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                    <text>STATE UNIVERSITY OF NEW

AT
YORK

BINGHAMTON

Harpur College
Department of Music

Alfred Clinton Morris,

conductor

DON A. WATTERS THEATER

APRIL 18, 1975 at 8:15 PM

�THE HARPUR SYMPHONY ORCHESTRA
ALFRED CLINTON MORRIS, Conductor
Beverly Penn, guest soloist

ORCHESTRA PERSONNEL

FIRST VIOLINS

BASSES

TRUMPETS

Mary Reynolds
Mary Barton
Gregory Fulkerson
Andrea Andros
Elmar Oliveira
George Myers
Bruce Berg
Paul Goodman
Robert Provell
Lydia Werbizky
Oscar Maxwell

Richard Thomas
Michael Sanders
Debra Neu
Dominique Hyatt

Steve Winans
Alfred Szymaniak

SECOND VIOLINS

PICCOLO

Nancy Julius

Jean Puleo
Rosa Campa
Norman Reid
Susan Mi tchell
Janet Brady
Alexandra Werbizky
Paul Childs
Cordula Rosow

Merrell Weiss

ORGAN

TROMBONES
FLUTES
Sharon Kosakoff
Jane Gottlieb
Merrell Weiss

Richard Gower
Daniel Addison
James Magacs

CONCERTO GROSSO IN F MAJOR
opus 6, no. 2

ARCANGELO CORELLI
(1653-1713)

Allegro, adagio, allegro,
largo andante
Allegro
Grave, andante largo, allegro

HARP

Mary Reynolds, violin
Jean Puleo, violin
Craig Weaver, cello

Deborah Lemon
OBOES
TYMPANI

Eliot Friedman
Geoffrey Barron
Janet Ziebur

Kent Oldfield
PERCUSSION

VIOLAS

ENGLISH HORN

Judy Geist
Geoffrey Brooks
Larry Bradford
Barbara Gorin
John Dexter
Carol Isaacson
Sandra Robbins
Jeanne Woodruff

Geoffrey Barron

Keith Martens
Roy Weinberger
Cindy Baldwin

CLARINETS

PERSONNEL MANAGER

Paul Ketchoyian
Anne Stern

Geoffrey Barron
ORCHESTRA OFFICERS

BASSOONS
CELLOS
Craig Weaver
David Heiss
Tom Shaw
Holly Wilson
Steven Stalker
Seth Jacobs
Dan McIntosh
Myra Greenstein
Howard Cohen
Tracy Slack

soloists:

Louis Papastrat
Lois Chantry
HORNS
Martin Burki
Kenneth Weissman
Rebecca Miller
Kenneth Steiger

Geoffrey Brooks,
president
Paul Ketchoyian,
vice-president
Carol Isaacson,
secretarytreasurer

KNOXVILLE: SUMMER OF 1915
opus 24, for soprano and
orchestra

SAMUEL BARBER
(1910-)

Beverly Penn, soprano
INTERMISSION
INTERMEZZO SINFONICO
from the opera Cavalleria
Rusticana
SLAVONIC DANCES, opus 46

PIETRO MASCAGNI
(1863-1945)

ANTONIN DVORAK
(1841-1904)

No. 1 Presto
No. 2 Allegretto scherzando
No. 3 Poco allegro
No. 6 Allegretto scherzando
.No. 7 Allegro assai
No. 8 Presto

�loved deeply the folk
Dvorak, intensel y nationa listic a s h e was,
influenc ed his own
it
and
music of his native Bohemia (Czechoslovakia),
music profoun dly.
The Slavonic Dances are represen t a tive, they are charact eristic,
they are nationa lly express ive. They reflect t he temperam ent of the
He knew his
Czech people as perhaps only Dvorak has s ucc eeded in doing.
folk music, but, more i mportan t, he knew his peop le, possib ly from his
Iong yea rs of experien ce as a menial lab orer, a b utcher-b oy, and as a
singer, violini st, trumpete r, violist and organts t in coffee houses, inns,
houses of worsh ip and opera houses.
Paradox ically, the Dances contain little or no melodic elements
of Bohemian folk song or folk dance. Dvorak did not use his nat i ve folk
music; he created a fol k music. The melodie s embodied in these dances are
munerou s and bewitch ing. They are, with the exceptio n of a few measures
than the Bohemian s.
here and there, origina l with Dvorak, and more Bohemian
True, he did employ charact eristic idioms, and such enga ging and familiar
rhy thms as the furiant (a rapid f iery dance in 3/4 time) and t he polka,
and such marks and manneris ms of Boh emian folk song as would indubita bly
identify this music. But it is music made of the essenti al spirit of the
Slavic races, rather than merely an interp retation of the outward manifestatio ns of that s pirit.
The Slavonic Dances are whimsic al, nostal gic, plaintiv e, melancholy, joyous, light- or heavy-fo o ted by turns. They are profound in the
the ch aracter and temnerament of the
bes t sens e, in t hat they explore
and they a re
ully unpreten tious,
beautif
compose r's people. They are
elabora te,
or
studied
however
music,
univers a lly appealin g . Can any
accompl ish a more des irab le end?
Notes by Charles O'Conne ll

