed by the
piano , which forms the k e rn el m oti ve of both the Quas i
Menuetto and its contrasting tri o . T he final e is a
thr ee - part fugu e, in which the subj t is stated in th e
bass r egister of th e piano, i answered by the ce llo
and is stated th e third tim e in the treb l e r egis t e r of
th e piano . T his m ov m ent co m ines the el em ents of
fugue and sonata form, f o r the fu ga l expos iti on is
fo llowed by a deve l opm ent section of gr eat complexity
in which the fugue subject r eappea rs in inver si on and
various other guises . I n th e r ecapitu l a i on Brahms
expands th e fugu e into a quasi-triple fugu e by pres enting both his f o rm e r counte rsubj ects simu l taneousl y with each entry of the fugu e subj ect. T he m ove m ent cl os es with a Piu Pre to of gr at brilliance
and vi rtuosit y .
■ D ebussy's only ce llo sonata, compl eted in 19 15,
was the first of a project ed gr oup of six sonatas . T he
su ccee ding two works for flut e, viol a, and ha r p and
for violin and piano wer e finish ed, but of th e fourth
contemp l ated wor k onl y th e instrum entati on -- oboe,
horn, and ha r psi chord -- is known. Wilfrid M ell ers
in his dis cussi on of Debuss y suggests that the co mpos er
was preoccupied with the contradictions r epresented
b y Harlequin in ol d Italian co m edy -- the co ntrasts
b etwee n the m y thol ogical , idea l ized wor l d and the
wo r l d of sor did r ealit y . I n the ce llo sonata, for which
D ebussy proposed the epigraph " Pie r r ot fâché avec la
l une ," he juxtaposes these el ements and expresses
his own disillus i onment. T he sonata op ns with a
rhaps odic Prologue
in which fragmentary melodic
arabesques appear in eve r- changing va r iants, intensified by rhythmi c fr eedo m and changes of tempo .
T he second m ove m ent éré
n ad enlists va ri ous novel
effects t o make the cello simulate a mandolin, a guitar ,
a flute, or a tamb ourine . M ell e r characteriz es this
"fr ustrated" m ove m ent as "the m os t signiii ca ntly
modern ." T he Final is gaye r and more fo lk-like in
(Continued)
�State University of New York at Binghamton, HARPUR COLLEGE
The Department of Music presents
THE GUARNERI STRING QUARTET (in residence)
Arn old Steinh ardt
violin
lich ae l Tree
viola
John Dalley
violi.n
RECIT A LS
Da id S oyer
cello
O SE A SO N 1 96 5 -66
S UMMER S ERIE S
WIN TER SE RIES
S PRI NG SE RIE S
Sund ay, Augu s t 1
Sund ay, August 8
Sund ay , Augu s t 15
Sun d ay , August 22
Su n d ay , O c tob er 10
Sund ay , ov emb e r 14
S und ay, D ecem b er 5
Su nd a , Ja nuary 2
S unday , Ja nuary 9
Su nday , F ebru a ry 1 3
Mo nday, Ma rch 28
Su nday , Ap ril 3
Sund ay, April 10
A ll p er forman ces a t 8 :15 p.m. in th e Harpur Co ll ege Th ea te r.
Late com er s will be s eated af ter th first quar t t.
Ush e rin g courtesy
OPEN REHEARS A LS
of Alp h a Ph i Om ega
Th e pub lic is co rd ia l! in it d to a tt nd th q ua rt t' r h a rsa ls, h Id
th e day p rio r to eac h rec it a l, a t 3 p.m. (d u rin g ugus t 10 a. m.). in th
mu s ic ro o m (C -183) n ea r th e th a te r.
NOTES Continued
c haracte r, but is inte r rupted by s eve r al s lower
s ecti ons of a darke r mood (one is ma r ked • con
of the
m o rbidezza• ), which ar e reminiscent
earli e r move ments.
■ The Cello Sonata in G Minor of Rac hmaninov,
compos ed in 190 1, dates fr om the sam e pe riod
as the Second Pi ano Conce rto a nd is similar in
m ood . The compos e r s ee ms to have expe rienced
a ce rtain cr eati ve r ebirth at this time, fo r these
wo rks probabl y r epre s ent his highest point of
artist r y . Thes e compositions might be charac te r ized as "elegiac a nd tragic," "restrained and
Al though Ra chma ni nov wr ote an Ele original."
giac T rio in m emory of Ts chaikows ky, a piano
tri o, and a string quintet, t he latte r two works
have neve r been publi s hed, and the s onata r emains the onl y chambe r workfo r whi ch thecom powe r is r e m e mbe r ed toda y . Alt hough s ome
write r s have complained of the ove r -br ill ia nt
piano pa r t de mandi ng the utmost virtuosity,
Rac hmaninov has been highl y pr aised fo r his
idiomati c hand.ling of the ce llo as a highl y elegi ac
and l yr i cal inst r ument. F elix Salmond, the gifted
ce lli s t , ha s called it "a beautiful and inspi r ed
work."
�
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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
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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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1 sound tape reel
Duration
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37:19:00
Streaming Audio
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54201">Summer Series, Fifth 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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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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Summer Series, Fifth Recital Guarneri Quartet
Recital Tape 1965-10-10
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Beethoven, Brahmms, Debussy and Rachmaninov.
