176
10
1775
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PDF Text
Text
Letter 5
Item Code: AWL05
Unedited Transcription
17 April, 1864
William S. Pike to Anna Wilcox
Posted from Fort No. 5, Baltimore, Maryland
This letter was enclosed in a 5.25” x 2.875” white envelope with cancelled three
cent stamp in the upper left hand corner of the envelope; postmarked Apr 1[8]
‘64, BALTIMORE, MD. The postmark, rather than the stamp cancellation,
overlays the stamp. The postmark is incomplete, with some characters missing
entirely and portions missing from all characters present. The postmark is 1 3/16”
in diameter. The stamp cancellation consists of four concentric circles, the largest
is 3/4” in diameter and the smallest is 3/16” in diameter. Both the postmark and the
cancellation are blue ink.
Addressed in black ink to:
Miss Anna Wilcox
Smyrna
Shenango Co
NY
The envelope was opened by cutting the left side. Foxing/staining along most of
bottom edge. There is blue ink staining on both the front and back of the
envelope, likely from the postmarks and cancellations of other letters.
Three pages.
One 8” x 10” sheet folded to form four 5” x 8” pages.
Written in black ink on unlined stationery paper. Watermarked with
eleven horizontal lines. The ink is slightly faded. Very slight foxing. There are
two small (<1/8”) holes where the two horizontal creases cross the single vertical
crease. There are three creases: one vertical and two horizontal. Folded size is
5” x 2.75”.
�Letter 5
Page 1
Fort No.5 Defenses of
Baltimore Apr 17/1864
Dear Cozen
I received your
kind letter in due
time and I was glad
to hear from you to
hear that you were
all getting along So
well the weather here
has been verry fine
for a week or two and
it is so Still I wish
you could be here
Some afternoon
and See us have
Dress Parrade iff you
could we would have
a fine time and
�Letter 5
Page 2
a pleasant one I
arshure you well Anna
I have Sixteen more
months to Serve
in the Army and
when that time is
up I am thinking
Some of Comeing to
old Smyrna once
more and See the
home of my Schildhood
those lovely Mountains
and pleasent Valies
that I used to See a
long time ago in
the days when I was
a little Urchin
I received a
letter from Father
a few days ago and
my folks were all
well as usuas at that
time Mother is not verry
�Letter 5
Page 3
Smart but she is better
that she has been before
in some time
Anna you rote
that you were afraid
that I would get out
of Patience with you
you need not be
afraid of it for I shall
not for I know that
it will come Sometime
but Anna I must
close for I have got
three more Letters
to rite to day So goodbye
Write Soon
Anna Wilcox
Wm̤. S. Pike
�
Dublin Core
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Title
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Anna E. Wilcox Family letters
Subject
The topic of the resource
United States--History--Civil War, 1861-1865--Personal narratives ; Soldiers--Correspondence.
Description
An account of the resource
The collection consists of 45 letters on 44 sheets, 8 photographs, 4 unassociated envelopes, and ancillary materials. Most of the letters were written between October 16, 1862 and August 10, 1865. Ancillary materials include the "scope and content" note, the "finding aid", and the "transcription note". Also, the ancillary materials include photocopies from the National Archives and Records Administration of the Military Service Records and Military Pension Records for William Pike, B. Leroy Pike, and Emory Wilcox (Service Record only).
Creator
An entity primarily responsible for making the resource
Wilcox, Anna E.
Pike, William S.
Wilcox, Emory
Pike, Benjamin Leroy
Pike, John
Pike, Ruth
Pike, Corintha
Pike, Mary J.
Stover, Benjamin
Publisher
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Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
1862-1868
Rights
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<span>In copyright.</span>
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<a href="https://archivesspace.binghamton.edu/public/repositories/2/resources/106">Binghamton University Libraries Special Collections, Anna E. Wilcox Family letters</a>
Language
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English
Type
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Text ; image
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1860-1869
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
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AWL05
Title
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William S. Pike Letter to Anna Wilcox, Fort No.5 Defenses of Baltimore, April 1864
Description
An account of the resource
William S. Pike, a Civil War soldier writes to his Cousin Anna Wilcox from Fort No. 5, Defenses of Baltimore in April of 1864. He comments on the weather and wishes she could the soldiers in Dress Parade. He writes of his remembrances of the mountains and valleys of his childhood home in Smyrna, NY. William writes of a letter from his father and comments on his mother health. Original format:1 sheet, 13 x 26 cm folded to 13 x 21 cm, and 1 envelope, 8 x 14 cm.
Format
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1 digital resource (3 pages)
image/jpg
Creator
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Pike, William S.
Subject
The topic of the resource
United States -- History -- Civil War, 1861-1865 -- Personal narratives
Soldiers -- Correspondence
Soldiers -- New York (State) -- Smyrna -- Correspondence
Soldiers -- New York (State) -- Chenango County -- Correspondence
Wilcox, Anna E. -- Correspondence
Pike, William S. -- Correspondence
United States. Army. New York Artillery Regiment, 8th (1862-1865). Company B
Date
A point or period of time associated with an event in the lifecycle of the resource
1864-04-17
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1860-1869
Type
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Text
Language
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English
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Rights
Information about rights held in and over the resource
http://www.binghamton.edu/libraries/special-collections/servicesandpolicies/docs/duplicationpolicy.pdf
Relation
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Anna E. Wilcox Civil War Collection
Binghamton University Libraries’ Civil War Collections
-
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Coverage
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1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
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In copyright.
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Original Format
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2 audiotape reels
Duration
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39:51
36:57
Streaming Audio
Streaming URL
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Title
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Wind Ensemble, December 18, 1976
Alternative Title
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Recital tape 1976 12-18
Description
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Held at 8:15 pm, December 18, 1976.
Publisher
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Binghamton University Libraries
Date
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1976-12-18
Rights
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In copyright
Type
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sound
-
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Coverage
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1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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59:31
Streaming Audio
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE85305">Wind Symphony concert : Larger than life, epic fright! December 12, 2013</a>
Dublin Core
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Title
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Wind Symphony concert : Larger than life, epic fright! December 12, 2013
Creator
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University Wind Symphony
Contributor
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Fabricius, Daniel
Format
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audio/wav
Description
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Works by Yagisawa, Giroux, Paulson, Balmages, Whitacre, Mackey. Held at 8:00 p.m., December 11, 2013, Anderson Center Chamber Hall.
Publisher
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Binghamton University Libraries
Date
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2013-12-11
Rights
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In copyright
Type
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Sound
Alternative Title
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Recital Tape 2013-12-11
-
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.