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                    <text>STATE UNIVERSITY OF NEW YORK AT BINGHAMTON

Harpur College
Department of Music

LENOX QUARTET

Sunday, April 13, 1974
8:15 PM
Don A. Watters Theater

�Peter Marsh, violin
Delmar Pettys, violin

Toby Appel, viola
Donald McCall, cello

QUARTET IN G MAJOR
opus 18, No. 2

LUDWIG VAN BEETHOVEN

Allegro
Adagio cantabile
Scherzo (Allegro)
Allegro molto quasi presto

SINCRONIE FOR STRING QUARTET
( 1967)

LUCIANO BERIO

INTER MISSI ON

QUARTET IN A MAJOR
opus 2
Allegro
Allegro
Tema con variazion i
Tema. - Andantino
Var 1 - Poco Tranquillo
Var 2 - Poco Agitato
Var 3 - Andante
Var 4 - Vivace scherzand o
Finale. Allegro

REINHOLD GLIÈRE

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

THE WORKS O FJ. S. BACH

Thursday,
8:15

April

10, 1975

pm

Casadesus Re cita l Ha ll

�WORKS OF JOHANN SEBASTIAN BACH (1685-1750)

Program
Trio-Sonata in B-flat Major
Adagio

(transcription)

Allegro ma non tanto

-

Adagio e piano

-

Allegro moderate

Paul Jordan, Alto Recorder
Delmar Pettys, Violin
Steven Stalker, Violoncello
Joseph Kotylo, Harpsichord

Aria, "Gelobet sei der Herr," from Cantata No. 129

Alice Weintraub, Soprano
Paul Jordan, Tenor Recorder
Delmar Pettys, Violin
Steven Stalker, Violoncello
Joseph Kotylo, Harpsichord

Sonata No. 2 in A Major for Violin and Obligato Keyboard
Andante

-

Allegro assai

-

Andante un poco

-

Presto

Delmar Pettys, Violin
Paul Jordan, Organ

Intermission

Sinfonia ("Sonata") from Cantata No. 182

("Himmelskönig, sei willkommen")

Paul Jordan, Alto Recorder
Delmar Pettys, Violin
the Ysaye Quartet
Elmar Oliveira, Violin
Paul Childs, Violin
Sandra Robbins, Viola
Steven Stalker, Violoncello
Joseph Kotylo, Harpsichord
Aria, "Sanfte soll mein Todeskummer,"

from the Easter Oratorio

Kevin McDermott, Tenor
Larry Zukof and Paul Jordan, Alto Recorders
Elmar Oliveira and
Paul Childs, Violins
Joseph Kotylo, Harpsichord

�Sinfonia from Cantata No. 142

("Uns ist ein Kind geboren")

Kevin McDermott and Paul Jordan, Alto Recorders
Geoffrey Barron and Janet Ziebur, Oboes
the Ysaye Quartet
Joseph Kotylo, Harpsichord

"Brandenburg" Concerto No. 4 in G Major
Presto
Andante
Allegro
Delmar Pettys, Violin
William Sherfey and Paul Jordan, Alto Recorders
the Ysaye Quartet
Joseph Kotylo, Harpsichord

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

HARPUR CHORALE
DAVID L. BUTTOLPH,

director

April 6, 1975
8: 15 PM
Don A. Watters Theater

�3

2

PROGRAM
to be selected from the following

NOTES

I

GIVE THANKS UNTO THE LORD

ROBERT STARER
1924-

CHARLES IVES

SERENITY
Diane Poe, soprano
John Tuttle, piano
KYRIE, GLORIA and CREDO
from Mass for Double Choir

1874-1954

CHARLES IVES

Words by John G. Whittier, American Quaker
poet, editor and journalist. A setting of
the 3rd and 4th verses of a text normally
associated with the hymn by Frederick Maker,
'Dear Lord and Father of Mankind'.

