30
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Binghamton University Music Department Tape Recordings
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Concerts ; Instrumental music ; Live sound recordings
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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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David Clatworthy, recital, March 10, 1973
Recital Tape 1973-3-10
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Works of Telemann, Handel, Brahms, Mozart, Respigi and Copland. Held at 8:15 pm, March 10, 1973, Watters Theater.
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Clatsworthy, David
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Binghamton University Libraries
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3/10/73
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sound
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Binghamton University Music Department Tape Recordings
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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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31:54
33:53
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Walter Ponce, recital, February 7, 1973
Recital Tape 1973-2-7
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Works of Scarlatti, Liszt, and Ginastera. Held at 8:15 pm, February 7, 1973, Watters Theater.
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Ponce, Walter
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2/7/73
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sound
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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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18:16
36:36
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Lenox String Quartet Recital, February 2, 1973
Recital Tape 1973-2-3
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Works of Mozart, Schoenberg, and Brahms. Held at 8:15 pm, February 3, 1973, Recital Hall.
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Lenox String Quartet
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Binghamton University Libraries
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2/3/73
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sound
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https://omeka.binghamton.edu/omeka/files/original/4abaf71bf3946a604d7d00c9bf753477.pdf
a9572b7ad8ee80972db8ff24eb8313e4
PDF Text
Text
The
Mozart's
Marriage
of
Figaro
�STATE UNIVERSITY OF NE W YORK AT BINGHAMTON
THE MUSIC AND THEATER DEPARTMENTS
WITH THE SUPPORT OF THE STUDENT ASSOCIATION
AND OPERA WORKSHOP
Present
T h e M a r r i a g e o f F i g a r o
Music by WOLFGANG AMADEUS MOZART
Libretto by LORENZO DA PONTE
(after Beaumarchais’ “La Folle Journée ou Le Mariage de Figaro”)
English version by RUTH and THOMAS MARTIN
Conducted by PEYTON HIBBITT
Directed by CARMEN SAVOCA
Scenery designed by LLOYD BURLINGAME
(for Manhattan School of Music, 1973)
Costumes by BROOKSVAN H ORN, New York City
Lighting by RACHEL BUDIN
Choreography by JOAN KUNSCH
Stage Manager, NANCY ROPER
Technical Director, JEFF WACHTEL
APRIL 27, 29 and MAY 1, 1976 — 8:00 p.m.
in the Don A . Watters Theater
�CAST
(in order of appearance)
April 27
April 29
May 1
Figaro
Gary S. Levine
John R. Hughes
Gary S. Levine
Susanna
Mary Ann Ferraiolo Victoria Devany Mary Ann Ferraiolo
Dr. Bartolo
Eugene Sawczyn
Eugene Sawczyn Eugene Sawczyn
M arcellina
Alma Mora
Alma Mora
C herubino
Karen L. Haight
Jacquelyne Garms Karen L. Haight
Count Almaoioa
Michael D. Quinn Robert Cuarino
Don Basilio
Kevin McDermott Preston Stockman Kevin McDermott
Valet of the Count
Chambermaid of the Countess
A Doctor from Seville
The Count’s page
Music Master
Alma Mora
Michael D. Quinn
Countess Almaoiva Rachel Gardner
Susan Ball
Antonio
Richard Bartmon
Richard Bartmon Thomas Fordham
Don Curzio
Kevin McDermott Kevin McDermott Preston Stockman
Barbarina
Ellen Beattie
Almaviva
The Count’s gardener
A judge
Antonio’s daughter
Jill Small
Rachel Gardner
Jill Small
Servants of the castle, dancers and villagers
Chris Arneson will understudy all performances of Anton io
Jacquelyne Carms will understudy all performances of Marcellina
Gary S. Levine will understudy all performances of Dr. Bartolo
*
»
Q
*
The action covers one day and takes place in the Castle and grounds of
Aguas Frescas, the domain of Count Almaviva near Seville, in the eighteenth
century.
ACT I–A Room in the Castle
Intermission
ACT II– The Countess’ Boudoir
Intermission
ACT III–The Hall of the Castle
ACT IV–The Garden of the Castle
Count Almaviva, bent on winning the favor of Susanna before her wedding
to his valet, Figaro, tries to jeopardize the latter’s marriage with the help of
several underlings, Basilio, Marcellina and Bartolo, who are promoting a
wedding of Figaro to Marcellina. The Countess, neglected by her husband,
joins forces with Susanna and the crafty Figaro, and by means of a clever
scheme, the Count is finally obliged to return to his wife and to unite Figaro
and Susanna.
( By arrangement with G. Schirmer, Inc., publisher and copyright owner)
�NOTES
The year 1775 saw the premiere performance of Caron de Beaumarchais’
comedy The Barber cf Seville. The play was so successful that the author
was moved a few years later to present to the public, in the words of one
critic, “that rare occurrence in literature, a true sequel, “The Marriage of
Figaro.” In the original play, Figaro, the barber, had placed his ingenuity at
the service of the Count Almaviva to help win the Count’s beloved Rosina
from her guardian, Dr. Bartolo. In characteristic 18thcentury manner, the
plot abounded in complex stage situations involving disguises, mistaken
identities, and confusions piled on confusions. At the end, love triumphed,
the Count won Rosina, and Figaro was handsomely paid.