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1 audio disc
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53:28:00
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145420">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145420</a>
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Title
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Wind Symphony Solo competition, Februar 27, 2011
Recital Tape 2011-2-27
Description
An account of the resource
Held at 6:30 p.m., February 27, 2011, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Muller, Robert
Reitz, Margaret A
Weintraub, Samuel
Marsiglia, William
Gukowsky, Matthew
Bartishevich, Jay
Ramos, Benjamin
Goldenberg, Adam
Bessel, Daniel
Publisher
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Binghamton University Libraries
Date
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2011-02-27
Rights
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In copyright
Type
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sound
-
https://omeka.binghamton.edu/omeka/files/original/e0018e4624b8d046adc1b7cc2733f42e.pdf
3fa7671f3b8b82851bfe83495405fbbf
PDF Text
Text
BINGHAMTON
U N I V E R S I T Y
STATE UNIVERSIT Y O F NEW YORK
zed eC
D E P A R T M E N T
Sho
red
W
nd i Symphony
PRESENTS
AMERICAN
VA R I AT I O N S
HONORING VETERANS AND ACTIVE MILI TARY
FEATURN
IG
THE BU SAXOPHONE ENSEMBLE
Sunday, December 5, 2010
3:00 PM
Anderson Center Chamber Hall
�The Musicians
Robert G. Smith,
Piccolo
Music Director and Conductor
Kathleen Spelman
Rebecca Falik
Program
The StarSpangled Banner................... .......... ..arr. Jack Stamp
A love song for our country
(b. 1954)
commando March......................ccceeeeeenennen.....Samuel Barber
(19101981)
legy ForA Young American()..........................Ro nald LoPresti
(19331985)
\ Gathering of Angels.
Jared Spears
(b. 1936)
:termal Father, Strong To Save.
..Claude T. Smith
(19321987)
Intermission
’ a s t i m e : Salute to Baseball.............................. ...Jack Stamp
(b. 1954)
itephen Foster Revisited
. Stephen Foster
o
The BU Saxophone Ensemble
(18261864)
arr. Bill Holcomb
Christopher Murdock, soprano saxophone
Andrew Block, Alex Horspool, alto saxophones
Bradley Alder, Raymond Hendricks, tenor saxophones
Dean Papadopoulus, baritone saxophone
Professor April Lucas, director
’ariations on “America”. . ...... .
Composed for organ in 1891
.
Flute I
E m i l y Morris, principal
Mark Zhuang
Lindsay Ralbovsky
Kathleen Spelman
3Clarinet
rd Bb
Kevin Hannon, principal
B b Bass Clarinet
Carolina Montenegro
2nd Bb Trumpet
Nick Quackenbush
Peter Schwarz
Eb Alto Saxophone I
Chris Murdock, principal
Lauren RossHixson
Flute II
Raquel Goldsmith
Judy Kahn
Kimberly Horn
Rebecca Falik
E b Alto Saxophone II
Christina Peregine
Anthony DeGelorma
RECORDER
Alexander Baron
Oboe
Kimberly Muller
Sun Hao
1st Bb Clarinet
Kerry Goodacre, coprincipal
Jaclyn Adler, coprincipal
Sophia Schneiderman
Alex Horspool
Charles Ives
( 18741
9 54)
Orchestral transcription by Wm. Schuman(1963)
Wind Band transcription by Wm. Rhoads
he Stars and Stripes Forevever................. ....John Philip Sousa
(18541932)
Olivia Santoro
3rd B b Trumpet
Samuel Weintraub
Brian Lee
John Marschhauser
Russell Feinstein
Kevin Koes
Bb Tenor Saxophone
Bradley Alder
Eric Seaman
Stephen Kassinger
EBaritone
b
Saxophone
Dean Papadopoulus
Toni Bruno
F
Horn
Carrie Buck
2nd B b Clarinet
Mark Dello Stritto
Abbey Cohen
Vanessa Kay
1st Bb Trumpet
David Morrissey
Gregory Norman
Trombone
Drew Perotti
Trombone
Derek Moran
Trombone
Matthew Kratenstein
Euphonium
Andrew Kaufman
TUBA
Matthew Gukowsky
Percussion
Benjamin Ramos
Mike McManamon
Rose Steenstra
John Erdman
Adam Goldenberg
�ROBERT G. S MITH is Music Director and Conductor of the University Wind Symphony. Prof.
Smith also teaches advanced instrumental conducting and graduate wind conducting at BU. His
career includes 32 years as a public school music educator. He conducts the annual Triple Cities
TubaChristmas and is former conductor of the Maine Community Band, the oldest band of its kind
in the United States. He has guest conducted allcounty bands throughout New York State. Among
other ensembles Smith has conducted are the Goshen College(IND) Wind Ensemble and Orchestra,
The United States Army Ground Forces Band(GA), the Southern Tier Concert Band(NY) and the
Vestal Community Band(NY). An active performer, he currently plays principal euphonium with
the Southern Tier Concert Band and tuba with the Brass Nickel quintet and the Crown City Brass
sextet. Smith is past president of the Broome County Music Educators Association and recipient of
the 2005 BCMEA Distinguished Service Award. Professional memberships include The Broome
County Music Educators Association, the New York State School Music Association, the Music
Educators National Conference, The National Band Association, The Association of Concert Bands,
The Conductors Guild, The World Association of Symphonic Bands and Ensembles, The College
Band Directors National Association and the International Tuba and Euphonium Association.
Comnig “Censt
Sunday, December 5 – Violin Recital: Janey Choi, violin, Michael Salmirs, piano
and guest artist Rebecca Ansel, violin – 7:30 p.m. – Casadesus Recital Hall –
$10 general public; $5 faculty/staff/seniors; $2 students
Thursday, December 9 – Jazz MidDay Concert with guest artist – 1:20 p.m. –
Osterhout Concert Theater – free (Cosponsored by the Binghamton University
Music Department and the Harpur Jazz Project)
Thursday, December 9 – Harpur Jazz Ensemble Concert with guest artist – 8
p.m. – Osterhout Concert Theater – $10 general public; $5 faculty/staff/seniors;
free for students (Cosponsored by the Binghamton University Music Department I
and the Harpur Jazz Project)
Friday, December 10 – Singing Chinese Class Recital joined by the Beginning
Chinese Flute Class – 7 p.m. – Casadesus Recital Hall free
Saturday, December 11 – Amahl and the Night Visitors – 3 p.m. & 5 p.m. –
Anderson Center Chamber Hall – $8 adults; $5 students ($25 maximum for
families with 2 adults and 4 children)
' Sunday, December 12 – Amahl and the Night Visitors – 3 p.m. & 5 p.m. –
Anderson Center Chamber Hall – $8 adults; $5 students ($25 maximum for
families with 2 adults and 4 children)
Monday, December 13 – “Italian Night” Class Recital (Maria Cook, Instructor) –
8:00 p.m. – Casadesus Recital Hall – free
For ticket information, please call the
Anderson Center B ox O ffice at 7 77ARTS.
�
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Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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2 audio disc
Duration
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37:34
32:17
Streaming Audio
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Title
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Wind Symphony, "American Variations," December 5, 2010
Recital Tape 2010-12-5
Description
An account of the resource
Works by Stamp, Barber, LoPresti, Smith, Foster, Sousa
Creator
An entity primarily responsible for making the resource
Smith, Robert
Lucas, April
Murdock, Christopher
Block, Andrew
Horspool, Alex
Alder, Bradley
Hendricks, Raymond
Papadopoulos, Dean
Publisher
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Binghamton University Libraries
Date
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2010-12-05
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In copyright
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sound
-
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BINGHAMTON
UNIVERSES?
State University of New York
’
1
D
2
E
P
A
R
T
M
W INTER CONCERT
\N L V
—
with
Women ’s C ho rus
K ristina R uffo, cond uctor
Assisted by
Jody Schum. piano
and
Mary Schappert. harp
Harpur Chorale
Peter Browne. cond uctor
Saturday, March 17, 2007
8:00 p.m.
Anderson Center ( ‘hamber Hall
E
N
T
�PROGRAM
TRANSLATIONS
I.