FRANK MARTIN
1890-

II
LAMENTO D'ARIANE

SERENITY

CLAUDIO MONTEVERDI

LAMENTO D'ARIANE

MONTEVERDI

Leave me to die; whom do you want to
comfort me in this cruel fate,
in this great trial.

1567-1643

AH, DEAR HEART

ORLANDO GIBBONS

REGGEL

GYORGY LIGETI

1583-1625

THE LOW BACKED CAR
Quoted at the end of the Eumaeus
Chapter of "Ulysses" by James Joyce

SAMUEL LOVER

IN PRIDE OF MAY

THOMAS WEELKES
1575-1623

I WILL GIVE YOU THE KEYS OF HEAVEN
CHESHIRE COUNTY SONG
Joan Jurich, mezzo soprano
Kevin McDermott, tenor

It is dawn, the churchbells are striking,
The mist has whitewashed everything,
Crocuses rustle, cocks crow
It's morning! A beautiful morning.

�4

5

III
GYÖRGY LIGETI

REGGEL

1923-

THE HARPUR CHORALE
David Buttolph, Director

1882-1967

Amy Beech
Cindy Carter
Judi Kahan
Diane Poe
Ruth Roper
Chris Scott

Margaret Donelian
Lauren Fleischer
Laurie Goodheim
Karen Haight
Nancy Roper
Sarah Whitmore

ZOLTÁN KODÁLY

MOUNTAIN NIGHTS

SOPRANOS

arr. LAJOS BÁRDOS

UNGARESCHA

1899IV

ALTOS

Karen Clute
Sandy Gerber
Vicky Gordon
Leslie Green
Marge Millan
Nancy Perkins
Joy Smucker

Karen Adler
Molly Cargile
Cheryl Choy
Susan Glass
Joan Jurich
Jeanette Murphy
Linda Shaw

(with apologies to G.F. Handel)
Dennis Burge, piano
Richard Berent, conductor

TENORS

1756-1791
Karen Haight, Sue Glass
Lamberta
David Rosenman, Michael
solo quartet
with
Russell Senti

BASSES
Richard Berent
Richard Briggs
Doug Charles
Ken Martin
Barry Shpizner
John Tuttle

Richard Bartmon
Dennis Burge
Michael Lamberta
Geoffrey Magee
Russell Senti
Richard Wiebe

Russell Senti
Sandy Gerber
David Roseman
Susan Glass
Howard Weinberg

OFFICERS
President
Home Area Manager
Tour Manager
Secretary
Treasurer

W. A. MOZART

TRINK KANON

Ian Kirschner
Robert Sarachan
Arthur Sherry
Howard Weinberg

Roger Cruttenden
Kevin McDermott
Rich Ossias
David Rosenman

RELY-HUTCHINSON

OLD MOTHER HUBBARD

GREGORY NISSEN

JABBERWOCKY

Margaret Donelian, soprano
Dennis Burge,

piano

V
Jeanette Murphy
Richard Ossias
Molly Cargile
Michael Lamberta

Librarian
Publicity
Women's Wardrobe
Men's Wardrobe

I HEAR A VOICE A PRAYIN'
BYE AN' BYE

HOUSTON BRIGHT
arr. DAVID BUTTOLPH

Leslie Green, contralto
EZEKIEL SAW DE WHEEL

Arthur Sherry, tenor

WILLIAM L. DAWSON

�Next choral event .....

UNIVERSITY CHORUS AND ORCHESTRA
David Buttolph, conductor

program. .....

Vaugh Williams
Stravinsky
Holst

Toward the Unknown Region
Symphony of Psalms
Hymn of Jes us
(with the Harpur Chorale)

Monday, May 5, 19 75, 8: 15 PM
Don A. Watters Theater
General Admission, $1
Students free with ID

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                    <text>STATE UNIVERSITY OF NEW YORK AT BINGHAMTON

Harpur College
Department of Music

Thursday, April 3, 1975
8:15 PM
Don A. Watters Theater

�Jerry Kirkbrid e, clarine t
Karl Kraber, flute
Jane Taylor, bassoon
Charles Kuchkin, oboe
Barry Benjamin, horn

QUINTET IN E MINOR
opus 88, no. 1

ANTON REICHA

Introdu ction Andante; Allegro
Andante
Menuetto Allegro vivo
Finale (Allegro )

