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                    <text>ARC
Recita l

UN I V

tape
2005

BINGHAMTON

4-3

UNIV ERSIT Y

SPEC COL

State University of New York

Department of Music

The Harpur Trumpet
Ensemble
Ben Aldridge, director
Stephen Boel, conductor ·
Judith Zhu, piano

Sunday, April 3, 2005
7:30 pm
Casadesus Recital Hall

�Program
Royal Fanfare ............................................................. Josquin des Prez
(1450-1521)
Sonata for Trumpet and Piano .................................... Paul Hindemith
(1895-1963)
Massig bewegt - Trauermusic
Stephen Boel, trumpet; Judy Zhu, piano

Madrigal ........................................................................ Don Schaeffer
Canzona................................................................... Fiorenzo Maschera
Madrigal ................................................................... G.P. da Palestrina
Fugue from Saint Paul ................... .......................... Felix Mendelssohn
(1809-1847)
Trumpet Salutations ..................................................... Nigel Coombes
(b. 1974)
Buckaroo Holiday from "Rodeo" ................................ Aaron Copland
(1900-1990)
The Harpur Brass Quintet
Concerto for Seven Clarini ·························:······--Johann E. Altenburg
( 1734-1801)
Allegro - Andante - Vivace

�About the Performers
BEN ALDRIDGE holds both Bachelor's and Master's degrees from Yale
University, and began teaching trumpet at Binghamton University in 1976. Aldridge
has directed both trumpet and mixed brass ensembles throughout his tenure at BU,
has performed both solo and chamber repertoire, and has taught theory as well.
Aldridge is a member of the Binghamton Philharmonic and the Utica and Catskill
Symphonies, as well as the Glimmerglass Opera Orchestra. He also performs with
and arranges for the Catskill Brass Quintet. Aldridge is a charter member of the
international Trumpet Guild, and has been recorded on Columbia and Redwood
records.
STEPHEN BOEL is a graduate student in Instrumental Conducting at Binghamton
University, where he studies with Timothy Perry. A graduate of Eastern Nazarene
College in Quincy, MA, Boel double-majored in Music Education and Music
Performance. He also fulfilled the requirements for the Choral Conducting
Certificate of ENC while serving for three years as the student director of the A
Cappella Choir and Chamber Singers under the mentorship of Timothy Shetler. Boel
served as director of music for the Wollaston Church of the Nazarene on the campus
of his alma mater, played trumpet in the brass septet Tribute in Brass and assisted
with the Wind Ensemble of Eastern Nazarene College. He serves as assistant director
of the Binghamton University Wind Ensemble.
JUDY ZHU a native from Bejing, China, is a graduate student majoring in piano at
Binghamton University. Zhu received her Bachelor of Science in Information
Science from Peking University, Bejing, China and her Master of Arts in
Anthropology from Binghamton University. She has also been admitted to the M.S.
Accounting program at Binghamton University. Zhu is a teaching assistant for the
Music Department and studies piano with Ewa Mackiewicz-Wolfe at Binghamton
University.

�The Harpur Trumpet Ensemble
Ben Aldridge, conductor
Stephen Boel
Garret Clarke
Phillip Deitz
Derek Ersbak
Erinn Hibbard
Thomas Osa
Finan Pan
Glen Widjeskog

The Harpur Brass Quintet
Stephen Boel, trumpet
Erinn Hibbard, trumpet
Patrick Lokken, horn
David Henann, trombone
Daniel Gallagher, tuba