I.
Women ’s Chorus
Kristina Ruffo, conductor
Jody Schum, piano
Oddi Ol lpe p i m i cmsi nd ia i l is i
:
r
i
s
Odi Odi
“Untold millions of people run and run. constantly seeking, grow
desperate and die looking for the light that is within them.”
.. Tamil Song
A rr by Stephen Hatfield
1
Herbstlied
(Aut u m n Song)
Oh. how soon the c ycle ends,
Spring turns into wintertime!
Oh how soon all happiness
Turns to sad silence!
.. T raditional Celtic
“Am. by David Fanshawe
C H E D I E
The last sounds soon fade!
The last songbirds are soon flown!
The last green is soon gone!
They all want to return home!
Felix Mendelssohn
Hetbstlicd
(18091847)
Choral Hymns from the Riglula
Group l l l : For Women ’s Voices & Harp
Oh. how soon the c ycle ends,
Merriness turns to longing sorrow.
. Gustav Holst
(l874 l 934)
Were you a dream, you thoughts o f love?
Sweet as spring and fast disappearing?
Only one thing will never wane :
l. Hymn to the Dawn
2. Hymn to the Waters
3. Hymn to the Vena (The Sun Rising Through the Mist)
4. Hymn to the Travellers
Las Amallllas
The longing that never goes.
Ah, how soon the c ycle ends!
Oh how soon all happiness
Turns to sad silence!
Las Amarillas
The yellow calandras fly from the cactus
No longer w ill the cardinals sing happily
To the song na na
To the song na no
Traditional Mexican
Stephen Hatfield
WINTERMISSIONOS
}
Because the tress on the hillside have not come back to li fe
For that the calandras will either sing or crush their nests.
You are small and beautiful and l love you just the way you are
You are like a little rose from the coast of Guerrero
Everybody has their own farewell, but there’s non like this one
F our t imes fi v e i s t went y, three t imes se v en 1s t went y one.
�11.
H a rp u r Chorale
Peter Browne. conductor
Now é T e m p o . . . aiviinelaitaie a
Fugitiva Mia Speranza
Translations
i
i
. Marco C
orl
(d.c. 1530)
Non 6 Tempo
There’s no time for idle waiting.
Sixth Evening Service
l. Magnificat
Thomas Weelkes
(15761623)
Jaclyn Hochreiter, Lynsey Zuar. A llison Metcal fe; sopranos
Sophie Nusinov, Corinne l’aull and Jennifer Paull; altos
Alexander Blitstein. tenor; Adam Hess, bass
ll. Nunc Dimittis
Rachel Newby, Emily Creo, Sophie Nusinov; altos
The BIuebird...........cowiviiamessisinse
n i a : Charles Villiers Stanford
( l852 1924)
. A rthur Sullivan
(1842 l 900)
Echoes
Cantique de Jean Racine........................ecccosureeeunnene... Gabriel Fauré
(18451924)
DUMCIUE i s riniprvsssrasirmionsisssiersiissastpasisasessnasseserarty Fauré
from Requiem
Eliazabeth Sterling, violin
Hamba LuLu.
Oh What a Beautiful City
ZuL u Wedding Song
arr. by Mike Brewer
Spiritual arr. by Jeffrey Webb
Whether calm or stormy weather,
See the moment as it happens
B e l l rising or abating.
Fugiti va M ia Spera nza
Hope, you cannot escape me ever.
Though you may think you are leaving ;
You’ll remain with me with no more grieving,
Feters so strong you cannot sever.
I know full well all your displeasure
In my unhappy condition.
Secking a far richer treasure
Is your heart ’s ultimate mission;
I shall not heed your petition.
Cantique de J ea n Racine
Word equal to the most high, our sole hope, eternal day of
the earth and heavens, o f the peaceful night. we break the silence.
Divine Saviour, cast your eyes on us! Shed on us the fire o f your
powerful grace, so that all hell flees at the sound of your voice,
disperse the sleep o f languishing soul that drives it to forget your
laws! O Christ be favorable to this faithful people now gathered
together to bless you. Receive the songs that they offer to your
immortal glory that they may ret urn in total joy.
Sanctus
Holy, Holy, Holy
Lord God of Hosts.
Heaven and earth are full of thy glory.
Hosanna in the highest.
Hamba L ulu
Go Lulu, listen to all the things they are telling you.
�Woman ’s Chorus
ABOUT T H E PERFORMERS
?
Women ’s Chorus
Sop rano I
K R I S T IN A RUFFO 1s a graduate choral conducting student at
Binghamton Universit y. She received her BA from Ithaca College
in Music Education. This is her second semester conducting the
Women’s Chorus and is very proud of their success as an ensemble.
She is a member of the University Chorus, and also teaches a sight
singing class to help students improve in their reading abilities and
confidence in singing. She is also involved in an African Drumming
class with Professor James Burns. She was awarded the Keeler
Scholarship this year that has helped her continue with her
education. During the day, she teaches fulltime at the Maine
Endwell High School and is director of the Mixed Chorus, Madrigal
Choir, and Quartet, as well as teaching a theory course. Kristina
resides in Binghamton, NY with her husband and is looking forward
to a successful semester with the Women ’s Chorus.
>
Sop rano II
Boccuzzi, Dina
Bose, Anjuli
Choi, Esther
EspinosaThomas, Eliza
Haigney, Stephanie
Hassfurter, Katherine
Havener, Crista
Indovino, Shaina
Manukian, Denise
J O D Y S C H U M is a versatile pianist, organist and vocal coach
originally from Windsor, NY. Currently on faculty at SUN Y
Cortland and Binghamton University, he also is resident pianist with
Tri Cities Opera in Binghamton, NY. Mr. Schum has performed
with the Binghamton University Symphony Orchestra, TriCities
Opera and on numerous solo and collaborative recitals at
Bi ngha m ton Uni versit y.
Murphy, Maria
Pouchic, Priscilla
Press, Amanda
Wallach, Jaclyn
Welby, Kate
H is most recent engagement was
performing and studying on fellowship with the International
Institute of Vocal A rts in Chiari, Italy last summer. Upcoming
engagements include a sacred music concert with soprano Julia
Ebner and a recital with baritone Timothy LeFebvre at Elebash
Recital Hall in New York City. Mr. Schum is Music Director at the
First United Methodist Church of Endicott, N Y.
Cheng, Hiu Nam Wien
Cohen, Rebecca
Epstein, Jodi
Haines, Alex
Karp, Jillian
Kucera, Jana
Liebowitz, Liann
Rabideau, Erin
Sones, Melissa
Winnett, Desiree
q
Alto I
Bass, Desiree
Colah, Perin
Groteke, Laura
Maughan, Carly
Navarette, Katherine
Weiss, Elisa
Alto l l
Barbanell, Danielle
Blake, Daron
Caruso, Alicia
Courage, Katherine
Golden, Sarah
Wong, Randall
�Translatio ns
Non é Tempo
There’s no time for idle waiting,
Whether calm or stormy weather,
See the moment as it happens
Be it rising or abating.
Fugitiva Mia S pera nza
Hope, you cannot escape me e ver,
Though you may think you are leaving;
You’ll remain with me with no more grieving,
Feters so strong you cannot se ver.
I know full wel l all your displeasure
p
ln my unhappy condition.