SONATA FOR FLUTE, OBOE
AND BASSOON

ZOO

Tom Cats
The Horse
The Gray Mouse
Barn Dance

FIVE TRIOS AND A PHANTASY
FOR WIND QUINTET

THREE ORGAN WORKS
Transcri bed by Rechtman
Preludiu m
Fughetta
Fugue in G Minor
ANTONIO VIVALDI

Allegro
Largo
Allegro

OPUS NUMBER

INTE RMIS SION

LUCIANO BERIO

EZRA LADERMAN

J. S. BACH

�</text>
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                    <text>STATE UNIVERSITY OF NEW YORK AT BINGHAMTON

Harpur College
Department of Music

March 15, 1975
8:15 PM
Casadesus Recital Hall

�PROGRAM
SEQUENZA V
for solo trombone
SONATA DA CHIESA
for flute and organ

FRANK MARTIN

Harry Lincoln, flute
Paul Jordan, organ

SONATA NO. 2 (1955)

LUCIANO BERIO

Donald Robertson, trombone

BLACK ANGELS (1970)
Thirteen images from the dark land

GEORGE CRUMB

I. DEPARTURE

EZRA LADERMAN

1. (Tutti) Threnody I: Night of the
Electric Insects
2. (Trio) Sounds of Bones and Flutes
3. (Duo)
Lost Bells
4. (Solo: Cadenza accompagnata) Devil-music
5. (Duo) Dance Macabre

Adagietto - Molto Allegro
Adagietto - Romanza
Scherzo furioso •
Adagio espressivo - Allegro assai
Walter Ponce, piano

II. ABSENCE

INTERMIS SION

FÜNF CANONS

ANTON WEBERN

1. Christus factus est
2. Dormi, Jesu
3. Crux fide lis
4. Asperges me
5. Crucem tuam
Mary Ann Ferraiolo, soprano
Wendy Osteyee, clarinet
Albert Hamme, bass clarinet

6. (Trio) Pavana Lachrymae
(Solo obbligato: Insect Songs)
?. (Tutti) Threnody II: BLACK ANGELS!
8. (Trio) Sarabanda de la Muerte Oscura
(Solo obbligato: Insect Sounds)
9. (Duo) Lost Bells ( Echo)
(Duo alternativo: Sounds of Bones and Flutes)
III. RETURN
10.
11.
12.
13.

(Solo: Aria accorrrpagnata) God-music
(Duo) Ancient Voices
(Trio) Ancient Voices (Echo)
(Tutti) Threnody III:
Night of the Electric Insects
THE AMICI STRING QUARTET
Bruce Berg, violin
John Dexter, viola
Cordula Rosow, violin
Dan McIntosh, cello

�We welcome as our guests for this evening's
concert the members of the New York State Chapter
of the American Musicological Society.

The Amici String Quartet is teaching in residence at
Hamilton and Colgate Colleges.
Albert Hamme conducts the Wind Ensemb le and the Jazz
Ensemble.
Mary Ann Ferraiolo recently completed her BA in this
department, and is now studying for the MM degree
in voice.
Paul Jordan teaches organ, harpsichord and recorder
and conducts the Collegium Musicum.
Ezra Laderman is Composer-in-Residence ..
Harry B. Lincoln is Chairman of the Department of Music.
Wendy Osteyee completed her BA in the department and
is studying for the MA degree in music theory.
Walter Ponce teaches piano and is well known as a
concert artist.
Donald Robertson is a candidate for the Master of
Music degree in trombone.

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

OPERA WORKSHOP
ROBERTA SCHLOSSER, Director
presents

An Evening of Comedy
SCENES FROM LA BOHÈME
MERRY WIVES OF WINDSOR
TALES OF HOFFMANN

COSÌFAN

TUTTE

James Osborne, Musical Director
Jon Carbery, Dramatic Director

FEBRUARY 24, 25, 1975
CASADESUS RECITAL HALL

8:15 P.M.

�PROGRAM

CHARACTERS
La Bohème

LA BOHÈME

Giacomo Puccini

Act I. Scene 1.
The action takes place in a cheerless attic studio.
Time-about 1830 in Paris.
Act II. 'Musetta's Waltz'
Outside the Café Momus in the Latin Quarter on Christmas
Eve.

Otto Nicolai

THE MERRY WIVES OF WINDSOR
Act I. Scenes 1 and 2.

A courtyard on a summer afternoon in the Town of Windsor.