Any aspects of The Barber of Seville that might have been considered
suspect at the time were only lightly suggested, and would certainly escape
notice today. They were, however, implicit in the idea that a member of the
servant class could be shown to be cleverer than his master, a member of
u
l
I]
t
l
‘I
the aristocratic class. But, of course, clever servants spouti ng sly witticisms
A
were familiar from the comic style of this time, and were not looked upon
with disapproval, even in a France on the verge of a revolution. With his
Marriage of Figaro, on the other hand, as Beaumarchais explored the fur
ther fortunes of the Count, Rosina ( now his Countess ) and Figaro ( now
the Count’s valet ) the tone changed. To be sure, the 18thcentury apparatus
is still there: the mistaken identities, disguises, the continual hiding behind
chairs and in closets, and even the unexpected identification of the long
lost child at a most astonishin g moment. But with one fundamental change
in the situation, Beaumarchais magnified the prerevolutionary tendencies
of his original story. For now master and servant no longer band together
to outwit some foolish old man; indeed, master and servant are at odds with
each other. And the goal toward which they both strive is patently less an
object for humor. In The Barber of Seville the goal was to win the pretty
young lady away from her elderly guardian, who wanted to marry her him
self. But in The Marriage of Figaro, where it is the barber’s turn to find love
and marriage, the count, already tiring of his wife, longs to revive the
ancient feudal rights that allowed the lord of the manor to seduce any
young servant girl on her wedding night before she was united with her
husband. The object of this mutual concern is Suzanna, the Countess’ maid,
once again a clever and attractive 18thcentury comic servant girl. Of
course, we never really worry for a moment that the count will succeed in
persuading her to comply with his wishes. She and Figaro always control
the situation, even at its most complex and bewildering. And it certainly
does get bewildering! For the stage swarms with characters, some from the
earlier play and others newly invented for this one. There is Don Basilio,
Rosina’s old music teacher, now functioning as a gobetween to carry the
Count’s secret messages to Su zanna (what the count does n ot realize is that
whatever Basilio knows the rest of the castle will also know in short time ) ;
there is Dr. Bartolo, still smarting over the loss of his Rosina, and thirsting
for an opportunity to take revenge on Figaro; there is Marcellina, Bartolo’s
old house servant, who had, some years past, loaned Figaro money on the
condition that if he could not repay it he would marry her ( clearly, we must
not look for too much realism in these situations, but simply take them as
L
i
�they are given ) ; there is Antonio, the gardener, who cannot understand why
the people in the castle have to jump out of the windows onto his flower
pots; there is Barbarina, the gardener’s da ughter, available to any number
of people in the castle to carry messages and perform other services. And
finally we have Cherubino and the Countess, probably the two most re
markable figures in this work . More about them in a mom ent.
When Lorenzo da Ponte, a fascinating figure in many ways and a genuine
literary talent, set about to convert Beaum archais’ comed y into a libretto f or
an opera, he had to do more than merely versify the prose passages so they
could be accommodated to a musical setting. He had to remove the political
statements f rom the play so that nothing was lef t’but the basic plot intrigue.
All of Figaro’s soliloquies like the following were of necessity eliminated:
“No, my Lord Count, you shall not have her! Because you are a great noble
man, you think you are a genius. Nobility, fortune, rank, position, how
proud they make a man feel! But what have you done to deserve these ad
vantages? You went to the trouble of being born, that’s all. Aside from that,
you’re a very ordinary man. Whereas I, lost in the dark crowd, have more
knowledge, more skill, . . .” and so on. It was passages like this that led
Napoleon to comment that this play was indeed “the revolution in action.”
So the book Mozart received to set to music no longer contained any politi
cal implications; what was left was a colorf ul panorama filled with a variety
of figures all of whom act, react, and interact motivated ( and this is truly
the key to the opera!) by their sexual feelings. For Figaro and Suzanna, their
physical feelings for each other are a direct expression of their love; for the
Count, egotism and vanity force him to envisage himself as a virile con
queror; to Bartolo, frustrated sexual feelings have turned to a desire for
revenge which is relished wi th all the plea sure a libertine brings to a seduc
tion; to Basilio, other people’s feelings and escapades stimulate him and
turn him into a comic lipsmacking gossip. To the elderly Marcellina, no
longer attractive and never chaste, it seems perfectly acceptable to use
money and coercion to achieve sexual ends; to Barbarina, the gardener’s
daughter, sex is something one plays with as openly and innocently as a
child plays with a toy. Which brings me round once again to the two last
characters: the Countess and Cherubino.
It is strange to realize that the dignified Countess of The Marriage of
Figaro was, only a few years earlier, the charming, impish Rosina of The
Barber of Seville. Da Ponte (unlike Beaumarchais) reserves her entrance for
the second act of the opera, where, at her initial appearance, she casts a
serious but irresistably appealing color over the entire proceedings. Now
no longer sought after by a handsome young count for marriage, she has
become, in much too short a time, a lonely woman who can no longer a ttract
her husband’s affections, who must stand by and pretend not to notice as he
tries to seduce her maid, and who, much against her inna te sense of dignity,
must plot with Susanna to ou twit and ultim ately recaptur e a n exposed and
embarrassed husband. She f aces one of life’s most bewildering truths : that
sexual feelings cannot be compartmentalized, limited, or directed in an
exclusively rational way, not even through love. Sex is life itself, and life
blindly wills i ts own being. She will win her Count back at the end, per
haps forever, perhaps for only a short tim e. But her serious, almost m elan
choly persona lity is essentia l f or the total pi cture of this ta pestry, filling out
�the darker side of human feelings and giving this comedy some of its more
sobering and touching moments.
Finally we come to Cherubino, the young page, the beautiful teenage
boy ( in the opera, as in the original play, always performed by a female)
infatuated with love. He loves them all : Marcellina, Barberina, the Count
ess, Suzanna; in short, he is in love with love. Weaving in and out of the
action at all its crucial points, involved with everyone and with no one, he
becomes the abstract personification of the life force that moves the other
characters. He lives only for the breathless, undirected enthusiasm of love
as it appears in some ideal sphere, embracing all women but never nar
rowing down to anyone in particular. He is consumed with desire, but his
desire has yet to find a specific object. It is in essence its own experience.
Cherubino is a unique stage figure, at one and the same time a character
in the story, as well as the embodiment of an archetype. And this dual role,
by turn realistic and symbolic, is made manifest by the character’s being
played by a woman. This creates an and rogynous figure that contains within
itself male and female in union, needs nothing outside itself, and effort
lessly convinces us that desire, in this case, is simply its own object.