Seeking a far richer treasure
I s your heart ’s ultimate miss ion;
l shall not heed your petition.
Cantique de J ea n Racine
Word equal to the most high, our sole hope, cternal day of
the earth and heavens, of the peaceful night, we break the silence.
Divine Saviour, cast your eyes on us! Shed on us the fire of your
powerful grace, so that all hel l flees at the so und of your vo ice,
disperse the sleep of a languishing soul that d rives it to forget your
laws! O Christ be favorable to this faithful people now gathe red
together to bless you. Receive the so ngs that they offer to your
i m mortal glory th at t hey ma y ret urn in total joy .
Sanctus
Holy, Holy, Holy
Lord God of Hosts.
Heaven and carth are full ot ’thy glory.
Hosanna in the highest.
Halnba Lulu
Go Lulu, listen to all the thing s they are telling you.
1
l
�
Dublin Core
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Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
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In copyright.
Template: PDF / Rosetta
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Original Format
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1 audio disc
Duration
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57:42:00
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196779">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196779</a>
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Title
A name given to the resource
Winter concert, March 17, 2007
Recital Tape 3-17b-2007
Description
An account of the resource
Held at 8:00 p.m., March 17, 2007, Anderson Center Chamber Hall. Program includes translations of songs.
Creator
An entity primarily responsible for making the resource
Ruffo, Kristina
Schum, Jody
Schappert, Mary
Browne, Peter
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
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2007-03-17
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In copyright
Type
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sound
IIIF Item Metadata
UUID
1bed6357-120f-4679-8d17-771a59780940
-
https://omeka.binghamton.edu/omeka/files/original/422e84d5b50f03a9bba4378d96af66ab.pdf
d20866168bf534a1515b2668b7932ffb
PDF Text
Text
Winter Series - First Recital
Sunday,
oven,ber 14, 1965
PROGRAM
STRING QUARTET
in D Major, Op. 20 #4
HAYD
Allegro di molto
Un poco adagio affettuoso
M enuetto.
All egretto alla zingarese
Presto scherzando
STRI G QUARTET #11
KIRCH ER
Alle gro ma non troppo
Ad agio
Divertim ento and Trio
Adagio
INT ERMISSIO
QUARTET in A Minor
Op . 51, No. 2
Allegro non troppo
Andante moderato
Quasi Minuetto, moderato
Allegretto vivace
Finale.
1965-66
All egro non assai
BRAHMS
�NOTES by Patricia Isham
■ H aydn' s s ix Op . 20 qua rtets ma rk a turn ing point in his chambe r mus i c. He r e hi s
o wn pe rsonal style begins to take s hape with
a bala nced mixture of polyphoni c and hom ophoni c t exture s . Op. 20 #4 opens with a r e ite r at ed three -not e figur e whi ch fo rms the
basi c motive of thi s monothe ma ti c s onata fo rm movement. Haydn also introduces a
fals e r ecapitulation, a n identifying devi ce of
his late r s onata-form move ment s . The
second m ove m e nt is in the me and va ri ation
fo rm, the first variation being devote d to an
o rna m e nted dialogue between s econd violin
a nd vi ola, the s econd t o embellishme nts by
the ce llo, the third t o triplet orname nta tion
by the first violin , and the fourth t o an exten s ion of the them e through syncopation a nd
o rna m e ntation in all the voi ces. The Menue tto, alla zingar es e , i s cha r act e r ized by a
two -beat me lodi c patte r n whi chi sfitt edinto
the triple met e r through skillful syncopa tions a nd a cce nts on eve r y s econd beat. The
fourth movement r eturns t o s onata -allegr o
fo rm prese nting contra sting theme s , the
fir s t a peas a nt-like dance figure, the second
m a r ch-like in characte r , and i ntroducing
still a nothe r them e in the development sec tion. The four string instrume nts pa rtake
a lmost equally of m elodi c m at e rial and e nte r
into contrapuntal inte rplay i n a ll m ove ment s.
se ve r a l wo r ks for vi olin and piano, a piano
t r io, and a s econd qua r tet. His st yle is cha r acte rize d by chromaticism , s et within a
fr a mewo rk of s wiftly cha nging moods and
rh ythmic pat terns . He us e s the m ode rn
idio matic s t r ing device s fr eque ntl y em ployed by Bartok, Be r g, a nd othe r s, su ch as
snapped pi zzi cati , po r tam e nti, colle gno, and
a ll t ypes of gli ssandi, but has expe ri me nted
onl y s li ghtl y with the 12 -tone r ow. T he fou r
m ovement s of the qua r tet are fu r t he r di vided
into seven sections , a lt e r nating in te mpi , fo r
t he opening a llegro is inter r upted by an
andant e whi ch anti c ipate s the mat e ri a l of the
a dagio, and the fina l adagi o conclude s with
an a lle gr o . In Aaron Copland' s r e vie w of this
wo r k, he write s that Ki r chne r ha s "a c r ea tive ur ge s o vital as to burst a ll bonds of
o r dina r y control. It is the 'out- of-c ont r ol '
quality t hat give s an y o ne of his wo r ks e no r m ous excitement. To date it would see m t o
me t hat that is his pr in cipa l claim to origi nality; the da r ingly fr e e stru ctural or ga ni zati on of his com po sitions .n And furt he r
"the impr essi on ca rri ed a way fr om a Kir chne r pe r fo r mance is one of ha ving mad e co ntact not me r e ly with a compos e r but with a
highl y s e nti e nt human be ing; of a ma n who
c r eates his musi c out of the spec ial climate
of toda y' s uns ettl ed wo rld ."
■ Leon Kirchne r ' s First String Qua r tet ,
dedicated to Roge r Se ssions , was written i n
1949 a nd first pe r fo rmed in 1950. Kirchne r ,
bor n in 1919 in Brookl yn, s tudied mainl y at
the Unive rsit y of Califor nia, Be rkeley, unde r Elkus, Se ssions , Bloch, a nd Schonbe r g,
a nd afte r completing his MA degr ee i n 1947,
he ente r ed the tea ching profession . He has
b een the r ecipie nt of s eve r a l gr ants, including a Guggenheim F ellowship , an a war d fr om
t he Nationa l Institute of Art s and Lette rs ,
a nd a Fromm F oundation commission . His
c hamb e r works include, be sides the qua r tet,
■ In 1873 at t he age of fort y Bra hms com pos ed the fir st t wo of his t hree existing
s tri ng qua r tets, afte r des troying ove r two
do zen pr evi ous attempts . He had bee n inhi bit ed in t he writ ing of string qua r tets and
s ymphonie s by the gr e at pr e cede nts found in
the wo rks of Beethove n. The Quart et in A
Mino r had been intended fo r his fr iend, the
violi ni st J oseph J oachim, and included s ev e r al devices that we r e meaningful only to t he
t wo of them . As a student J oa chim had chos en t he motto F r e i aber Einsam (fr e e but
(Continued)
�State University of New York at Binghamton, HARPUR COLLEGE
The Department of Music presents
THE GUARNERI STRING QUARTET (in residence)
Arnold Steinhardt
violin
Mi chae l Tre e
viola
John Dalley
violin
Dav id Saye r
cell o
RECITALS O SE A SO N 1965-66
SUMMER SERIES
WINTER SERIES
SPRING SERIES
Sunday, August 1
Sunday, August 8
Sunday, August 15
Sunday, August 22
Sunday, Octob er 10
Sunday, No ve mb er 14
Sunday, Decemb er 5
Sunday, January 2
Sunday, January 9
Sunda y, February 13
Monda y, March 28
Sunda y, April 3
Sunday, April 10
All performan ces at 8:15 p.m . in th e Harpur Coll ege Th eater.