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
Beethoven, Ludwig van, 1770-1827
Brahms, Johannes, 1833-1897
Debussy, Claude, 1862-1918
Rachmaninoff, Sergei, 1873-1943
State University of New York at Binghamton. Department of Music
Date
A point or period of time associated with an event in the lifecycle of the resource
1965-10-10
Rights
Information about rights held in and over the resource
In copyright
Type
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sound
Identifier
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Summer Series, Fifth Recital Guarneri Quartet Recital Tape 1965-10-10.pdf
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https://omeka.binghamton.edu/omeka/files/original/b79649e747c764e819e6283d78ccab7d.pdf
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Text
i-
2
BARITONES
Jeffrey Fitzgerald
William Grossman
Ronald Gruen
Mark Selsby
BASSES
Roy Brown
Paul Darnell
Danny Dushman
Bert Edelstein
Stephen Hiller
Danny Lippiner
State University of New York at Binghamton
HARPUR COLLEGE
ORCHESTRA
Violins
Pat Isham
Concertmaster
Nancy Robbins
Judy Niles
David Einfeldt
Edward Pettingill
(Principal)
Edith Osborne
Fritz Loewenstein
Sarah Gotthelf
Violas
-i'lussell Colton
(Principal)
Martha Colton
Anne Ziegler
Howard Isham
Cellos
Ruth Brown
(Principal)
Christine Livingston
Kathy Gruber
Bas s
--reo Duroche
(Principal)
David Wilson
Flutes
M a r l e Bass
ne
Esther Hall
Oboe
--XOigail Mohn
Clarinets
Arthur Abrahams
Candace Duncan
Bassoons
Steve Walker
David Gagne
Horns
John
Evansohn
Brian Sternberg
Martha McCool
Steven Fry
Trumpets
William Lockwood
P e ter Boor
Richard Hamlin
MUSIC OF THE TWENTIETH CENTURY
College Choir
Men's Glee Club
Orchestra
Trombones
James Babbitt
Stephen Phinney
Fra nk Kearly
Tuba
Stevan
DAVID BUTTOLPH
Condu ctor
Leiden
8:30 p. m.
June 11 , 1965
Timpani
Lanny Levine
HARPUR THEATER
Percussion
Donald Seely
Organ
-reeEngstrom
�HARPUR COLLEGE CHOIR
PROGRAM
0, Clap Your Hands . . . . . . . . Ralph Vaughan Williams
with Brass Choir, Timpani and Organ
To Be Sung On A Summer Night . . .
Frederick Delius
This Have I Done For My True Love .
. . Gustav Holst
1st SOPRANOS
Virginia Baker
Marcia Burnett
Judith Elterman
Malita Frogate
Sydell Horowitz
Chrystyna Prytula
Elizabeth Robbins
Kathleen Zaslovsky
2nd SOPRANOS
Carol Anthony
Sue Best
Beverly Calistri
Millicent Conklin
Cathy Dellapenta
Candy Duncan
Nancy Kliban
Kay Kosinski
Alice Stitelman
Cynthia Stone
1st ALTOS
Sue Be rnhardt
Elaine Bolton
Linda Fishkin
Ellen Leinwand
Linda Lewis
2nd ALTOS
Simone Buelta
Joy Cejka
Martha Davis
Mary Beth Hoban
Margaret Jackson
Pamela Starr
TENORS
John Bennethum
Harvey Bornfield
Paul Dieke
Benjamin Erlitz
Alan Hardy
Zane Kalter
John Taylor
BASSES
James Baldwin
David Crowe
Paul Darnell
Seth Kasten
Michael Pawlicki
Alan Sturdevant
Peter Wenz
Gilroy Zuckerman
HARPUR COLLEGE CHOIR
Don't Leave Me
Only Tell Me
Bela Bartok
HARPUR COLLEGE CHOIR
Four Slovak Folk Songs . . . . .
Soldier's Song . . . . . . . . .
with Trumpet and Snare Drum
. Bela Bartok
Zoltan Kodaly
MEN'S GLEE CLUB
The Gong of Time . . . . . . . . . . . . . . Robert Starer
with Brass Quartet
Song of the Open Road . . . . . . . . . . Norman Dello Joio
William Lockwood, Trumpet Solo
Cynthia Stone, Piano
HARPUR COLLEGE CHOIR
Choir Officers:
- - Intermission - Te Deum . . . . . . . . . . . . . . . . . . Zoltan Kodaly
assisted by Betty Hartman, Soprano Soloist
and members of the Harpur College and
Community Orchestra.
I
Choir Librarian:
Accompanist:
Alan Hardy, Martha Davis, Paul
Darnell, Peter Wenz
Kay Kosinski
Cynthia Stone
MEN'S GLEE CLUB
1st TENOR
Roy Gordon
Zane Kalter
John Taylor
2nd TENOR
John Bennethum
David Crowe
Alan Hardy
�
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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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Original Format
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2 sound tape reels
Duration
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30:38
28:57
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54197">Music of the Twentieth Century College Choir, Men's Glee Club, Orhcestra, David Buttolph, Conductor</a>
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Title
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Music of the Twentieth Century College Choir, Men's Glee Club, Orchestra, David Buttolph, Conductor
Recital Tape 1965-6-11
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
College Choir, Men's Glee Club, Orchestra, David Buttolph, conductor. Works by Ralph Vaughan Williams, Gustav Holst, Bela Bartok, Zoltan Kodaly, Robert Starer, Norman Dello Joio.
Creator
An entity primarily responsible for making the resource
Harpur College Choir
Buttolph, David, 1902-1983
State University of New York at Binghamton. Department of Music
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Contributor
An entity responsible for making contributions to the resource
Vaughan Williams, Ralph, 1872-1958
Holst, Gustav, 1874-1934
Bartók, Béla, 1881-1945
Kodály, Zoltán, 1882-1967
Starer, Robert
Dello Joio, Norman, 1913-
Date
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1965-06-11
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sound
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Music of the Twentieth Century College Choir, Men's Glee Club, Orchestra, David Buttolph, Conductor Recital Tape 1965-6-11.pdf
-
https://omeka.binghamton.edu/omeka/files/original/81389031c2886debc8450d567cae5d0f.pdf
e1d5d34a73c8083a03e5123a538dcaae
PDF Text
Text
WP- 5
State University of New York at Binghamton
Harpur College
T H E
D E P A R T ME N T
OF
lI U S IC
STUDENT RECITAL
From the Studios of:
Roberta Schlosser 9 voice
Elizabeth Korte and MIyron Fink , piano
Patricia Isham, violin
Laila Storch, woodwind quintet
Sunday 9 June 6, 1965
College Theater
3:00 P.M.