And it is this movement from individual character to abstract per
sonification that ultimately needs music for its completion. This is the rea
son why, as successful as was Beauma rchais’ comedy, it was only in con
junction with Mozart’s music that it attained its truly immortal shape. For
only when music and theater combine in one, can stage characters function
simultaneously as individuals and personifications. And now, concluding
my essay, I find that I have said nothing about Mozart’s music. And I will
saying nothing beyond one comment that may throw some light, not only
on this work, but on Mozart’s style in general. Through a saturation with
19thcentury musical styles, we tend to associate “love music,” certainly at
its most passionate and sexually explicit, with a sound very different from
that offered by Mozart. Wagner, Tchaikovsky, and Chopin all offer us fa
miliar examples of love music replete with expressive melodies and har
monies, and rich orchestral textures rising to passionate climaxes. Mozart,
however, approaches not the surface expression of love but the power
behind it, the energy of life itself that finds its most forceful expression in the
sexual drive. In Mozart’s music, and certainly in this opera, the drives that
animate these characters in so many varied ways are captured in a music
that moves with a seemingly inexhaustable invention that is astonishingly
fertile, continually tossing out new melodic ideas, rarely lingering to elab
orate or develop their symphonic potentials, but spinning them out lyrically
and then dropping them to go on to some new melodic idea. Each char
acter is given music that uniquely reflects his or her own personality as it
supplies a variation on, and a reflection of, the force that moves us all.
Philip Friedheim
�ORCHESTRA
BASSOONS
Lois Chantry
Principal
Valarie Durham
VIOLIN I
Evelina Chao
Concertmaster
David Harrington
Bob Provell
Paul Turco
Olev Viro
CELLO
David Heiss
Principal
Michael Finchel
Holly Wilson
VIOLIN II
Andrea Andros
Principal
Karen Fliegler
Marcia Miller
Evan Paris
Lydia Werbizky
F LUT ES
Nancy Becker
Sharon Kosakoff
Susan Passanante
Karen Tax
BASS
Richard Thomas
TRUMPETS
Dave Bespalko
Principal
Scott Kelley
HARPSICHORD
Diane Pendleton
OBOES
Geoffrey Barron
Principal
Eliot Friedman
VIOLA
Larry Bradford
Principal
Barbara Corin
HORNS
Ken Steiger
Principal
Ed Deskur
CLARINETS
Wendy Osteyée
Principal
Paul Ketchoyian
TYMPAN I
Geoffrey Brooks
ORCHESTRA M ANAGER AND LIBRARIAN: Larry Bradford
REHEARSAL ACCOMPANISTS
Barbara Garges
ChaiKyou Mallinson
Diane Pendleton
Q
1k
*
0!
DANCERS
Cara Bujarsky
Colleen Friends
Carol Hageman ( assistant to Ms. Kunsch)
Kate Ragan
Demaris Hollenbeak
Mary Meyer
W O R K S H O P C H O R U S
MEN
Chris Arneson
Richard Bartmon
Thomas Fordham
Kevin McDermo tt
Stuart Silverman
Preston Stockman
WOMEN
Ellen Beattie
Susan Glass
Joan Jurich
Judi Kahan
Danette Lipten
Kim Lovett
Jill Small
�P R O D U C T I O N S T A F F
Roberta Schlosser, David Clatworthy
Musical Preparation
Stephanie Herman
Properties Mistress
Terry Di Massino
Makeup .
Roy Abbott, Rick Augustine, Howie Cantor,
Davis Weiss, Joe Houghtaling, Bob Volk
Stage Crew
Electricans
Karen Molinelli, Ron Katz
Wardrobe Mistress
Gerri Miller, Marie Ianotti
.. Karen Tax
House Manager .
Tony Bednarcyzk
Box Office Manager
Technical Consultants
John Bielenberg, Linda Giese, Rob Robinson,
Judith Somogi, John Eloy Vestal, Lisbeth Roma
OPERA PRODUCTION COMMITTEE FOR THE UNIVERSITY
Harry B. Lincoln
Roberta Schlosser
Alfred G. Brooks
David Clatworthy
SUNY–BINGHAMTON OPERA WORKSHOP
Roberta Schlosser, director
Jill Small, secretary
Richard Bartmon, president
Rachel Gardner, treasurer
#
*
i
*
A c k n o w l e d ge m e n t s
We would like to thank the following for their help and contribution to the
production of The Marriage of Figaro: TriCities Opera Co., Roberson’s
Ballet Binghamton, WSKG, WBNGTV, Michael Ennist, Joan Whiting, Chris
Focht, Etta Knapp, Duane Skrabalak, Joseph Kotylo, MacLennan Flowers
Inc.
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
Template: Universal Viewer / Rosetta
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4 sound tape reels
Duration
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47:02
48:18
39:43
34:08
Streaming Audio
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243491">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243491</a>
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Marriage of Figaro, May 1, 1976
Recital tape 1976 5-1
Description
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Held on May 1, 1976.
Publisher
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Binghamton University Libraries
Date
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1976-5-01
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In copyright
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sound
-
https://omeka.binghamton.edu/omeka/files/original/53f38503ae994be53fd6bb8eddef77ce.pdf
a9572b7ad8ee80972db8ff24eb8313e4
PDF Text
Text
The
Mozart's
Marriage
of
Figaro
�STATE UNIVERSITY OF NE W YORK AT BINGHAMTON
THE MUSIC AND THEATER DEPARTMENTS
WITH THE SUPPORT OF THE STUDENT ASSOCIATION
AND OPERA WORKSHOP
Present
T h e M a r r i a g e o f F i g a r o
Music by WOLFGANG AMADEUS MOZART
Libretto by LORENZO DA PONTE
(after Beaumarchais’ “La Folle Journée ou Le Mariage de Figaro”)
English version by RUTH and THOMAS MARTIN
Conducted by PEYTON HIBBITT
Directed by CARMEN SAVOCA
Scenery designed by LLOYD BURLINGAME
(for Manhattan School of Music, 1973)
Costumes by BROOKSVAN H ORN, New York City
Lighting by RACHEL BUDIN
Choreography by JOAN KUNSCH
Stage Manager, NANCY ROPER
Technical Director, JEFF WACHTEL
APRIL 27, 29 and MAY 1, 1976 — 8:00 p.m.