Late com er s will be s eated after the first quartet.
Ush erin g co urtes y of Al pha Phi Omega
OPEN REHEARSALS
The publi c is cordially in vi ted to att end th e qu artet's rehea rs als, held
the day prior to each recital, at 3 p.m., in th e musi c room (CA-183) nea r th e th eat er.
NOTES Continued
a l one) - FAE - for hi mse lf whi le Brahms
had se lected F rei ab er Froh (fr e e but happ y)
-- F A F . Thus in r e m emb r an ce of thei r
friends hip Brahms constructed the them e of
t he fir st mo vement out of t hese two mottos ,
using t he notes f a e andininve r si onfaf, i. e .
a f a , thus a rriving at t he notes a fa e . T he ir
co mmon inte r est in writing canons was also
r efl ecte d i n t he va r ious types of canons
whi ch appear thr oughout this wo rk, as fo r
e xamp le, t he mir r or canon in the coda of the
fi r s t m ovement and the canon near the end
of the fourth m ove me nt. A s li ght mi s unde rstanding be t wee n the fri ends later led
Brahms to change the ded icati on befo r e pub l ication to a Dr. Bi ll r oth. Ident ifyi ng cha ra cte risti cs of Bra hrn ' s s t yle ca n be r e cognized in this wo rk in hi s use of com pl ex
rhythms , su ch a s the two notes played aga ins t
thr ee in the first move me nt , the cha ngi ng
m etri ca l s che m es in the third move ment,
and the num e r ous exa m ple s of syncopati on,
a nd in his fr eque nt pa iri ng of voi ces i n pa r al le l thirds and sixths .
Cover Des ign by El ai ne Luc as
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF / Rosetta
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Original Format
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1 sound tape reel
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
32:39:00
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54348">Winter Series Recital Guarneri Quartet Recital</a>
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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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
Winter Series Recital Guarneri Quartet
Recital Tape 1965-11-14
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Hayden, Kirchner and Brahms.
Creator
An entity primarily responsible for making the resource
Guarneri Quartet
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Contributor
An entity responsible for making contributions to the resource
Haydn, Joseph, 1732-1809
Brahms, Johannes, 1833-1897
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
1965-11-14
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
Winter Series Recital Guarneri Quartet Recital Tape 1965-11-14.pdf
-
https://omeka.binghamton.edu/omeka/files/original/6acdcefd96de033bc2608d118f6d7c1b.pdf
a578831026ab82cca4c1ac04ffbc4ee8
PDF Text
Text
Beethoven nach
(1819)
chim on
Guar
String ne
Quart
Harpur
Season - 66-67
Winter Series
�Tue sd ay, Dece mb e r 13, 1966
8 : 15 p.m. Coll ege The ater
L.v. BEETHOVEN
QUARTET in C MAJOR, Op. 59,
o. 3
Introduzione, Andante con mot o:
Allegr o vivace
Andante co n moto quasi All egr etto
Me nue tto : Gr az ioso
Allegr o Molto
QUARTET in A MAJOR, Op. 18,
o. 5
Allegr o
Me nu etto
Andant e Cant abil e
Allegr o
int e rmissi on
QUARTET in B FLAT, Op . 130
I
II
III
IV
V
VI
Adagi o, ma no n troppo ; All egr o
Pre sto - L'iste ss o te mpo
Anda nt e con mot o, m a non troppo
All a danz a tede s ca. All egro assai
Cavatin a . Adagio molto exp r e ssi vo
Finale; Grand Fugue ( Op. 133)
A RECEPTION honoring the Quar tet will b
held in th e Fa culty L ounge adjacent to the
theater fo ll owing this ev ening 's r ecital . T he
audience is most cordially invited to att end .
�by William Klenz
he third of the three quart ets dedi cated t o Count Rasou m osk y and first perfor med in his home was, l ike the
others, written in 1806 . It was from the first considered
t he m ost acce ssi bl e of the t hree . T he Allgemeine
mus tka l i che
Zeitung of 27 F ebru ar y 1807 repo rts: "Three new ve r y l ong and
difficult Bee thov en qu artets . . . attract the attention of all connois seurs . They ar e profound and spl endidl y m ade, but not generall y
com prehensibl e - w i t h t he exception of the third whi ch, f or its
o r i gmality, m el ody, and harmonic fo r ce cannot fail t o impress
eve r y cultivat ed am ateu r of musi c ."
The opening i s yet another cl assi c i ntroducti on - "invocation"
of a num inous or der which galvanizes the audi t o r ' s attention and
l eads him into the r i tu all y designated t i m e space wher em the subs equent act i on is t o unfol d. Th e first movem ent pr oper is a sonat a
m ove ment of the breadth and i nt ensit y we expect of Be ethoven at
t hi s period . Likewise pres ent, i f not obvi ous, is the cha r act en sh c
fastidiousness and economy . The compl etel y m co nspi cuous initial
as cend m g half step of the Allegro becomes a ubiquitous gener atmg
p rincipl e (bars 40-41 ; 5f; 65ff; 70-74 ; 86 - 87; 90 - 92 ; 104 - 109)(both
endings - et pas i 11,) and fin all y gene r at es an entire chro mati c half st ep - s cale in the coda (bar 259-261).
The Andante is a Lied for m devel ope d into a sonata b y the
p r inciple of devel opm ent and r eturn . T he Menuetto ls at once
" gr aci ous" (Grazioso) and smcere, even mten se . I t is, like the
l ate M ozart quartet minuets , deepened by co nt r apuntal writing beneath the polish the r e li es a co mpl et el y devel oped stru ct ure.
Also, the rh yt hmi c dyna mism transcend s t hat of the simpl y schem ati c dance fo rm .
The l ast movem ent, Allegro molto, is a sonat a f orm 111 whi ch
the m at er ial is initiall y presented in a regul ar and ext ensive fugal
exposition . Like t he Final e of M oz art' s Jupiter Sym phony and
other f ugal final es, this mo ve m ent i s to be tr aced to the bri lli ant
Amen" chor uses of l ate Baroque chur ch music as given
"Alleluia
their final dynami c for ce by t he earl y 18th century eapolit an s .
Thi s is clea r from the natu r e of the subject (conjunct motion) and
t he •squ ar e" counter subje cts (e .g . ba r 210) and confirm ed in the
coda by the appear ance of the typi cal four note motivv e (c .f. "Jupiter") in bar 391 , V .2 .
In t hi s wo r k we see Beethoven carefull y studying hi s pr ede ce ssor s . We know t hat Bee thoven copi ed out the Finale of M ozart' s
Quartet in A Major K . 464, obviousl y fo r stud y and B eethoven' s
qu artet also contains, like Mozar t's, a set of variati ons as i ts
s l ow movem ent. I t is probably the fi nest movement of the qu artet
and is the first of the variation works found i n the quartets - the
va n ah on fo rm 111 whi ch so much of t he weightiest wr i ting of the
l at er quar t ets wil l be cast.