PROGRAM
Romance in G
Paula Fenimore 9 violin
Barbara Garges 9 piano
Prelude and Fugue in D Major
James Baldwin, piano
Beethoven
J. S. Bach
Duet: "La ci darem la mano" (Don Giovanni)
Malita
Frogate, soprano
Paul Darnell ,
bass
W. A. IIozart
"Non piu andrai" (Le Nozze di Figaro)
baritone
Paul Darnell ,
W. A. Mozart
Nocturne
Michael Pawlicki, piano
Scenas Infantis
Corre, Corre
Roda, Roda
Marcha 9 Soldadino
Dorme, Nene
Salta, Salta
Duo Pianists: Ellen Leinwand
Cecile Berkowi tz
Chopin
Octavio Pinto
�-200
Passacaille
Quintet
A. Barthe
in Eb Major, Op. 88, No. 2
A. Reicha
Lento-Allegro Noderato
Andante grazioso
Allegro Molto
Woodwind Quintet:
Margaret Jackson, flute
Arthur Abrahams, clarinet
Abigail Mohn, oboe
Stephen Walker, bassoon
John Evansohn, horn
INTERMISSION
Concerto in þÿB&m,
K. 191
Andante
Allegro
Steven Leiden, tuba
Philip Friedheim, piano
0
Mozart
Schumann
Four Lieder
Widmung
Hor ich das Liedchen Klingen
Ein Jungling liebt ein Mädchen
Wanderlied
Paul Dieke, tenor
Allegro from Sonata in D, K 205
Alice Stitelman,piano
Mozart
"Stride
la vampa" (Il Trovatore)
Debbi Pollack, mezzo soprano
"M'
Verdi
appari" (Hartha)
John Taylor, tenor
von Flotow
"Voi lo sapete" (Cavalleria Rusticana)
Millicent Conklin, soprano
Scaramouche
Vif
Modéré
Brazileira
Duo Pianists:
Ellen Leinwand
Cynthia Stone
***
Vocal Accompanist - Barbara Garges
Mascagni
Milhaud
�
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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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Original Format
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3 sound tape reels
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
29:14
32:59
33:47
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54406">Student Recital</a>
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Title
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Student Recital
Recital Tape 1965-6-6
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works by Beethoven, J. S. Bach, W. A. Mozart, Chopin, Octavio Pinto, A. Barthe, A. Reicha, Shumann, Verdi, von Flotow, Mascagni, Milhaud
Creator
An entity primarily responsible for making the resource
Scholosser, Roberta
Korte, Elizabeth
Fink, Myron
Isham, Patricia
Storch, Laila
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Contributor
An entity responsible for making contributions to the resource
Beethoven, Ludwig van, 1770-1827
Bach, Johann Sebastian, 1685-1750
Mozart, Wolfgang Amadeus, 1756-1791
Pinto, Octavio, 1890-1950
Barthe, Adrien, 1828-1898
Reicha, Anton, 1770-1836
Verdi, Giuseppe 1813-1901
von Flotow, Friedrich, 1812-1883
Mascagni, Pietro, 1863-1945
Milhaud, Darius, 1892-1974
State University of New York at Binghamton. Department of Music
Date
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1965-06-06
Rights
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In copyright
Type
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sound
Identifier
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Student Recital Recital Tape 1965-6-6.pdf
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https://omeka.binghamton.edu/omeka/files/original/da04e0eb3a3bc862db9196e53cc1de5a.pdf
994c2e516d5ffc15362e5dc0dcb77a79
PDF Text
Text
NOTES Continued
■ Beethoven's Quartet Op. 135 was begun in July 1826 while
the composer was working on Op. 131 and was completed
around the first of October. Although this work has not the
monumental proportions of the other late quartets, the very
c one iseness of its motives and the extreme economy of their
development, combined with the amazing variety of the contrapuntal texture, place it among the greatest. In the first
movement, based on a series of short question and answer
motives, the sonata-allegro form takes on new meaning
through the ceaseless interweaving, variation, and contrapuntal manipulation of these motivic fragments. Reminisc enses of both the main fugal theme of Op. 133 and of its
second main variation are found interwoven with a motive
very suggestive of the Theme Russe in Op. 59 #2. The second movement, a scherzo and trio although undesignated as
such, features a simple bass line in the cello against which
the violins play a syncopated harmonization. The trio section opens with a scale-like subject, which, however, gradually ascends by stepwise modulations until it reaches a wild
climax in a Bacchanalian dance in which the first violin
cavorts with wide-spread leaps accompanied by a frenzied
ostinato in the lower strings. In the expressive thi rd movement Beethoven approaches most nearly the meditative mood
of the other late quartets. The fourth movement has achieved
prominence as the source of a typical Beethovenian anecdote.
Beethoven wrote in the manuscript over this movement, Der
schwer gefasste Entschluss (the difficult resolution), and
placed the motive and its inversion at the top with the words
Muss es sein? (Mustitbe ? ) and Es muss sein! (Itmustbe).
Various accounts as to the origin of this question and its
answer have been given by Beethoven's biographers. One
relates that Beethoven held this conversation weekly with
his housekeeper when she requested money. Another says
thi s refers to an episode in which Beethoven had to copy his
own manuscript and was bemoaning the lack of copyists,
while still another claims it deals with an incident of a publisher requesting money from Beethoven. What is definitely
known is that Beethoven wrote a canon to Ignaz Dembscher
on these words in April 1826, later incorporating the motive
i n his quartet. The movement opens with a slow and somber
minor introduction based on the questioning motive, followed
by an eighth note passage which occurs later in a lighter
guise in the allegro. The actual body of the movement in
allegro presents the inverted motive as the reply and is
worked out with the most masterful contrapuntal variety ending with a delightful pizzicato coda leading into a fortissimo affirmation of the motive.
Patri cia Isham
I
All performances at 8:15 p. m .
in the Harpur College Theater
Ushering courtesy of
Alpha Phi Omega
OPEN REHEARSALS
The public is cordially invited to attend
the quartet's rehearsals, held the day
prior to each recital, at 3 p. m., in the
music room (CA-183) near the theater.