in the Don A . Watters Theater
�CAST
(in order of appearance)
April 27
April 29
May 1
Figaro
Gary S. Levine
John R. Hughes
Gary S. Levine
Susanna
Mary Ann Ferraiolo Victoria Devany Mary Ann Ferraiolo
Dr. Bartolo
Eugene Sawczyn
Eugene Sawczyn Eugene Sawczyn
M arcellina
Alma Mora
Alma Mora
C herubino
Karen L. Haight
Jacquelyne Garms Karen L. Haight
Count Almaoioa
Michael D. Quinn Robert Cuarino
Don Basilio
Kevin McDermott Preston Stockman Kevin McDermott
Valet of the Count
Chambermaid of the Countess
A Doctor from Seville
The Count’s page
Music Master
Alma Mora
Michael D. Quinn
Countess Almaoiva Rachel Gardner
Susan Ball
Antonio
Richard Bartmon
Richard Bartmon Thomas Fordham
Don Curzio
Kevin McDermott Kevin McDermott Preston Stockman
Barbarina
Ellen Beattie
Almaviva
The Count’s gardener
A judge
Antonio’s daughter
Jill Small
Rachel Gardner
Jill Small
Servants of the castle, dancers and villagers
Chris Arneson will understudy all performances of Anton io
Jacquelyne Carms will understudy all performances of Marcellina
Gary S. Levine will understudy all performances of Dr. Bartolo
*
»
Q
*
The action covers one day and takes place in the Castle and grounds of
Aguas Frescas, the domain of Count Almaviva near Seville, in the eighteenth
century.
ACT I–A Room in the Castle
Intermission
ACT II– The Countess’ Boudoir
Intermission
ACT III–The Hall of the Castle
ACT IV–The Garden of the Castle
Count Almaviva, bent on winning the favor of Susanna before her wedding
to his valet, Figaro, tries to jeopardize the latter’s marriage with the help of
several underlings, Basilio, Marcellina and Bartolo, who are promoting a
wedding of Figaro to Marcellina. The Countess, neglected by her husband,
joins forces with Susanna and the crafty Figaro, and by means of a clever
scheme, the Count is finally obliged to return to his wife and to unite Figaro
and Susanna.
( By arrangement with G. Schirmer, Inc., publisher and copyright owner)
�NOTES
The year 1775 saw the premiere performance of Caron de Beaumarchais’
comedy The Barber cf Seville. The play was so successful that the author
was moved a few years later to present to the public, in the words of one
critic, “that rare occurrence in literature, a true sequel, “The Marriage of
Figaro.” In the original play, Figaro, the barber, had placed his ingenuity at
the service of the Count Almaviva to help win the Count’s beloved Rosina
from her guardian, Dr. Bartolo. In characteristic 18thcentury manner, the
plot abounded in complex stage situations involving disguises, mistaken
identities, and confusions piled on confusions. At the end, love triumphed,
the Count won Rosina, and Figaro was handsomely paid.
Any aspects of The Barber of Seville that might have been considered
suspect at the time were only lightly suggested, and would certainly escape
notice today. They were, however, implicit in the idea that a member of the
servant class could be shown to be cleverer than his master, a member of
u
l
I]
t
l
‘I
the aristocratic class. But, of course, clever servants spouti ng sly witticisms
A
were familiar from the comic style of this time, and were not looked upon
with disapproval, even in a France on the verge of a revolution. With his
Marriage of Figaro, on the other hand, as Beaumarchais explored the fur
ther fortunes of the Count, Rosina ( now his Countess ) and Figaro ( now
the Count’s valet ) the tone changed. To be sure, the 18thcentury apparatus
is still there: the mistaken identities, disguises, the continual hiding behind
chairs and in closets, and even the unexpected identification of the long
lost child at a most astonishin g moment. But with one fundamental change
in the situation, Beaumarchais magnified the prerevolutionary tendencies
of his original story. For now master and servant no longer band together
to outwit some foolish old man; indeed, master and servant are at odds with
each other. And the goal toward which they both strive is patently less an
object for humor. In The Barber of Seville the goal was to win the pretty
young lady away from her elderly guardian, who wanted to marry her him
self. But in The Marriage of Figaro, where it is the barber’s turn to find love
and marriage, the count, already tiring of his wife, longs to revive the
ancient feudal rights that allowed the lord of the manor to seduce any
young servant girl on her wedding night before she was united with her
husband. The object of this mutual concern is Suzanna, the Countess’ maid,
once again a clever and attractive 18thcentury comic servant girl. Of
course, we never really worry for a moment that the count will succeed in
persuading her to comply with his wishes. She and Figaro always control
the situation, even at its most complex and bewildering. And it certainly
does get bewildering! For the stage swarms with characters, some from the
earlier play and others newly invented for this one. There is Don Basilio,
Rosina’s old music teacher, now functioning as a gobetween to carry the
Count’s secret messages to Su zanna (what the count does n ot realize is that
whatever Basilio knows the rest of the castle will also know in short time ) ;
there is Dr. Bartolo, still smarting over the loss of his Rosina, and thirsting
for an opportunity to take revenge on Figaro; there is Marcellina, Bartolo’s
old house servant, who had, some years past, loaned Figaro money on the
condition that if he could not repay it he would marry her ( clearly, we must
not look for too much realism in these situations, but simply take them as
L
i
�they are given ) ; there is Antonio, the gardener, who cannot understand why
the people in the castle have to jump out of the windows onto his flower
pots; there is Barbarina, the gardener’s da ughter, available to any number
of people in the castle to carry messages and perform other services. And
finally we have Cherubino and the Countess, probably the two most re
markable figures in this work . More about them in a mom ent.
When Lorenzo da Ponte, a fascinating figure in many ways and a genuine
literary talent, set about to convert Beaum archais’ comed y into a libretto f or
an opera, he had to do more than merely versify the prose passages so they
could be accommodated to a musical setting. He had to remove the political
statements f rom the play so that nothing was lef t’but the basic plot intrigue.