The Quartet in B Fla t , Op. 130 is on e of t he t hre e works under t aken fo r Prince i chol as von Galitzin . The series begins with
�127 in 1823-24, followed by Op. 132 in 1825 and Op. 130 in
1826. (The see ming cont r adiction in order is the result of the
o rd er of publication.) With an unusually l arge nu mb er of movem ents, the work is co mplex, varied and extensive. In the original
version, performed this evening, the work ended with a titanic
fugue.
At the first performance, 1826, the second and fourth movements
had to be repeated whereas t he final fugue, which is of transcendent
difficulty for both player and listener, was felt to be without effect.
F or this, and practical r easons suggested by the publisher (with an
eye to sales!), Beethoven supplied in November, 1826 a new finale
which was his last completed co mposition. The "Grand Fugue"
was published, and is often played, separately as Op. 133 with a
dedication to Ar chduke Rud olph.
The first movement is a sonata form which begins with a s low
introduction before its brilliant principal theme. The movement is
co m plicated by a number of reappearances of the introductory material at crucial moments in the form, e.g. the beginning of th e
development and of the coda . This most unusual procedure may at
first disturb the listener's formal accounting, but in r eality it is a
powerful unifying factor imposing both order and moments of respite-variety upon the somewhat intractable materials of the s onata
proper.
The multipl icity of movements is occasioned by Beethoven's use
of two Sch rzi, one in binary meter, one in ternary meter, movements 11 and IV . The inclusion of the second may have been due to
its pre-existence . Intended originally for the A Minor quartet,
Op. 127, wher e it was to have been in A Major, it is labelled "Alla
danza ledesca" ("like a German dance"). Its popular el ements ar e
we l come in the rarefied, intense atmosphere of the rest of the
work. Another possible reason for its removal to this quartet
where it appea rs in the key of G is that this key permits the us e
of the hurdy - gurdy drone-like "open" D string in the waltz -like
passages of the first violin in the trio .
The third movement, Andante, is, in the classic Viennese traditi on, the r esult of the appli cation of the principles of Sonata
deve lopment and variation to lyri c (rather than theat ri cal) ma
terials. The r esulting ri chness, variety and fantasy of design
e lements and texture are nowhere surpassed even by Beethoven
himself. The Cavatina, V, is as its name implies, a direct l yric
utterance of simple form without extensive development. It is of
t he exalted , sublime exp ressi on accessible only to the greatest
masters .
The Fugu e -finale is according to Beethoven's own superscription "now free, now strict," and resembles no other then existing
work. Its form:
I. Introduction ("Overtura") a stark exposition of its "Euclidian" or perhaps better "Cartesian" kernel-theme, whi ch
incidentall y bears not a little resemblance to the corematerials of both Op. 131 and 132 . Also presented ar e
fragments of a second fugu e theme.
TI. First Fugue (st ri ct , subject in wide, jagged inte rvals ac companied by kerne l-theme) followed by three variations or (free)
Op.
(Continued on back page)
�State University of New York at Binghamton
HARPUR COLLEGE
The Department of Music presents
THE GUARNERI STRING QUARTET (in residence)
Arnold Steinhardt
vio lin
John Dalley
vio lin
Michael Tree
iola
Dav id So er
ce llo
RECITALS O SEASO N 1 966-67
SUMMER SE RIES
Sunday,
Sunday,
Sunday,
Sunday ,
Sunday,
Sunday,
W INTER SERIE S
S PRIN G SERIES
July 10
Sunday, November 6
Sunday , Ma r ch 12
July 24
Tuesday, December 13
Saturday, March 18
August 7
Wednesday, January 4
Sunday, Apr il 2
August 14
Wednesday , January 11
Sunday , April 30
September 11
Sunday, February 12
Sa turday , May 6
October 9
All performances at 8:15 p.m. in the Harpur College Theater.
r_
Late com ers will be s eated after the firs t quarte t .
Ushering courtesy of Alpha Phi Omega a nd Gamma Sigma Sigma .
T he Quartet wi ll hold an open rehearsal tomorrow , Dec. 14th at 12:00 noon
NOTES (continu ed)
deve lopments: a. Triplets; b. Eighths and sixteenths; c . Subj ect (wide intervals modifi ed by triplets).
Ill. Second Fugue (st ri ct, subject fl owing sixteenths with kerne l-the me) fo llowed by the
va ri ations or (f r ee) de velopments: a. Al leg r o, ff, kernel-the me; b. Ke rnel-the me
augmented and subject inve rt ed; c . Subject diminished, mod ulation.
IV . Threefold development of the tw o fugues, r e minis cences and development of preceding
sections.
V. 1. Repetition of first vari ation of the se cond fugu e.
2. Furthe r development of second fugue.
VI. Coda
1. Kernel-the me ff, massi ve, unison.
2. Subject of second fugue, (transformation by trills) .
3. Recapitul ation of first subject (wide inte r vals v . 1} with ke rn el -the me in aug me nta ti on (v. 2, 'cello) and cha r acte risti c rh ythm (in vi ola) .
4. Brilliant, r esonant statement of simple st ele me nts of the subje ct.
A tow ering edifi ce indeed, nor is its access easy, or gained at the first attempt!
Program design by William Mihalko
Copyright 1966.
by William
Klenz
�
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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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In copyright.
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4 sound tape reels
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22:46
33:47
23:29
30:38
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54688">Winter Series Recital Guarneri Quartet Recital</a>
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Winter Series Recital Guarneri Quartet, December 13, 1966
Recital Tape 1966-12-13
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Beethoven.
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Guarneri Quartet
Publisher
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Binghamton University Libraries
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Beethoven, Ludwig van, 1770-1827
State University of New York at Binghamton. Department of Music
Date
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1966-12-13
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sound
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Winter Series Recital Guarneri Quartet Recital Tape 1966-12-13.pdf
-
https://omeka.binghamton.edu/omeka/files/original/b53f68f141dc8577affc7f43cfaaebec.pdf
76594d5343de55f067206e48f29d3f18
PDF Text
Text
Guarneri
Harpur
String
Quarter
Season
Winter
Series
66-67
�Wednesday, January 4, 196 7
8: 15 p.m. College T heater
L. v . BEETHOVEN
QUART ET in F MAJ OR, Op . 18, No. I
Allegro con brio
Adagio affettuoso ed appassionato
Sc herzo. Allegro mol to
A llegro
QUART ET in E-FLAT MAJOR, Op. 74
P oca Adagio; Allegr o
Adagio
Pres to
Allegretto con Variazioni
intermission
QUART ET in C - SHARP MI NOR, Op. 131
Adagio, ma non troppoe mo lto espressivo
A RECEPTION honoring the Quartet will be
held in the Faculty Lounge adjacent lo the
theater following this evening's r ecital . The
audience is most cordially invited to attend.
�Notes
by William
B eethoven's
Klenz
Quartet in F major {published in 1800)
was not in fact the first composed of the six quar-
tets of Op. 18. However its position is justified
and appropriate in that it shows the purport and direction
of Beethoven's quartet wr iting from the first. Based on the
highl y integrative " essayist" method forged by his teacher,
Haydn, it is a work of far g r eater density and specific gravity
than its attractive surface alone might l ead one to expect.