HARPUR
�NOTES
■ The quartets of Mozart are often divided into two groups:
the sixteen early quartets, written between 1770 and 1773,
which reflect his knowledge of the pre-classic Italian and
Mannheim symphonists and are primarily homophonic in
texture, and the ten "great" quartets, dating from the years
1782-1790, which show the influence of Haydn and can be
numbered among the highest achievements of the mature
Mozart. K . 171, the fourth in a set of six quartets written
in Vienna in 1773, lies within the former category, but its
texture reveals a more idiomatic treatment of the string
quartet medium than the preceding works. The seventeenyear old Mozart had recently become acquainted with the
Op. 17 and Op. 20 quartets of Haydn, in which the older man
had introduced a more contrapuntal texture and a greater
independence of the individual voices than are found in his
earlier works. Thus, in K. 171 passages of imitative and
polyphonic writing alternate with those in unison or in homophonic style, as in the first and second movements. At times,
such as the Andante movements, Mozart reveals a lyricism
and ornamentation akin to that of W. F. Bae h. Thus this
set of quartets (K. 168-173} marks a transitory phase in
Mozart's quartet writing and stands as an interesting example
of the formative stage in the life of this great master.
State University of New York
HARPUR COLLEGE, BINGHAMTON, N. Y.
The Department of Music
presents
THE GUARNERI QUARTET
(in residence)
Arnold Steinhardt, violin
John Dalley, violin
Michael Tree, viola
David Soyer, cello
PROGRAM
Fourteenth Recital
Sunday, May 23, 1965
QUARTET in þÿ E&m
Major, K. 171
MOZART
Adagio-Allegro assai-Adagio
Menuetto
■
Bartok's Quartet No. 5, commissioned by the Elizabeth
Sprague Coolidge Foundation, was composed between August
6 and September 6, 1934, after his return from Turkey, where
he had been collecting folk songs for the Hungarian Academy
of Science. In this work and the preceding quartet (1928),
Bartok' s style changed decidedly from the more dissonant
and expressionistic music of the early twenties. He described
his music as increasing in polyphonic complexity as it became harmonically simpler, while folk elements were totally
integrated. These two quartets (Nos. 4 and 5) are constructed in an architectonic arch form, in which the first and fifth
movements and the second and fourth movements reflect
each other in mood and thematic material while the third
movement, in each case, is the keystone of the arch. Although Quartet No. 5 is not diatonic in any sense, each movement is centered around a tone, the first and fifth on þÿ B&m
the,
second, a third above on D, the fourth, a third below on G,
and the third on C#. Unity is achieved not only through the
arch structure and the related tone centers, but also through
motivic relationships between all the movements. The first
movement, in a type of sonata-allegro form, opens with a
forceful rhythmic figure which combines with a theme based
on a chromatic progression opening into an augmented fourth
(tritone) to form the kernel motives of the first and fifth
movements. The second and fourth movements, ternary in
form, run closely parallel; for example, trills in the former
become pizzicati and glissandi in the latter, and plain double
stops become tremolo. The interval of the fourth is a highly
important motive in both cases. The third movement stands
as a sharp contrast to the slow movements encompassing it.
It is written in 9/ 8 time, but according to its designation alla bulgarese, in Bulgarian rhythm - each measure is subdivided irregularly in groups of four, two, and three. The
trio in 10/ 8, grouped in three, two, two, and three, has a
highly chromatic ostinato figure, first running through the
first violin part and later taken up by the other instruments.
This movement demonstrates the complete integration of the
folk idiom in the composer's own personal style. A simple
folk melody is introduced in the fifth movement in an incongruous setting in a short, humorous, polytonal section showing still another aspect of Bartok' s use of folk material.
(Continued on back)
Andante
Allegro assai
STRING QUARTET No. 5
BARTOK
Allegro
Adagio molto
Scherzo, alla bulgarese
Andante
Finale.
Allegro vivace
INTERMISSION
STRING QUARTET in F Major
Op. 135
BEETHOVEN
Allegretto
Vivace
Lento assai, cantante e tranquillo
Finale:
Grave, ma non troppo tratto - Alle gro
�
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>
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In copyright.
Template: PDF / Rosetta
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2 sound tape reels
Duration
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51:59
26:44
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54402">Fourteenth Recital Guarneri Quartet Recital</a>
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Title
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Fourteenth Recital Guarneri Quartet
Recital Tape 1965-5-23
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Mozart, Bartok and Beethoven.
Creator
An entity primarily responsible for making the resource
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
Bartók, Béla, 1881-1945
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
1965-05-23
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Fourteenth Recital Guarneri Quartet Recital Tape 1965-5-23.pdf
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https://omeka.binghamton.edu/omeka/files/original/2fc9bab0b9426ce97fbcce9d0fe6a3c4.pdf
02f4ce4c49857df3d64a171d1905d639
PDF Text
Text
Harpur College Orchestra
May 21, 1965
Notes
Vivaldi is remembered today chiefly for his instrumental works, but he was a
prolific composer in all genres, a brilliant violinist, and the professor of violin
and maestro dei concerti (from 1716) at the Ospitale della Pietà in Venice (a ·conservatory
for foundling girls) . It was in the latter capacity that he composed his numerous concerti
grossi, concerti ripieni, and solo concertos (over 400), for he had to provide his students
continuously with fresh material. The Concerto in E. Minor, found in manuscript in
Turin, demonstrates a half-way point between the concerto grosso with its two opposing
groups and the opera overture or sinfonia, for it has neither solo parts nor introduces
an opera. Thus it falls in a category designated by Vivaldi as a concerto ripieno, in
which the four string sections are equally balanced and polyphonically used. The first
and last movements of this particular work are very contrapuntal, while the second move ment is lyric and homophonic. A proof of the individuality and provocative character
of Vivaldi's works lies in th e fact that J. S. Bach later used many of them as raw material
for his own compositions. Vivaldi himself often used his own themes more than once and
another concerto of his opens with a theme very similar to the first theme of the first
movement in this work. His themes are often characterized by repe ated notes while his
general style is identifiable by its rhythmic drive and vitality.