All of Figaro’s soliloquies like the following were of necessity eliminated:
“No, my Lord Count, you shall not have her! Because you are a great noble
man, you think you are a genius. Nobility, fortune, rank, position, how
proud they make a man feel! But what have you done to deserve these ad
vantages? You went to the trouble of being born, that’s all. Aside from that,
you’re a very ordinary man. Whereas I, lost in the dark crowd, have more
knowledge, more skill, . . .” and so on. It was passages like this that led
Napoleon to comment that this play was indeed “the revolution in action.”
So the book Mozart received to set to music no longer contained any politi
cal implications; what was left was a colorf ul panorama filled with a variety
of figures all of whom act, react, and interact motivated ( and this is truly
the key to the opera!) by their sexual feelings. For Figaro and Suzanna, their
physical feelings for each other are a direct expression of their love; for the
Count, egotism and vanity force him to envisage himself as a virile con
queror; to Bartolo, frustrated sexual feelings have turned to a desire for
revenge which is relished wi th all the plea sure a libertine brings to a seduc
tion; to Basilio, other people’s feelings and escapades stimulate him and
turn him into a comic lipsmacking gossip. To the elderly Marcellina, no
longer attractive and never chaste, it seems perfectly acceptable to use
money and coercion to achieve sexual ends; to Barbarina, the gardener’s
daughter, sex is something one plays with as openly and innocently as a
child plays with a toy. Which brings me round once again to the two last
characters: the Countess and Cherubino.
It is strange to realize that the dignified Countess of The Marriage of
Figaro was, only a few years earlier, the charming, impish Rosina of The
Barber of Seville. Da Ponte (unlike Beaumarchais) reserves her entrance for
the second act of the opera, where, at her initial appearance, she casts a
serious but irresistably appealing color over the entire proceedings. Now
no longer sought after by a handsome young count for marriage, she has
become, in much too short a time, a lonely woman who can no longer a ttract
her husband’s affections, who must stand by and pretend not to notice as he
tries to seduce her maid, and who, much against her inna te sense of dignity,
must plot with Susanna to ou twit and ultim ately recaptur e a n exposed and
embarrassed husband. She f aces one of life’s most bewildering truths : that
sexual feelings cannot be compartmentalized, limited, or directed in an
exclusively rational way, not even through love. Sex is life itself, and life
blindly wills i ts own being. She will win her Count back at the end, per
haps forever, perhaps for only a short tim e. But her serious, almost m elan
choly persona lity is essentia l f or the total pi cture of this ta pestry, filling out
�the darker side of human feelings and giving this comedy some of its more
sobering and touching moments.
Finally we come to Cherubino, the young page, the beautiful teenage
boy ( in the opera, as in the original play, always performed by a female)
infatuated with love. He loves them all : Marcellina, Barberina, the Count
ess, Suzanna; in short, he is in love with love. Weaving in and out of the
action at all its crucial points, involved with everyone and with no one, he
becomes the abstract personification of the life force that moves the other
characters. He lives only for the breathless, undirected enthusiasm of love
as it appears in some ideal sphere, embracing all women but never nar
rowing down to anyone in particular. He is consumed with desire, but his
desire has yet to find a specific object. It is in essence its own experience.
Cherubino is a unique stage figure, at one and the same time a character
in the story, as well as the embodiment of an archetype. And this dual role,
by turn realistic and symbolic, is made manifest by the character’s being
played by a woman. This creates an and rogynous figure that contains within
itself male and female in union, needs nothing outside itself, and effort
lessly convinces us that desire, in this case, is simply its own object.
And it is this movement from individual character to abstract per
sonification that ultimately needs music for its completion. This is the rea
son why, as successful as was Beauma rchais’ comedy, it was only in con
junction with Mozart’s music that it attained its truly immortal shape. For
only when music and theater combine in one, can stage characters function
simultaneously as individuals and personifications. And now, concluding
my essay, I find that I have said nothing about Mozart’s music. And I will
saying nothing beyond one comment that may throw some light, not only
on this work, but on Mozart’s style in general. Through a saturation with
19thcentury musical styles, we tend to associate “love music,” certainly at
its most passionate and sexually explicit, with a sound very different from
that offered by Mozart. Wagner, Tchaikovsky, and Chopin all offer us fa
miliar examples of love music replete with expressive melodies and har
monies, and rich orchestral textures rising to passionate climaxes. Mozart,
however, approaches not the surface expression of love but the power
behind it, the energy of life itself that finds its most forceful expression in the
sexual drive. In Mozart’s music, and certainly in this opera, the drives that
animate these characters in so many varied ways are captured in a music
that moves with a seemingly inexhaustable invention that is astonishingly
fertile, continually tossing out new melodic ideas, rarely lingering to elab
orate or develop their symphonic potentials, but spinning them out lyrically
and then dropping them to go on to some new melodic idea. Each char
acter is given music that uniquely reflects his or her own personality as it
supplies a variation on, and a reflection of, the force that moves us all.
Philip Friedheim
�ORCHESTRA
BASSOONS
Lois Chantry
Principal
Valarie Durham
VIOLIN I
Evelina Chao
Concertmaster
David Harrington
Bob Provell
Paul Turco
Olev Viro
CELLO
David Heiss
Principal
Michael Finchel
Holly Wilson
VIOLIN II
Andrea Andros
Principal
Karen Fliegler
Marcia Miller
Evan Paris
Lydia Werbizky
F LUT ES
Nancy Becker
Sharon Kosakoff
Susan Passanante
Karen Tax
BASS
Richard Thomas
TRUMPETS
Dave Bespalko
Principal
Scott Kelley
HARPSICHORD
Diane Pendleton
OBOES
Geoffrey Barron
Principal
Eliot Friedman
VIOLA
Larry Bradford
Principal
Barbara Corin
HORNS
Ken Steiger
Principal
Ed Deskur
CLARINETS
Wendy Osteyée
Principal
Paul Ketchoyian
TYMPAN I
Geoffrey Brooks
ORCHESTRA M ANAGER AND LIBRARIAN: Larry Bradford
REHEARSAL ACCOMPANISTS
Barbara Garges
ChaiKyou Mallinson
Diane Pendleton
Q
1k
*
0!