The organic thematic process - whichresemblesnothingso
much as the unity of l iving organisms, especially the trees
of Beethoven's bel oved out-of-doo rs - is everywhere operative if not at once apparent. The work has been described as
"seeming to have been cast in a single pou r ing,• so gr eat ts
its unity. However the truth is that it cost Beethoven much
eff ort. The opening, acor n •like theme - which contains the
gr eat t r ee - appears i n Beethoven's notebooks first in forms
which are unbelievabl y clumsy and ungainly. No fewer than
five distinct versions are visible with finally onl y the initial
motive (6 notes) showing Itself strong enough to retain its
iden111y under the hammer of Beethoven's seU criticism .
Its inner premises are detectable in the thematic material
of all the movements. Also, while the work was still In
manusc ri pt, Beethoven recalled it and substituted (1st movement) an entire new development section, saying " I have
only Just learnt how to write quartets properly.•
The power and beauty of the Adagio str uck Beethoven's
contemporaries who asked what he had been thinking of.
Beethoven the Shakespeare. Jove r replied "the tomb scene
in Romeo and Juliet.• We can do no be tter .
T he Scherzo and Finale r ecove r the youthful "Spring
morning• exuberance which illuminates the inner complexities of the first movement and also complete the cycl e of
universals which comprise the design - organism in cosmos.
Beethoven's tenth quartet, Op. 74, was written in 1809
and published in 1810. Of all the quartets , it perhaps conveys
the greatest beauty of sheer sonority. The magical spacing
of the parts in the l abryinthine introduction and the arpeggios
-bowed and plucked- of t he Allegro (which give the work
its nickname, the "Harp") are all disposed in such a way
t hat the physical beauty of the sound becomes (as ts not
always the case with Beethoven) an unusuall y affective di mension. This is especially true of the Adagio where t he considerabl e use of subdominant harmonies contributes to the
�exalted serenity of the movement. The form Is strophica Lied, or aria of three stanzas-each repeat being varied,
and, something exceptional, the principal melody (I violin)
cast each time an octave lower so that the final verse can
make use of the earnest entreaty of the violin's lowest string.
The Presto (not actually marked "Scherzo") is built upon
the famous "V" motive (•••-)which has already appeared
at the coda of the first AJ l egro. The key (C minor) and the
motive inevitably recal l s the Fifth Symphony (Op. 67) and
the relationship between the "Scherzo" and "Trio" certainly
suggests a similar rhythmical juxtaposition in the Scherzo
of the Ninth.
The theme of the Allegretto con Varizioni is taken from
a Symphony (in C) by Haydn. The movement, though genial,
is re l atively slight.
It should be regarded as an elegant,
gracious epilogue added like a program encore, the true
force of the plece having expended itself in the preceding
Presto-which, be it again noted, Beethoven did not mark
"Scherzo."
The Quartet in C Sharp Minor from the year 1822 is the
fourteenth of Beethoven's quartets. It is in six movements
pl ayed without a break. They are 1: Adagio, Fugue, C#;
2: Allegro Vivace, Sonatina, D; 3: Recitative and Andante
wit h seven va r1 a11ons, A; 4: Presto, Scherzo, E; 5: Adagio,
Lied, G#; 6; Allegro, Sonata, with extended terminal development, C#.
The fugue is on an austere subject, granitic and gnomic
which inevitably reminds us of Bach's fugue in the same
key from the first book of the Well Tempered. It is a philosophical discussion of the thorny subject which somehow
manages to clarify and lighten itself, but remains the generating idea of the thematic materials of the entire quartet.
The second section is in extreme contrast, a simplified
sonata form with only one real subject which flows without
hindrance to its natural conclusion. The third section begins
with a recitative and proceeds to a theme and variations
whose successive emotional states are the assurances
needed to balance the disturbance of the initial fugue.
The Presto, No. 4, Is a Scherzo of headlong energy and
drive, the kind of movement which is the exclusive property
of Beethoven. T he Adagio, Lied, is a concentrated expression of sublime cal m and assurance which engenders the
confidence to undertake the construction of thefinal,sonata,
movement. This is a vast construction which unites the
materials of the preceding sections and comments on their
underlying unity and ends with the mcandescentdithyrambic
transformation of the original proposition.
�Sta te University of New York a t Bingham ton
H ARPUR COLLEGE
The Depart ment of Mus ic prese nts
THE GUARNERI STRI NG QUARTET (in residence)
Arnold S teinh ardt
violin
John Dalley
violi n
R EC I TALS
O
Michael Tree
vio la
Dav i d Soye r
cello
S E A SO N 1 9 66 -6 7
SUM M ER SERI ES
W INTER SERI ES
SPRING SER IES
Sunday, July 10
Sunday, J uly 24
Sunday, November 6
Tuesday, Decembe r 13
Wednesday , January 4
Wednesday , January 11
Sunday, April 2
Sunday, April 30
Sunday, February 12
Saturday, May 6
Sunday, August 7
Sunday , August 14
Sunday, September 11
Sunday, M arc h 12
Saturday, March 18
Sunday , October 9
All pe r formances at 8: 15 p.m. in the Hnrpur College Theater .
Lale comer s will be seated af te r the first quartet.
Ushe ring courtesy of Alpha P hi Omega and Gamma Si gma Sigma.
The fin al Open Rehearsals of the Winter Series will be hel d
Tuesday, January 10 at 12 noon and Satu r day, Febr uary 11
at 3:00 p .m. in room 18 3 of the C.A. Building. Admis s i on is
fre e . T hei r purpose is to provide the campus and commun i t y
an opportunity to observe the Quartet in r ehearsal and t o view
and painstaking preparation which is
som e of t he detailed
given t o each perfo rman ce. Pe r sons may quietl y ente r and
l eave the rehearsal area at any time dur i ng the sess i ons.
Program design by William Mihalko
�
Dublin Core
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Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
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In copyright.
Template: PDF / Rosetta
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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.)
36:25
34:01
26:57
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54698">Winter Series Recital Guarneri Quartet</a>
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Title
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Winter Series Recital Guarneri Quartet, January 4, 1967
Recital Tape 1967-1-4
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Beethoven.
Creator
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Guarneri Quartet
Publisher
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Binghamton University Libraries
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Beethoven, Ludwig van, 1770-1827
State University of New York at Binghamton. Department of Music
Date
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1967-1-4
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In copyright
Type
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sound
Identifier
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Winter Series Recital Guarneri Quartet Recital Tape 1967-1-4.pdf
-
https://omeka.binghamton.edu/omeka/files/original/a9f65a767a53c48c7fda43977c43c48f.pdf
5756cfb95195de143614c738de59e201
PDF Text
Text
BEETHOVEN IN 1811
After the bust by Klei n
Guarneri String
Quartet
Harpur - Season
66-67
cpf'rnta, ifew;,
�Sunday, Nove mbe r 6, 1966
8 : 15 p .m. College T heater
L. v.BEETHOVE N
QUARTET in E M I NOR, Op. 59 , No . 2
Al l egr o
Motto Adagi o
Alleg r etto
Fi nal e, Pr esto
QUART E T in D M A JOR, Op. 18, No .
A ll eg r o
Andante con moto
All eg r o
P r esto
int ermission
Q UARTE T in E- FLAT M A JOR, Op. 127
M aestoso: All egro
Adagi o m a non troppo e molto
cantabile
Scherzando V ivace
Fi nale
A REC EPTION honoring the Quartet will be
held in the Faculty Lounge adjacent to the
theater following this evening's rec ital . The
audience is most cordially invited lo attend.