STATE UNIVERSITY OF NEW YORK AT BINGHAMTON
Harpur College
***
Wagner compos e d the Siegfried Idyll in 1870 as a birthday present to his wife Cosima
and it was performe d as a serenade by a small orchestra on the stairway of their home.
One of the few pieces of "absolute" music Wagner wrote , it is based on two themes he had
written earli e r in 1864 and had intended for a string quartet. The piece is scored for
strings, flute, oboe, basoon, trumpet, 2 clarinets, and 2 horns, and is delicately and
intricately orche strated. Although written in one movement it has several sections
pre senting a variety of moods and t extures.
***
One of the most prolific compos e rs flourishin g during th e first half of the eighteenth
century, Georg Philipp T e l e mann (1681-1767), composed over 170 concertos, besides
numerous other works ran g ing from ope ras to fantasias for solo violin. His fame as a
composer and particularly as a contrapuntalist sp re ad throughout Europe, and twice he was
giv e n pre c edence over Bach in b e in g offe red positions. (It was only after he and a second
choice had refus e d th e covete d post of twon musi c director and cantor of th e Thomasschule
at Leipzig that Bach was offere d this position.) Tele mann served at Hamburg from 1721
until his death as town music director, composing and directing operas, passions, cantatas, and various chambe r ensembles. His works refle ct many diverse influences including the ornate Italian opera, the French suite, the polyphonic concerto grosso, and
the simpler, folk-lik e divertimento. This conc e rto derives its form from the Baroque
Sonata da chiesa or church sonata with four movements of alternating tempi, the first
and third being slow, th e forme r in duple and th e latter in triple meter. It also contains
elements of the concerto grosso, in which two groups of different size are contrasted; here
the oboe takes the place of the smaller group (concertino), which is pitted against the
main body of strings (the ripieno).
Haydn composed the Symphony No. 99 in 1793-94 during the interim between his two
trips to London. This was the seventh of the so-called "London Symphonies"--Nos. 93-10 4 - ·•
written for the impressario Salomon, who had arranged Haydn's visit to London and conducted his concert series there . It is the first symphony in which Haydn used the clarinet
although he had used it previously in other works. The first movement opens with a slow
introduction followed by an allegro in sonata form. The second theme upon which the
development section is based proves to be of greater significance than the first theme, and
the recapitulation continues to develop and expand this subject matter. The second movement is cast in a deeper, more meditative mood, contrasting sharply with the gay, folklike quality of the minuet. The contrapuntal character of the last movement, calling for
fugue-like imitation at breathless speed, forms a fitting and joyful climax to the work.
***The Harpur College Orchestra***
Fritz Wallenberg, Conductor
Friday, May 21
8:15 P. M.
Harpur Theater
�The Harpur College Orchestra
PROGRAM
-------------
Concerto in e -minor for strings . . . . . . . . Antonio Vivaldi
(1678
-
1741)
Violin I
Fenimore, Paula - Concertmaster
Isham, Patricia
Prytula, Christine
Robbins, Nancy
Wallenberg, Marianne
Walls, Anita
All egro mod e rato
Andante
Allegro
Siegfri e d Idyll. . . . . . . . . . . . . . . . . . . . . . . . Ri c hard Wagner
(1813
-
1 883)
Concerto for Oboe and strings in e-minor ..
George Philipp Telemann
(16 81
-
1767)
Andant e
Violin II
Blauser, Henry
Duda, Grances
Gaylord, Anne
Gothelf, Sarah
Grupsmith, George
Loew enstein, Fritz
Powazek, Irene
Viola
Colton, Russell
Colton, Martha
Sajor, Laurie
Cello
Battin, William
Gruber, Kathy
Livingstone, Christin'?
Zimmerman, Susan
All eg ro molto
Largo
Bass
Duroche, Leo
Flutes
Jackson, Margaret
Cohn, Debbie
Oboe
Mohn, Abigail
Stolarcyk, Richard
Clarinet
Abrahams, Arthur
Duncan, Candy
Bassoon
Walker, Stephen
Eddy, Scott
French Horn
Evansohn, John
McCool, Martha
Trumpet
Maye r, Jack
Backlund, Fred
Timpani
Iacovazzi, Frank
All e gro
Continuo
Robbins, Donald
Harpsichord: Courtesy of Donald Robbins
Soloist : Laila Storch
INTERMISSION
Symphony No .
99 in e -flat major.
. Joseph Haydn
(17 3 2 -
1809)
Adagio; Vivace assai
Ad ago
Menuetto Allegretto
Vivace
�
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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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2 sound tape reels
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43:02
28:32
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54398">Harpur College Orchestra Recital</a>
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Title
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Harpur College Orchestra
Recital Tape 1965-5-21
Subject
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Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works by Vivaldi, Wagner, Telemann, and Hayden.
Creator
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Harpur College Orchestra
Publisher
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Binghamton University Libraries
Contributor
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Vivaldi, Antonio, 1678-1741
Wagner, Richard, 1813-1883
Telemann, Georg Philipp, 1681-1767
Haydn, Joseph, 1732-1809
State University of New York at Binghamton. Department of Music
Date
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1965-05-21
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sound
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Harpur College Orchestra Recital Tape 1965-5-21.pdf
-
https://omeka.binghamton.edu/omeka/files/original/6c00f3e7454e396553a260859d77f5ed.pdf
90301d76725067fa684aa0c608765e2c
PDF Text
Text
State University of New York
HARPUR COLLEGE, BINGHAMTON, N. Y.
The Department of Music
GUARNERI
presents
THE GUARNERI QUARTET
(in residence)
Arnold Steinhardt, violin
John Dalley, violin
Michael Tree, viola
David Sayer, cello
RECITALS
O SEASON 1964-65
I
Tuesday, August 4
Sunday, September 20
Monday, September 28
Saturday, October 3
Sunday, November 29
Sunday, December 6
Sunday, January 10
Sunday, January 31
Sunday, February 7
Sunday, Mar c h 14
Sunday , March 28
Sunday, April 4
Friday, April 30
Sunday, May 23
Sunday, May 30
All performances at 8:15 p. m .
in the Harpur College Theater
Ushering courtesy of
Alpha Phi Omega
OPEN REHEARSALS
The public is cordially invited to attend
the quartet's rehearsals, held the day
prior to each recital, at 3 p. m., in the
music room (CA-183) near the theater.