DANCERS
Cara Bujarsky
Colleen Friends
Carol Hageman ( assistant to Ms. Kunsch)
Kate Ragan
Demaris Hollenbeak
Mary Meyer
W O R K S H O P C H O R U S
MEN
Chris Arneson
Richard Bartmon
Thomas Fordham
Kevin McDermo tt
Stuart Silverman
Preston Stockman
WOMEN
Ellen Beattie
Susan Glass
Joan Jurich
Judi Kahan
Danette Lipten
Kim Lovett
Jill Small
�P R O D U C T I O N S T A F F
Roberta Schlosser, David Clatworthy
Musical Preparation
Stephanie Herman
Properties Mistress
Terry Di Massino
Makeup .
Roy Abbott, Rick Augustine, Howie Cantor,
Davis Weiss, Joe Houghtaling, Bob Volk
Stage Crew
Electricans
Karen Molinelli, Ron Katz
Wardrobe Mistress
Gerri Miller, Marie Ianotti
.. Karen Tax
House Manager .
Tony Bednarcyzk
Box Office Manager
Technical Consultants
John Bielenberg, Linda Giese, Rob Robinson,
Judith Somogi, John Eloy Vestal, Lisbeth Roma
OPERA PRODUCTION COMMITTEE FOR THE UNIVERSITY
Harry B. Lincoln
Roberta Schlosser
Alfred G. Brooks
David Clatworthy
SUNY–BINGHAMTON OPERA WORKSHOP
Roberta Schlosser, director
Jill Small, secretary
Richard Bartmon, president
Rachel Gardner, treasurer
#
*
i
*
A c k n o w l e d ge m e n t s
We would like to thank the following for their help and contribution to the
production of The Marriage of Figaro: TriCities Opera Co., Roberson’s
Ballet Binghamton, WSKG, WBNGTV, Michael Ennist, Joan Whiting, Chris
Focht, Etta Knapp, Duane Skrabalak, Joseph Kotylo, MacLennan Flowers
Inc.
�
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
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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6 sound tape reels
Duration
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22:03
24:19
21:13
25:42
39:54
34:02
Streaming Audio
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Title
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Marriage of Figaro, April 29, 1976
Recital tape 1976 4-29
Description
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Held on April 29, 1976
Publisher
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Binghamton University Libraries
Date
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1976-4-29
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In copyright
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sound
-
Dublin Core
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Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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45:55
46:49
39:27
33:49
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Lenox String Quartet, Recital, April 27, 1976
Recital tape 1976 4-27
Description
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Held on April 27, 1976.
Creator
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Lenox String Quartet
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Binghamton University Libraries
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1976-4-27
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-
https://omeka.binghamton.edu/omeka/files/original/c75c0b18d49ad42b87bb97344658f808.pdf
2d0b43b2e5e505ab73616f94e9a66975
PDF Text
Text
STATE UNIVERSITY OF NEW YORKAT BINGHAMTON
Harpur College
Department of Music
LENOX QUARTET
with
guest artist
WALTER PONCE, piano
Summer Series
June 6, 1975 at 8:30 p.m.
University Union Social Room
�SUMMER SERIES
FOUR EVENINGS OF CHAMBER MUSIC
Delmar Pettys, Violin
Donald McCall, Cello
Walter Ponce, Piano
Trio Concert
JUNE 6
Trio Concert
Haydn Trio in G
Beethoven opus 70 no. 2
Brahms Trio in C major
Trio in G
Andante
Poco adagio. Cantible
Rondo all'ongarese
Franz Joseph Haydn
(guest artist Walter Ponce, piano)
JUNE 13
All Mozart Program
Trio Opus 70 no. 2
Ludwig van Beethoven
Poco sostenuto- Allegro ma non troppo
Allegretto
Allegretto, ma non troppo
Finale. Allegro
Quartet in G major, K. 387
Quartet in C major, K. 465
· -Quintet in G minor, K. 516
(with guest artist Judy Geist, viola)
JUNE 20
JUNE 27
Haydn Quartet opus 16 no. 4
Webern Five Pieces
opus 5
Schubert Quartet opus post.
D minor
Beethoven Quartet opus 132
Borodin Quartet no. 2 in D major
SERIES ADMISSION: $10 public, $3 students
SINGLE ADMISSION: $3 public, $1 students
INTERMISSION
Trio Opus 87
Allegro
Andante con moto
Scherzo. Presto- Poco meno Presto
Finale. Allegro giocoso
Johannes Brahms
�
Dublin Core
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Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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47:09
32:43
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Lenox String Quartet with guest artist Walter Ponce, piano, June 6, 1975
Recital tape 1975-6-6
Description
An account of the resource
Works of Haydn, Beethoven and Brahms. Held at 8:30 pm, June 6, 1975, Social Room.
Creator
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Lenox String Quartet
Ponce, Walter
Publisher
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Binghamton University Libraries
Date
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1975-6-06
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In copyright
Type
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sound
-
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
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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1 sound tape reel
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34:26:00
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Opera Workshop: Trial by Jury, May 5, 1975
Recital tape 1975b 5-5
Description
An account of the resource
Held on May 5, 1975.
Creator
An entity primarily responsible for making the resource
University Chorus and Orchestra
Publisher
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Binghamton University Libraries
Date
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1975-5-05
Rights
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In copyright
Type
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sound
-
https://omeka.binghamton.edu/omeka/files/original/4a31e262bc2d16bcb5efdb660f9a9a26.pdf
08cde8d8189eb0b1e07aa52bbd951439
PDF Text
Text
ST ATE UNIVERSITY OF NEW YORK AT BINGHAMTON
UNIVERSITY CHORUS
AND ORCHESTRA
R. VAUGHAN WILLIAMS
TOWARD THE UNKNOWN REGION
I. STRAVINSKY
SYMPHONY OF PSALMS
GUSTAV HOLST
THE HYMN OF JESUS
with the HARPUR CHORALE
DAVID BUTTOLPH, Director
MONDAY, MAY 5
815 P.M.
�PROGRAM
1.