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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 &lt;a href="mailto:orb@binghamton.edu"&gt;orb@binghamton.edu&lt;/a&gt;.</description>
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                  <text>&lt;p&gt;The Binghamton Community Poets were founded in 1983 by native Binghamton poet, educator, and Harpur College alum Richard Martin. That year he started the &lt;em&gt;The Big Horror Reading Series&lt;/em&gt; at a local coffee house. People associated with the series changed throughout the years but always included local writers who were dedicated to the idea of creating a space where literary art could flourish. For fourteen years, readings took place at various venues around the Triple Cities featuring nationally and internationally known writers while continuing to provide “open mike” time for local community writers and sometimes musicians. The series received funding from the New York State Council on the Arts, the Broome County Arts Council, and Poets and Writers, Inc., as well as public donations.&lt;br /&gt;&lt;br /&gt;Many of the readings between 1987 and 1996 were videotaped. Some of the writers who are featured on the videotapes include (in alphabetical order) Tish Benson, Charles Bernstein, Barney Bush, Wally Butts, Adrian Clarke, Suzanne Cleary, Robert Creeley, Joel Dailey, Jim Daniels, Jack Dann, Diane di Prima, Safiya Henderson-Holmes, Lance Henson, Bob Holman, Pierre Joris, Dave Kelly, Sylvia Kelly, Bill Kemmett, Peter Kidd, Dorianne Laux, Ed Ochester, Kate Rushin, Pamela Sargent, Patricia Smith, Lloyd Van Brunt. Also featured are former and current members of the Binghamton University faculty (in alphabetical order): David Bartine, Martin Bidney, Milton Kessler, Bob Mooney, Liz Rosenberg, Jerome Rothenberg, John Vernon. People associated with the series at one time or another (in alphabetical order): Ken Bovee, Alexis Cacyuk, Jerry Caswell, Tom Costello, Gerry Crinnin, Terry Day, Paul Dean, Zack Grabosky, Tom Haines, Connie Head, Michael Kelly, Tom Kolpakas, Richard Martin, Kate McQueen, John Miller, Bern Mulligan, Doug Paugh, Susan Prezzano, Phil Sweeney, Mike Tarcha. Venues for recorded readings (in chronological order): Swat Sullivan’s Hotel*, Benlin’s, Mad Murphy’s, The Tazmanian Embassy, The Amsterdam, Java Joe’s, Amp’s.&lt;br /&gt;&lt;br /&gt;The collection also &lt;a href="https://omeka.binghamton.edu/omeka/collections/show/31"&gt;includes twelve excerpted poems&lt;/a&gt; that serve as an introduction. They are linked not only to the full individual readings in Rosetta but also to the catalog records for the books in which they are published. This creates a unique convergence experience, as the catalog record “comes alive” and users can see the writer and hear a poem from the book before they take it off the shelf to read.&lt;/p&gt;</text>
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                  <text>&lt;p&gt;&lt;strong&gt;Digitization and DVD Production&lt;/strong&gt; &lt;br /&gt;After the series ended in 1996, the videotapes sat in boxes for ten years. In 2006, since they were most likely degrading and losing both video and audio fidelity, a Memorandum of Understanding between the BCP and the Libraries was agreed on and the process of converting the videotapes to DVD-quality MPEG files for preservation and access purposes was begun. Many of them had glitches and dead spots and several others were not originals but copies, further adding to loss of video and audio fidelity. After the conversion, both the video and audio quality were enhanced to a degree from what was on the tapes.&amp;nbsp; Phase Two involved producing individual DVDs from the MPEG files. The files were literally “raw”: they started when the camera was turned on and continued without interruption until it was turned off, which meant there was often video of silent microphones and audio of irrelevant crowd noises and conversations. Editing these out made the DVDs much better than the raw files. &lt;br /&gt;&lt;br /&gt;&lt;strong&gt;Preservation and Expanded Access&lt;/strong&gt; &lt;br /&gt;Due to copyright restrictions, the DVDs have been housed in Special Collections and had to be viewed there. This has definitely curtailed their usage. However, a recent development in Rosetta, our digital preservation system, has allowed us to offer a new form of access. Rosetta added a built-in video viewer, which allows the videos to be both preserved and streamed at the same time. In order to accomplish this, the DVDs had to be converted to MP4s to be compatible with the new viewer. The streaming versions are copies of the DVDs, which is why they contain menus and chapters which are not functional but are continuous play. The streaming versions will allow more users to be able to view and listen to this diverse, wide-ranging collection of readings. &lt;strong&gt;(N.B.: They are only accessible on campus or via campus VPN.)&lt;/strong&gt;&lt;br /&gt;&lt;br /&gt;*The image on the item records is the iconic Swat Sullivan's Hotel, which was located on Binghamton's South Side. Swat's was the venue for the earliest readings in the video collection. The building was torn down in 1990. This image was downloaded from &lt;a href="https://www.pinterest.com/pin/548805904585058425/"&gt;Pinterest&lt;/a&gt;. If you are the rights holder, please contact The Libraries.&lt;/p&gt;</text>
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                  <text>Bern Mulligan&#13;
Erin Rushton&#13;
Ben Coury&#13;
David Schuster&#13;
Rachel Turner &#13;
David Floyd&#13;
Sasha Frizzell&#13;
Aynur de Rouen&#13;
Nicholas Eggleston&#13;
Alexxa O Bisnar (Student worker)&#13;
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                    <text>STATE UNIVERSITY  OF NEW  YORK  AT  BINGHAMTON