�Notes
ET
by William Klenz
he three "Rasoumovsky" qua rt ets of Op. 59 date
from the year 1805-1 806. Count Rasoumovsky was
the Russi an Ambassador to t he Vi ennese cou r t.
Like Pri nce Galitzin, he also was a pract ical
m usic ian-•a good fiddler"--and
maintained his own string
qua r tet under the guidance of Beethoven's f riend t he vio-
li nist, Schuppanzigh.
These wo rk s belong lo the so called "middle
period"
of Beethoven's devel opment . The apprenticeship and mast er 's exa mination are over. T he musica l language changes
fro m t he t hea tr e - (opera) -de ri ved instrume ntal diction of
ea rl y Classi cism to the directl y observed and transcribed
senti ment of ea r l y (possibl y the onl y true) Romanticism .
In t his stylistic change, Beethoven must be regarded as the
l eade r. He manages the transition without losmg the force
of for mal clarity: the tru th of t hi s is shown by the fact
that three of t he four movements are In Sonata form. T he
first, nonethel ess, re fl ects a sensitivit y and febrile quality
which is to be fu r t her expl or ed by Schumann .
The Molto Adagio begins with a chorale- like the me and
p roceeds as a l a r ge expansion of it. T he subscription- "Thls
piece is to be treatedwith the greatest f eeling- ("molto di
sentimento")" al so bear s out the l eani ng toward Romantic i s m. The Allegretto(the onl y move ment not in Sonata form)
is a sche r zo- threef old like t hat of the Ninth Symphony . It
appropri atel y incl udes a Ru ssian tune In its alte r nate section
(M aggiore) - the sa me as used by M oussourgsk y in Boris
Goudonow. The l a.st move ment is an expanded co mbination
Rondo- Sonata in which development takes the place of recurring repe tition.
T he quartet was p r obabl y originally intended as the first
of the six quartets of Opus 18. Schuppanzigh wisely advised
agai nst its publication in this pl ace now illustriously occupied by the eminentl y .suitable Quartet 1n F M ajor.
A mong the ori ginal j udgements, the Allge meineMusikalische Zeitung, August 1801, said: •outstandi ng works". ..
"complete evidence of his art; but they must be played
often and very well since they are difficult to perform and
by no means 'popular.'• The most striking movement of
Opus 18 no. 3 is the finalein which basic rhythn11c materials
of a dance-game are rende r ed incandescent by a headlong
tempo and the lightest, most unconstrained possible movement, an exhilarating, effortless escape from time.
�The Qu artet i n E - Flat , Opus 127 appear s 10 have been
begun {sketches f or t he fir st movement) in ea rl y 1822. In
No vembe r , we hea r of i nquiries by Prince NicholasGalitzin
as to whether Beet hoven would undertake the composition
of two o r three new quartets to be dedi cated ("avec reconnaissance") to him. This se t in motion the effo rts which
l ed to the composition of the quartets Opp . 127, 130, 132.
The work on the earlier materials of Opus 127 p r oceeded
In 1823 after an interruption caused by the Ninth Symphony.
embodies the circu ms tances
The f i gu r e of Price Galitzin
and conditions III whi ch the chamber music of the Cl assic
Viennese Period reac hed Its acknowledged pinnacl e to such
a degree th at it may be useful to exam ine in the sixth decade
o r a se lf-congratulator y centu r y (in which the do-it-yourself
p r incipl e however appears not to go beyond attracti ve pe r iphe r al s). Not s i mply the Maecenas-he was a good 'cellist
and hi s wi fe a good pi anist . Lik e many of Beethoven's patrons, including Archduke Rudo l ph of Hapsburg, they were
able to perform and often did perform in domestic circumstances the works they had commissioned and we r e eminentl y
able to judge directly without cri t ical or journalistic "assistance" of its worth and qual ity.
T he first movement opens with a formal fanfare, a very
compressed version of an invocatio11-1nt r oductlonwhlch also
serves to ma r k off the principal subdi visions of the movem ent - a sonat a for m in which the princ ipal deve lopment
of the materials is reserved for the closing section after
obligations of exposition devel opment and
the "contractual"
recapitu l ation have been tersely but unanswerabl y complied
with.
T he Adagio is highly regarded. It is, lik e many such
move ments, a theme and (five) variations whi ch brings to
mind t he Benedictus of the Missa Solemnis, (compl eted in
the same year), here possibl y in an even mo r e exalted,
because 111ore disembodied, medium. The textural comp l exity of the central va r iations are not merel y "devices•
but bear the stamp of organic growth, evol ution and regeneration-the theme of life itself-which begins, proceeds
from and returns to an elemental state. The analogy to the
world of Nature, (with which we must always be prepared
to deal In Beethoven's work) 1s intens1hed by a generic resemblance to the slow movement of the Pastoral Symphony,
"The Scene by the Brook,• in which the "blessing" of the
worship of the Earth is overtly acknow ledged.
The Scherzo is a kaleidoscopic t r eatment of a variety
of compressed aphorisuc el ements all of which ultimately
derive f rom the satiric, dynamic increment upon Menuet
types whose traditions also dictate t he (alternating) form.
T he Finale again emphasizes the re l ationship to the
(Continued on back page)
�State Unjversity of New York at Binghamton
HARPUR COLLEGE
The Department of Mus ic presents
THE GUARNE RI STRING QUARTET (in residence)
Arnold Stei nha rdt
violin
John Dalley
violin
Michae l T ree
viola
David Soyc r
ce llo
R EC IT ALS Q SEASON 1966 - 6 7
SUMMER SERI ES
WINTER SE RI ES
SPRING SERIES
Sunday,
Sunday,
Sunday,
Sunday,
Sunday,
Sunday ,
Sunday, November 6
Tuesday, December 13
Wedne sday, January 4
Wednesday , January 11
Sunday , February 12
Sunday , Marc h 12
Saturday, March 18
July 10
July 24
August 7
August 14
Septembe r 11
October 9
Sunday , Ap r il 2
Sunday , April 30
Saturday, May 6
All performances at 8:1 5 p.m . in the Harpur College Theater.
Late comers will be seated after the first quartet.
Ushering courtesy of Alpha Phi Omega and Gamma Sigma Sigma.
NOTES (continued)
natural, pastoral wo rl d-always close at hand when Beethoven writes in his be loved
key of E- !lat. The Dionysian principle of transfo r mation is the key to the final
pages; bread and wi ne , leaf and flower and seed are transcended in a new vitality,
s m all in dimension but of infinite im pli cation-t he re turn .
Programdesign by William
Mihalko
�
Dublin Core
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Coverage
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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>
Rights
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In copyright.
Template: PDF / Rosetta
PDF with Rosetta audio/video link
Original Format
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3 sound tape reels
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
38:21
24:44
37:27
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54669">Winter Series Recital Guarneri Quartet Recital</a>
Accessibility
Copy/Paste below:
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Winter Series Recital Guarneri Quartet, November 6, 1966
Recital Tape 1966-11-6
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Beethoven.
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
State University of New York at Binghamton. Department of Music
Date
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1966-11-6
Rights
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In copyright
Type
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sound
Identifier
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Winter Series Recital Guarneri Quartet Recital Tape 1966-11-6.pdf