TOWARD THE UNKNOWN REGION
R. Vaughan Williams
Darest thou now O soul,
Walk out with me toward the unknown region,
Where neither ground is for the feet nor any path
to follow?
A special word of thanks to the chorus
No map there, nor guide,
Nor voice sounding, nor touch of human hand,
Nor face with blooming flesh, nor lips, nor eyes,
are in that land.
of treble soloists participating in this
evening's program.
I know it not O soul,
Nor dost thou, all is a blank before us,
All waits undreamed of in that region, that
inaccessible land.
TREBLE CHORUS
Mary Ann Ferraiolo
Elizabeth Hartman
Beverly Penn
Esther Pettengill
Till when the ties loosen,
All but the ties eternal, time and space,
Nor darkness, gravitation, sense, not any bounds
bounding us.
Lizabeth Campbell
Jeanne Falinski
Phyllis LaBelle
Ursala Raeth
Lynne Engstrom
Rachel Gardner
Jill Weston
Stacie Williams
Then we burst forth, we float,
In time and space O soul, prepared for them,
Equal, equipt at last, (O joy! O fruit of all!)
them to fulfil O soul.
Walt Whitman.
2.
SYMPHONY OF PSALMS
Igor Stravinsky
Translation of the Text
Part I.
Verses 13 and 14 of Psalm No. 38
13.
Hear my prayer, O Lord, and my supplication.
Give ear to my tears. Be not silent:
for I am a stranger with Thee
and a sojourner, as all my fathers were.
14.
O forgive me, that I may be refreshed,
before I go hence, and be no more.
�Part II.
Verses 2, 3 and 4 of Psalm No. 39
2.
With expectation I have waited for the Lord
And he was attentive to me.
3.
And he heard my prayers,
and brought me out of the pit of misery,
and the mire of dregs.
And He set my feet upon a rock,
and directed my steps.
4.
And He put a new canticle into my mouth,
and a song to our God. Many shall see and fear:
and they shall hope in the Lord.
Part III.
any conventional sense as with the English oratorio
tradition--which is to say, there is virtually no
connection at all. The driving spirit of the work is
Holst's own intensely personal form of mysticism.
Now, as the Holst centenary approaches and passes,
the Englishness of his music stands out in proud relief,
but it can no longer be regarded as a parochial phenomenon. Its specifically Holstian integrity and warmth
of heart reach out ever more persuasively to listeners
everywhere, who find themselves in the 1970's unprecedentedly responsive to the life-celebrating directness
of a mysticism that is earth-based but not earthbound.
Richard Freed
February 1974
Psalm No. 150
*
1.
2.
3.
4.
5.
6.
Praise ye the Lord in His sanctuary;
praise Him in the firmament of His power.
Praise Him for His mighty acts:
praise Him according to the multitude of
His greatness.
Praise Him with the sound of the trumpet.
Praise Him with timbrel and choir:
praise Him with strings and organs.
Praise Him on high sounding ymbals:
praise Him on cymbals of joy.
Let every spirit praise the Lord. Alleluia.
-----3.
THERE WILL BE A SHORT INTERMISSION
THE HYMN OF JESUS
------
Holst composed The Hymn of Jesus during the last
five months of 1917 and dedicated the work to his friend
and colleague Ralph Vaughan Williams. For his text he
drew on the Apocryphal Acts of St. John, which appealed
to him so strongly that he learned Greek in order to read
the original and make his own translation. In contrast to
the exultant vigor. of the Hymn itself he fashioned a
Tranquil Prelude, built on the plainsong hymns Vexilla
Regis and Pange Lingua and incorporating the Latin texts.
The Hymn of Jesus has little to do with "sacred music" in
*
HARPUR CHORALE
SOPRANO
Amy Beech
Cindy Carter
Margaret Donelian
Lauren Fleischer
Karen Haight
Judy Kahan
Diane Poe
Nancy Roper
Ruth Roper
Chris Scott
Sara Whitmore
Gustav Holst
Notes From the Preface to the Centennial Edition
*
ALTO
Karen Adler
Cheryl Choy
Sandra Gerber
Susan Glass
Vicky Gordon
Joan Jurich
Marjorie Millan
Jeannette Murphy
Nancy Perkins
Linda Shaw
Joy Smucker
TENOR
Roger Cruttenden
Ian Kirschner
Kevin McDermott
David Rosenman
Robert Sarachan
Arthur Sherry
Harold Weinberg
BARITONE
Richard Bartman
Dennis Burge
Geoffrey Magee
Richard Wiebe
Russell Senti
BASS
Richard Berent
Richard Briggs
Kenneth Martin
Barry Shpizner
John Tuttle
�THE ORCHESTRA
THE UNIVERSITY CHORUS
SOPRANO
Cath y Cast iglia
Judi th Elkin
Lois Fisc htha l
Ellen Gold stein
Laur ie Goodheim (Tre as.)