HARPUR  COLLEGE
THE DEPARTMENT OF  MUSIC

THE  LENOX  STRING  QUARTET
Peter  Marsh, violin 
Delmar Pettys, violin, viola 

Paul Hersh, viola, piano

Donald  McCall, cello

and

THE  new  YORK  WOODWIND  QUINTET
Thomas  Nyfenger,  ﬂute 
Ronald Roseman, ob oe 

David Glazer, clarinet
Arthur Weisberg, bassoon

Ralph Froelich,  French  horn

RONALD  ROSEMAN,  O boe  Soloist

PAUL HERSH,  Piano Soloist
Monday,  April 27, 1970 

8 :15 

Don A . Watters Theater

PROGRAM

Quartet in F  Ma jor, K. 370, for oboe and strings 
Allegro
Adagio
Allegro ma non troppo
Partita  for Wind Quintet 
Introduction and Theme
Variation
Interlude

Gigue
Coda

. 

Mozart

Fine

Intermission

Quartet in E ﬂat m a jor, op. 33, no. 2 (“ The Joke ”) 
Allegro moderato, cantabile

Haydn

Scherzo (Allegro)
Largo sostenuto
P resto

Quintet in E ﬂ at  ma jor f or piano, oboe, clar inet, 
horn in E ﬂat and bassoon, opus 16
G rave­allegro ma no n troppo

Andante cantabile
Rondo­allegro ma non troppo

Beethoven

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

THE LENOX STRING QUARTET
in residence
Peter Marsh, violin
Delmar Pettys, violin, viola

Saturday, June 12, 1971

Paul Hersh, viola, piano

Donald McCall, cello

8:15 PM

UU Social Room

PROGRA M
Quartet in f minor, Opus 20, No. 5

Haydn

Allegro Moderato
Menuetto
Adagio
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-----int er m i s son----i
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Animé et très décidé
Assez vif et bien rythmé
Andantino, doucement expressif
Très modéré - Très mouvementé et avec passion

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HARPUR COLLEGE
THE DEPARTMENT OF MUSIC

THE LENOX STRING QUARTET
in residence
Peter Marsh, violin
Delmar Pettys, violin, viola

Saturday, June 19, 1971

Paul Hersh, viola, piano
Donald McCall, cello

8:15 PM

UU Social Room

PROGR AM
Quartet in E-flat Major, Opus 12?

Beethoven

Maestoso - Allegro
Adagio, ma non troppo e molto cantabile
Scherzando vivace
Finale

i n t e r m &amp;. s s

&amp;

o n -----

Trio in d minor, Opus 49
Molto allegro ed agitato
Andante con moto tranquill o
Scherzo: Leggiero e vivace
Finale: Allegro assai appassion ato

Mende lssohn

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

THE LENOX STRING QUARTET
in residence
Peter Marsh, violin
Delmar Pettys, violin, viola