HARPUR
�NOTES
■
The Serenade Op. 25 is usually ascribed to the same period
(c. 1795-1797) as the Op.8 serenade, although not published
until 1802. These stylistically similar works, together with
the Septet Op. 20, are akin to the divertimento and represent
a lighter facet of Beethoven's chamber music. A divertimento generally consisted of many short, gay movements,
usually in major keys and based on simple binary or ternary
dance forms, designed to "divert" the listener. Op. 25 has
seven movements, the first being a type of fanfare to capture the attention of the audience. This is followed by a
minuet with two trios, the first devoted to the strings, the
second featuring the flute. The third movement presents
the only extended contrasting minor section of the work.
Then follows a simple theme with three variations, each
exploiting a different instrument, and a closing coda. The
fifth and sixth movements are very short - the former consisting of a lively scherzo and the latter serving as a slow
introduction to the rollicking rondo which closes the work.
■
Quartet No. 2 of Bartok, written between 1915 and 1917
while Bartok was a piano teacher at the Budapest Academy
of Music, foreshadows the style of his following four works
in this genre. Though deeply disturbed by the war, Bartok
continued his study of the folk music of his own country and
neighboring areas, imbibing and assimilating their musical
cultures. The characteristic elements of his style, a folklike idiom, thematic unity, and an architectonic musical
structure, begin to manifest themselves in this work. In
the first movement, Bartok uses the fourth (a favorite interval in folk melodies and in Bartok's later works) as a generating motive from which the other themes of the composition
are derived. Syncopations and constantly changing meters
join with the continuous contrapuntal interplay of the four
instruments to create a texture characterized by dissonance
and restless activity. In the second movement, a rondo of
barbaric and demonic force, Bartok continues to develop the
style he had introduced in his AllegroBarbaro of 1911. Driving rhythm, the masterful use of alternating major and
minor thirds and the tritone, and the employment of all the
percussive devices of which the string instruments are capable combine to give this movement amazing power and virility.
In contrast, the third movement with its folk-like parlando
style gathers the germinal motives from the other movements
into a reflective summation of the whole and closes the work
with a sense of unity and consummation.
■ The Quartet in G Major, Op. 161, the last quartet which
Schubert wrote, was composed between June 20 and 30, 1826.
Originally intended as the third in a group of quartets, Op.
29, this work was not published until 1851 and then as Op.
161, while the intended Op. 29 #2 ("Death and the Maiden")
was published posthumously in 1831 without any opus number. Thus only Op. 29 #1 in A Minor was published during
Schubert's lifetime. However, the first movement ofOp.161
was performed during his life at the only concert the composer gave of his own works, in 1828 on the anniversary of
Beethoven's death. This quartet is perhaps more orchestrally conceived than either of the preceding two and includes
tremolo sections and unison passages, which produce a
thicker texture than is usual for Schubert. The whole work
fluctuates between major and minor tonalities, evoking a
rapid interplay of light and shade. A dotted rhythmic figure
appearing in various guises in each movement promotes a
sense of unity. The cello is singled out in the second movement for a particularly lovely lyrical solo which Schubert
later set to words and used for a song in his cycle Die Winterreise. The trio of the third movement is a typically
Schubertian ländler with an ostinato accompaniment simulating bagpipes.
Patricia Isham
PROGRAM
Thirteenth Recital
Friday, April 30, 1965
SERENADE in D Major, Op. 25
BEETHOVEN
for Flute, Violin, and Viola
Entrata. Allegro
Tempo ordinario d'un Menuetto
Allegro molto
Andante con Variazioni
Allegro scherzando e vivace
Adagio
Allegro vivace disinvolto
(N. Dalley-flute; J . Dalley-violin;
M. Tree-viola)
QUARTET No. 2, Op. 17
BARTOK
Moderato
Allegro molto capriccioso
Lento
INTERMISSION
STRING QUARTET in G Major,
Op. 161
Allegro molto moderato
Andante un poco moto
Scherzo - Allegro vivace
Allegro assai
SCHUBERT
�
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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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2 sound tape reels
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55:22
45:23
Streaming Audio
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54394">Thirteenth Recital Guarneri Quartet</a>
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Title
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Thirteenth Recital Guarneri Quartet
Recital Tape 1965-4-30
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works by Beethoven, Bartok, Schubert.
Creator
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Guarneri Quartet
Publisher
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Binghamton University Libraries
Contributor
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Beethoven, Ludwig van, 1770-1827
Schubert, Franz, 1797-1828
Bartók, Béla, 1881-1945
State University of New York at Binghamton. Department of Music
Date
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1965-04-30
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sound
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Thirteenth Recital Guarneri Quartet Recital Tape 1965-4-30.pdf
-
https://omeka.binghamton.edu/omeka/files/original/48e0360aa575bfdb4b5edb2c6bb00542.pdf
b2b9765745866e28a2d3304b292524bd
PDF Text
Text
HARPUR COLLEGE
1965 FESTIVAL OF THE ARTS
March 19 to April 7, 1965
Traditional and Avant-Garde Music - April 7, 1965
�HARPUR COLLEGE
THE DEPARTMENT OF MUSIC
presents a program of
Traditional and Avant-Garde
MUSIC
of the
TWENTIETH
CENTURY
�PROGRAM
First Rhapsody (1928) ········--···················--·-·---········--- ····-----· ········ Bela Bartek
"Lassu" -Moderato
"Friss"-Allegretto Moderate
Patricia Isham, violin
Myron Fink, piano
Syrinx (1912) -······-·-··············----················-· -· ----··············-····· Claude Debussy
Harry Lincoln, flute
Concerto for Piano Four Hands (1952) --···-··-·-······-·--·-· ···· Vincent Persichetti
Elizabeth Korte and
JoAnn Locke, pianists
INTERMISSION
Ernst Tech
Geographical Fugue (1930)
Cynthia Stone, Soprano
Pamela Starr, Contralto
James Baldwin, Tenor
Michael Pawlicki, Bass
Toshiro Mayuzumi
Metamusic (1960)
Patricia Isham, violin
Myron Fink, Piano
Wayne Webster, Saxophone
Stevan Leiden, Conductor
Anna Karenina, a cantata (1965) ........................................ Philip Friedheim
(Premiere Performance)
Pamela Starr, Contralto
Peter Wenz, Baritone
Harry Lincoln, Flute
Ellen Leinwand, Percussion
Smoking is Not Permitted in the Auditorium
�PROGRAM NOTES
*
In keeping with the theme of this year's Fine Arts Festival,
the Music Department will offer a program of twentieth-century
music composed for varied instrumental and vocal ensembles.