Terr y Hogan
Grac e Houg hton
Laur ie Kief fer
Debo rah Lemon
Dane tte Lipte n
Naomi Niss en
Emil y Park er
Harr iet Pene nsick
Jane t Pere tz
Kare n Pris ciot ta
Jodi Silb iger
Nore en Spot a
Loui se Ulric h
Amy Willi ams
ALTO
Clar a Budi n
Moll y Carg ile
Kare n Clut e
Ann Ehrl ich
Nancy Elmo re
Barb ara Fros t
Miria m Gelb er
Susa n Gold farb
Lesl ie Gree n
Ilene Grue nebe rg
Nancy Juliu s
Rhonda Klei n
Tsu Ning Ko
Jenn ie Lanzo
Sue Lawson (Sec 'y)
Judy Levi ne
Mari lyn Milkman
Dina h Ross
Judi th Schoolman
Jane Shea r
TENOR
Rich ard Brus ca
John Davi dge
Robe rt Fran kel
Lee Gart enbe rg
Alan Hymowitz
John Keel er
Mark Lanz e
Rich Ossi as
Edward Scha pper t
Stua rt Silve rman
(Pub lic' ty)
Jud Wall is
Floy d West
BARITONE
Lynn Ayle swor th
Pete r Bola n
Ian Cain
Richard Davi s
Michael Gawo recki
Mich ael Lam berta ,Pres
Tom Lamphere
Rich ard Mall inson
Andrew McKim
Davi d Mose
Stev e Smith
BASS
Doug Char les
Carl Dashman
Leon Glow
Mark Karpman
Mich ael Pier ce
Bern ie Sher edy
Paul Sweeny
Chai Kyu Mall inson
Rehe arsal Acco mpan ist
FLUTE
Sharo n Kosa koff
Abbi e King
Kare n Tax
Roni Gros s
Barb ara Bish ara
OBOE
Jeff Barro n
Jane t Zieb ur
Elain e Wein er
Mari lyn Schu lkind
Rich ard Stein er
Davi d Besp alko
Steve n Winans
TROMBONE
Rich ard Gower
Gran t Sulli van
BASS TROMBONE
Jame s Magacs
TUBA
Carm elo Com beria ti
ENGLISH HORN
Scot t Eddy
TIMPANI
Kent Oldf ield
Mart in Ricc iardi
CLARINET
Paul Ketc hoyia n
Anne Stern
PERCUSSION
Roy Wein berge r
BASS CLARINET
Robe rt Sarac han
PIANO
Cynt hia Pete rson
Chai Kyu Mall inson
CONTRABASS ALSO
Luci nda Bald win
BASSOON
Thomas Clos ser
Edward Wadin
Lois Chan try
ORGAN
Emily Park er
Ruth Rope r
CELESTE
Chai Kyu Mall inson
HARP
HORN
Steph en Couch
Kenn eth Steig er
Robi n Jackman
Kenn eth Weissman
TRUMPET
Alfre d Szym aniak
Robe rt Lind strom
Fred eric Bartm an
Nancy Juliu s
VIOLIN
Davi d Agar d
Prin cipa l
Geor ge Meyers
Olev Viro
�VIOLIN
Richard Leavitt
Oscar Maxwell
Betty Lou Agard
Mary Jane Wojtowitz
Principal
Susan Marks
Eliza Tan
Norman Reid
Fritz Loewenstein
Eileen Pasternak
BASS
Donal O'Buckley
Principal
Dominique Hyatt
James Hills
Robert Rohland
VIOLA
Peggy Acker
Principal
Jeffrey Brooks
Martha Cotton
Barbara Gorin
Dorothy Bases
Joyce Capani
CELLO
Janet Nepke
Principal
Seth Jacobs
Howard Cohen
Myra Greenstein
Christine Johnson
Tracy Stack
Miriam Wu
�
Dublin Core
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Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
Template: PDF / Rosetta
PDF with Rosetta audio/video link
Original Format
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2 sound tape reels
Duration
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38:20
23:29
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243466">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243466</a><a href="Voice Recital by the Students of David Clatworthy, April 28, 1975"></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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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
Concert, University Chorus and Orchestra, May 5, 1975
Recital tape 1975-5-5
Description
An account of the resource
Works of Vaughan Williams, Stravinsky, Holst. Held at 8:15 pm, May 5, 1975.
Creator
An entity primarily responsible for making the resource
University Chorus and Orchestra
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
1975-5-05
Rights
Information about rights held in and over the resource
In copyright
Type
The nature or genre of the resource
sound
-
https://omeka.binghamton.edu/omeka/files/original/045f1e920a8c4f456c421a582b6cc5a6.pdf
a9acd180ba478f818e461df662cca194
PDF Text
Text
SUNY Bingham ton
Departm ent of Music
presen ts
A Vocal Recita l by the Studen ts of David Clatwor thy
Barbar a Garges , at the piano
April 28, 1975
Jean Casadesus
8: 15 PM
Re ci tal
Hall
PART I
AN SYLVIA
SCHUBERT
EN SOURDINE
FAURÉ
Preston Stockman , tenor
SCHUBERT
LIED DER MIGNON
RASTLOSE LIEBE
DEBUSSY
LES INGÉNU S
(Fêtes Galante s II)
Margare t Doneli an, soprano
BRAHMS
FELDEINSAMKEIT
FAURÉ
PRISON
ADIEU
from Poème d'un J our
Richard Bartmo n, bariton e
SCHUBERT
AN DIE MUSIK
SELIGKEIT
DES MÄDCHENS
MENDELSSOHN
KLAGE
ANDRES MAIENLIED
(Hexen lied)
Ur sula Raeth, soprano
�TCHAIKOVSKY
MIGNON'S SONG
THE CZAR'S DRINKING HOUSE
LONELY AGAIN
DON JUAN'S SERENADE
(This group will be sung in Russ ian. )
Gary Levine, Bass-barito ne
I N T E R MI S S I O N
PART II
J. S. BACH
MEIN VERLANGEN
Komm, du süsse Todesstunde
from Cantata No. 161:
Richard Kasken, tenor
SCHUBERT
DIE JUN GE NONNE
SEI MIR GEGRÜSST
DER JUNGLING AN DER QUELLE
ERETCHEN AM SPINNRADDE
Beverly Penn, soprano
CLAIR DE LUNE
FAURÉ
COUNT'S ARIA AND RECITATIVE
MOZART
from "The Marriage of Figaro".
Michael Quinn, baritone
GREEN
DEBUSSY
LUCY'S ARIA
MENOTTI
from "The Telephone"
Mary Ann Ferraiolo, soprano
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF / Rosetta
PDF with Rosetta audio/video link
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
2 sound tape reels
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
49:22
42:39
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243462">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243462</a>
Accessibility
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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
Voice Recital by the Students of David Clatworthy, April 28, 1975
Recital tape 1975-4-28
Description
An account of the resource
Works of Schubert, Fauré, Debussy, Brahms, Mendelssohn. Held at 8:15 pm, April 28, 1975, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Harpur Chorale
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
1975-4-28
Rights
Information about rights held in and over the resource
In copyright
Type
The nature or genre of the resource
sound