Friday, June 25, 1971

Paul Hersh, viola, piano
Donald McCall, cello

8: 15 PM

UU Social Room

PROGR AM
Quartet in G Major, Opus 18, No. 2

Beethoven

Allegro
Adagio cantabile
Scherzo (Allegro)
Allegro molto quasi presto
Liberata II (Piano Quartet) 1968

Paul Zonn

-----i nterm ission ----Piano Quartet in cminor, Opus 60
Allegro non troppo
Scherzo (Allegro)
Andante
Allegro comodo

Brahms

•

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

THE LENOX STRING QUARTET
in residence
Peter Marsh, violin
Delmar Pettys, violin, viola

Saturday, June 5, 1971

Paul Hersh, viola, piano
Donald McCall, cello

8: 15 PM

Watters Theater

PROGRAM
.

Quartet Opus 59, No. 1

Beethoven

Allegro
Allegretto vivace e sempre scherzando
Adagio molto e mesto
Theme russe (Allegro)

'

Piano Quartet in C minor, Opus 15

Allegro molto moderato
Scherzo (Allegro vivo)
Adagio
Allegro molto

Faure

�</text>
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HARPUR COLLEGE
THE DEPARTMENT OF MUSIC
THE LENOX STRING QUARTET
in residence
Sunday, September 12, 1971

8:15 pm Don A. Watters Theater

program
Quartet in D Major, opus76 no. 5

Quartet no. 4 (1928)

Haydn

Bartok

- intermission-

Quartet in C Major, opus 59 no. 3

Beethoven

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DEPARTMENT OF MUSIC
THE LENOX QUARTET
Mon., Nov. 8, 1971 - 8:15
Don A. Watters Theater
PROGRAM
Quartet in þÿE&amp;m
major, Op. 20, no.l
Allegro moderate
Menuetto-Allegretto
Affettuoso e sostenuto
Finale. Presto
Quartet inf minor, Op. 95
Allegro con brio
Allegretto ma non troppo
Allegro assai vivace, ma serioso
Larghetto espressivo - Allegretto agitato

Haydn

Beethoven

INTERMISSION
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Madere - Très doux
Assez vif - Tres rythme
Très lent
Agitl