These represent both traditional and experimental elements from
the beginning of the century to the present. The first half of the
program consists of three works constructed according to moreor-less standard modern procedures, while following the intermission three works will demonstrate avant-garde and experimental approaches.
Much of Bartok's music contains melodic and rhythmic material derived from Slavonic folk mus ic. His first rhapsody for
violin and piano reveals these roots throughout. When the composer expands and develops this material , however, the tremendous force of his own personality dominates to such an
extent that one is invariably overwhelmed by the originality of
the music, and not distracted by the derivative elements. In this
work, two simple folk dances are magnified into a barbaric
composition of savage intensity.
In contrast to the violence of the open ing work , Debussy's
delicate Syrinx for solo flute represents a restrained example of
French Impressionism. An infrequently perfomed composition,
Syrinx offers the evocative atmosphere characteristic of Debussy's
more expanded compositions, while limited to a single melodic
line throughout.
Vincent Persichetti holds an honored position in the musical
world today for his multiple activities as composer, theoretitian,
and teacher. A distinguished teacher of composition at the
Julliard School, he recently published a major theoretical work
that attempts to organize the vast and complex area of twentiethcentury harmony into a coherent whole. His concerto for piano
four hands is the only work of this kind in the literature, and is
written in one uninterrupted movement. It contains a number of
striking exploitations of the sonoric possibilities of the piano .
The first number on the program to illustrate experimental
techniques is Ernst Toch's Geographical Fugue. The last movement of a suite entitled Spoken Music, it tries to recreate musical
effects through the medium of the spoken word. The device of
maintaining a musical structure while eliminating the musical
(continued on next page)
�Program Notes (cont'd)
medium is both intriguing as an idea and
fascinating as an aural experience.
5
6
9
Toshiro Mayuzumi is one of the leading young avant-garde composers today .
The element of chance often plays a
large part in his compositions . Rather
than performing all the details of a
completed score, the instrumentalist may
be offered only a set of possibilities to
be realized a number of different ways.
In the Metamusic (literally, beyond
music), each of the performers has his
own part, and each part proceeds independently of the others. Passages may
be repeated or omitted at will. The
ensemble decides in advance how long
each particular performance will last. In
regard to this work, which is, to say the
least, unusual, one might bear in mind
a sentence which John Cage, one of the
founding fathers of avant-garde music in
America, spoke here at Harpur College
three years ago. He said, "Perhaps I am
not composing music; I am merely creating a situation in which things happen."
The concluding work on the program is Philip Friedheim's cantata Anna
Karenina. Mr. Friedheim had two goals
in mind when writing this work. First,
he wanted to explore the relationship
between structure and form in such a
way as to transform a highly subjective emotional content into a totally objective abstract form. Second, acting
from an idea suggested by John Cage,
he has created a composition in which
the element of time is completely elim inated. Since the details surrounding the
construction of th is work are both complex and provocative, Mr. Friedheim will
deliver a short talk prior to the performance of his cantata expla i ning the compositional procedures involved.
�1965 FESTIVAL OF THE ARTS
MARCH 19 - APRIL 7
In past years, Harpur College has held an annual art festival which
featured events centered upon a unified theme. Thus, in 1961 the
festival was devoted to the Centennial of the Italian unification and last
year's festival honored the 400th anniversary of William Shakespeare's
birth.
The subject of this year's festival is the twentieth century. Scheduled events range from those products of this century which have
become standard "classics" to examples of the contemporary avant-garde
in the arts.
Among the major events are:
March 19, 20, 21
A production of The Trial by Franz
Kafka, adapted for the stage by
Andre Gide and Jean-Louis Barrault.
March 28
The premiere performance of Karl
Korte's 2nd String Quartet, performed by the Guarnari Quartet.
April 5
An evening of experimental films,
featuring Salvator Dali's The Andalusian Dog (Le Chien Andalou)
April 7
"Music in Mid-Twentieth Century";
musical works featuring the premiere performance of Philip Friedheim's Cantata Anna Karenina.
March 14-28
Photography '64. An exhibition of
the work of America's 25 foremost
photographers.
�
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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2 sound tape reels
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46:14
24:59
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54390">Traditional and Avant-Garde Music of the Twentieth Century 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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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
Traditional and Avant-Garde Music of the Twentieth Century
Recital Tape 1965-4-7
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works by Bela Bartok, Claude Debussy, Vincent Persichetti, Ernst Toch, Toshiro Mayuzumi, Philip Friedheim.
Creator
An entity primarily responsible for making the resource
Harpur College Festival of the Arts (1965)
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Contributor
An entity responsible for making contributions to the resource
Bartók, Béla, 1881-1945
Debussy, Claude, 1862-1918
Persichetti, Vincent, 1915-1987
Toch, Ernst, 1887-1964
Friedheim, Philip, 1930-1986
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
1961-04-06
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
Traditional and Avant-Garde Music of the Twentieth Century Recital Tape 1965-4-7.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
Rosetta audio media
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
1 sound tape reel
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
27:46
47:12
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54386">Harpur College Wind Ensemble 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
Harpur College Wind Ensemble
Recital Tape 1965-2-14
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Frescobaldi, Persichetti, Haydn, and Dvorak.