Ravel

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                  <text>&lt;strong&gt;&lt;em&gt;Who is Max Reinhardt?&lt;/em&gt;&lt;/strong&gt; &lt;br /&gt;The celebrated &lt;span&gt;Austrian t&lt;/span&gt;heater director &lt;a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/"&gt;Max Reinhardt&lt;/a&gt;, recognized in America primarily for his elaborate productions of Shakespeare’s A Midsummer Night’s Dream, Franz Werfel’s The Eternal Road, and Karl Vollmoeller’s The Miracle, was born in 1873 at Baden near Vienna, Austria and died in New York City in 1943. Reinhardt’s illustrious career takes on added significance because it coincides with a major shift in the evolution of the modern theater: the ascendancy of the director as the key figure in theatrical production. Reinhardt’s reputation in international theater history is secured by the leading role he played in this transformation, as well as by his innovative use of new theater technology and endless experimentation with theater spaces and locales, which together redefined traditional relationships between actor and audience toward a new participatory theater. &lt;br /&gt;&lt;br /&gt;&lt;em&gt;&lt;strong&gt;What is a prompt book?&lt;/strong&gt;&lt;/em&gt; &lt;br /&gt;The prompt book is a master copy of the production script and contains a wealth of instructions and information alongside the basic text of the play. As well as the actors’ lines, you will often see cues for music, movement, light, and many other aspects of stage business. It may also contain sketches of how a piece of staging is supposed to look, or which costume a character should wear in a scene. &lt;br /&gt;&lt;br /&gt;&lt;em&gt;&lt;strong&gt;Why are his important?&lt;/strong&gt;&lt;/em&gt; &lt;br /&gt;Reinhardt’s directorial prompt books reflect the ways in which he made plays by major playwrights, including Ibsen, Shakespeare and Wilder, his own. The prompt books contain notations denoting changes in the script, actor moves and technical cues, instructions on how sound, props and scenery were used, and stage drawings. They help us to reconstruct Reinhardt’s techniques and directions in productions. &lt;br /&gt;&lt;br /&gt;&lt;em&gt;&lt;strong&gt;Acknowledgements&lt;/strong&gt;&lt;/em&gt; &lt;br /&gt;Thank you to the Gladys Kriebel Delmas Foundation who generously provided the funding to make this extraordinary project possible. Thank you also to the following individuals who helped make this project successful: Binghamton University Libraries’ Staff: Benjamin Coury, Nicholas Eggleston, Jean Green, Blythe Roveland-Brenton, Erin Rushton, David Schuster, Rachel Turner, Brandy Wrighter; Binghamton University Students: Madelynn Cullings, Kashawn Hernandez, Aanyah Jhonson-Whyte, Marisa Joseph, Bethany Maloney, Ashleigh Marie Sherman, Thomas Tegtmeier, Joseph Vitale.</text>
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                  <text>&lt;p&gt;&lt;a href="https://omeka.binghamton.edu/omeka/items/show/2877"&gt;Full Display and German Transcription of Max Reinhardt's&lt;/a&gt;&lt;em&gt;&lt;a href="https://omeka.binghamton.edu/omeka/items/show/2877"&gt; Reigen Promptbook&lt;/a&gt;&lt;br /&gt;&lt;/em&gt;&lt;br /&gt;&lt;a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/"&gt;&lt;span&gt;Max Reinhardt Archives and Library&lt;/span&gt;&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,reinhardt&amp;amp;tab=DigitalCollections&amp;amp;search_scope=DigitalCollections&amp;amp;vid=01SUNY_BIN:01SUNY_BIN&amp;amp;offset=0"&gt;Max Reinhardt Collection Photographs&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="https://omeka.binghamton.edu/omeka/max-reinhardt-timeline"&gt;The Life and Times of Theater Director Max Reinhardt&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="https://omeka.binghamton.edu/omeka/max-reinhardt-theaters"&gt;The Theaters of Max Reinhardt&lt;/a&gt;&lt;/p&gt;</text>
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                  <text>Jean Green,&amp;nbsp;&lt;br /&gt;&lt;br /&gt;Binghamton University Students: &lt;br /&gt;Madelynn Cullings&lt;br /&gt;Kashawn Hernandez&lt;br /&gt;Aanyah Jhonson-Whyte&lt;br /&gt;Marisa Joseph&lt;br /&gt;Bethany Maloney&lt;br /&gt;Ashleigh Marie Sherman&lt;br /&gt;Thomas Tegtmeier&lt;br /&gt;Joseph Vitale</text>
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              <text>Markings in purple pen, blue pencil, red pencil black pencil, and black pen. All of Reinhardt’s written notes in German are translated into English and typed on opposite side of page in red ink. Almost all handwritten notes are in German. English-language handwritten notes found throughout in black pen, however they do not appear to be Reinhardt’s. Written notes common throughout both books. Heavily marked throughout in a variety of colors. Noticeable lack of stage setting, staging, prop, etc. directions throughout. </text>
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              <text>Part I: September 31, 1938, Palos Verdes, California, Harden House&#13;
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October 1938, Palos Verdes&#13;
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January 1, 1939 (city unspecified)&#13;
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December, 1940, Hollywood&#13;
&#13;
September 26 (year unspecified, city unspecified).&#13;
&#13;
&#13;
Part II: October 15, 1938, Palos Verdes, California&#13;
&#13;
October 27, 1938, Palos Verdes, California&#13;
&#13;
December 31, 1938 (city unspecified; possibly New York)&#13;
-Supporting materials: Box 8 Folder 60: Photographs (Guild Theater, New York; 1938)&#13;
Oversized mounted 7, 10, 14&#13;
Box 14 Folder 59: Programs; plays (Guild Theater, New York; December 28, 1938)</text>
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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 &lt;a href="mailto:orb@binghamton.edu"&gt;orb@binghamton.edu&lt;/a&gt;.</description>
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