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
Contributor
An entity responsible for making contributions to the resource
Frescobaldi, Girolamo, 1583-1643
Persichetti, Vincent, 1915-1987
Haydn, Joseph, 1732-1809
Dvořák, Antonín, 1841-1904
Date
A point or period of time associated with an event in the lifecycle of the resource
1961-02-13
Rights
Information about rights held in and over the resource
In copyright
Type
The nature or genre of the resource
sound
Identifier
An unambiguous reference to the resource within a given context
39091019619349
-
https://omeka.binghamton.edu/omeka/files/original/0ee18bc7fb7fe2a74ae875a71d7293da.pdf
08b47027bdb0e2fa8e16f6cf23b6f8d1
PDF Text
Text
0
(J
I
0
(J
PRESENTED
BY
THE HARPUR COLLEGE CONVOCATIONS COMMITTEE
�INTERMISSION
NON-RUSSIAN AND COMPOSED MUSIC
PROGRAM
LITURG ICAL SONGS
Mozart
l.
Ave Verum
2.
Les Marina de Groix
Dutilleux
This is an arrangement of a tradi ti onal French song,
1,
Teb e Bohs Khvalim (Te Deum Laudamus)
Bortniansky
An offertory chant by Catherine the Great's c ourt composer,
the first Russian c omposer to make use of Western techniques.
3.
2,
Tebe Poem ( To Thee We Sing )
This song is sung in the Mass
Host,
Ne Sedl Jemo ( Don 1 t Sit Jemo)
Macedonian
Jemo, don't purs ue the slave-girl Fatima; you will be in
danger from t h a Turks, Furthermore,
Fatima mi ght be your
sister.
4.
Svete Ti kh ij (He avenly Light)
Kastalsky
Th is tw enti eth century ve spe r chant, a set ting of an el eventh
c entu r y me l ody to a third century text, effe ctively contrasts
Russi an and Byzant ine melodic formulae.
Kas Tie Tadi (Wh o Are Those?)
Who are those t h a t sing at sunset?
subject to a strict master.
5.
Bandura
Ukrainian
In this Uk ra i n i an song , a young man takes a bandura,en
Ukr ainian folk instrument, t h e better to expre s s his love.
Bl a zhen Muzh (Blessed
6.
z a Dunaem
Shaporin
Beyond the Danub e , there is marching aga inst t he Turks ;
at home in the gr een garden, a b e aut iful wife wept wh en
she l earned th at viol ent Vanya's
h ead had ro ll ed,
3.
Tchaikovsky
during t he consecration of the
Be The Man)
Tra ditional Chant
or t he Kie vo-Peche rsky Mona stery
This version of t he First Ps alm of Da vid da te s back to the
Si xte en th c ent ury,
FOLK AND SOLDIER SONGS
FOLK SONGS
1.
Ukra inian Cossack Song
Oi Na Hore ( On The Hi 11)
On the hi ll, the peas ants ar e mowing , but in the valley the
Coss a cks are riding.
l .
Paiduly Vyidulya (I'll Go To The Valley )
Gr et chaninoff
Down in t he valley a g irl goes to me et h er soldi er boyfriend. The song describes th eir c onvers ation.
2,
Kalinka (The Snowball
Vniz Po Matushk e Po Volge (Down The Mother Volga)
Down t he wide Mother
Volga , nothing c an be seen among the
waves except a sma ll boat. The c aptain sits at the stern
in a bla ck velv et c ape. A violent storm arises.
Nothing
is s een among the waves of the wide river.
3,
Akh Ty St ep ( Oh You St eppe So Wide)
Oh you steppes o wide, y ou Volga so free. It is no t an
eagle which rises
over the st eppe; it is a barge haul er
who has b roken f r ee. The eagle is warned not to r eturn
to t h e r iv er bank.
Varlamov
Metelitsa
(The Snow Storm)
A snowstorm sweeps along the street and beh ind it my beloved
walks. Linger, linger, my beloved one, and let me look at
you longer,
4.
Borodino
Po em by Lermontov
This s ong re c ounts the f amous battle of Borodino fought
against Napol eon in 1812.
2. Vdo l' Da Po Rechke (Along The Ka zanka River)
A young man walks along t he Ka zanka River and
pretty gi rl wi ll comb his hair.
3.
<0
5.
6.
Latvi an
They are all orphans
wonder s which
Vlotsa
The blue smok e curling from the chimneys, of bis village makes
the Co s s ack soldi er decide to fight harder.
Zhilo Dv ena dsat• Razboinikov (The Legend of The Twelve Brigands)
A fierce brigand chief, who has robbed and killed many people,
s uddenly has a ohang e of h eart, and enters a monastery as a
hermit. In the last line we find that it, is he himself who
tells this tale.
r
Tre e )
raspberry in the gar den rem inds the singer of
A little
the girl who s e love h e seeks.
Yekhal Ya Na Pobyvku (Furlough Time)
This song was written
after World War 11, As a soldier
h1t oh -h1 ke s home from Berlin, he decides that t he prettiest
girls live in his home village,
Unl es s otherwise indicated, these songs have been arranged by
Denis Mickiewicz.
�
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
PDF with Rosetta audio/video link
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
1 sound tape reel
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
33:24
33:33
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54382">Yale Russian Chorus 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>.
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Single
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Yale Russian Chorus
Recital Tape 1965-2-6
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Arrangements by Denis Mickiewicz.
Works by Tchaikovsky, Kastalsky, folk songs, soldier songs.
Creator
An entity primarily responsible for making the resource
Yale Russian Chorus
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Contributor
An entity responsible for making contributions to the resource
Mickiewicz, Denis, 1929-
Tchaikovsky, Peter Ilich, 1840-1893
Kastalʹskiĭ, Aleksandr Dmitrievich, 1856-1926
Date
A point or period of time associated with an event in the lifecycle of the resource
1965-02-06
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
Yale Russian Chorus Recital Tape 1965-2-6.pdf