Rodolfo, a poet -------------- ------------------········----··------ Anthony Brienza, tenor
Marcello, a painter ------------------- --- ---------- Michael David Quinn, baritone
Schaunard, a musician ---------------------------------- Thomas Fordham, baritone
Colline, a philosopher -------------------------------------------------- Gary Levine, bass
Benoit, a landlord ------------------------------------------------ Arthur Sherry, baritone
Musetta, a grisette ------------------------------------------------ Ursula Raeth, soprano
Mimi, a seamstress ------------------------------------------ Victoria Deuany, soprano
Aleindoro, a man about town ___ _____ ______ ___ _______ __ James Osborne, baritone

The Merry Wives of Windsor
Mrs. Ford, a well-preserved, very merry
woman of thirty-five ----------- --------------------------- Shirley Brown, soprano
( Mon. performance)
Karen Haight, soprano
( Tues. performance)
Mrs. Page, lively, but less so
than her friend -------------- ------------------------------ Rachel Gardner, soprano
The Tales of Hoffmann
Frantz, an aging, nearly-deaf servant
to Crespel, a musician -------------------------------- Preston Stockman, tenor
Così Fan Tutte

- INTERMISSION -

THE TALES OF HOFFMANN

Jacques Offenbach

Act. IV. Frantz's Aria.
Crespel's house in Munich.

Fiordiligi ----------------- ----- -------------------------------- ------ Victoria Devany, soprano
Dorabella ---------- ----------- ---------- -------------------- -- ----- Alice Weintraub, soprano
Ladies from Ferrara and Sisters,
living in Naples
Guglielmo, officer, betrothed
to Fiordiligi ---------------- ------------ ---- -------- Michael David Quinn, baritone
Ferrando, officer, betrothed
to Dorabella --------- ------------------ ------------ ---- --------- Anthony Brienza, tenor
Despina, chambermaid to the ladies ______ Mary Ann Ferraiolo, soprano
Don Alfonso, an old philosopher ______________ Thomas Fordham, baritone

ACKNOWLEDGEMENTS
COSÌ FAN TUTTE
Act II. Duet.
A room in the sister's home.
Act I. Finale.
The action takes place in Naples.
Time-late eighteenth century.

Wolfgang Amadeus Mozart

Musical Preparation ---- -------------- -------- Roberta Schlosser, James Osborne
Accompanist and Coach
( 'Bohème' and 'Hoffmann' scenes) __________________________ Barbara Benvin
Accompanist and Coach
( 'Così' and 'Merry Wives' scenes) ___ ____________ __ _ Chai-kyov Mallinson
Staging Concept ( 'Casi' scenes) ---------------------- ---------------- James Osborne
Technical Supervisor ( Lighting, Costumes,
Properties, Make-up) -------------- ------------------------------------------ Roy Abbott
Stage Manager ------------------------------------------------------------------ Vincent Pantuso

�PROGRAM NOTES

La Bohème
Act I
In their cold, shabby attic--Rodolfo, the poet and Marsella, the
painter--hungry and freezing, are trying in vain to concentrate on
their work. Colline, the philosopher enters complaining that because
the pawnshops are closed on Christmas Eve he has been unable to
sell his books. Schaunard, the musician, had better luck. He comes
bringing fuel and provisions. During the preparation of their meal,
the landlord enters unexpectedly and demands payment of his long
overdue rent. The Bohemians offer him wine and turn him out amidst
joking and laughter.
On to Café Momus.
Act II
At the Café Momus, Rodolfo has just introduced Mimi to his
friends when Musetto appears escorted by old but rich Alcindoro.
Marcello, whom she loves--if only periodically--describes her fickle
character to Mimi. Musetta, angered by Marcello's simulated indifference, breaks into a description of her charms, hardly modest but
entirely accurate.
The Merry Wives of Windsor
The Nicolai treatment ( first performance-1849) of the Shakespearean subject preceded the Verdi version ( Fallstaff-1893) by nearly
a half century. Hermann von Mosenthal's tight and fast moving
libretto employed only the main sections of the comedy. In the opening scenes, therefore, we deal immediately with Falstaff's extraordinary love letters which both Mrs. Ford and Mrs. Page have just
received. The two women compare letters, and discovering them to
be alike plan revenge.
The Tales of Hoffmann
Crespel has just left his house in a rage because his nearly-deaf
old servant Frautz misunderstood everything he said. Frautz then
consoles himself with singing, although he knows his technique is
wrong-and with dancing, although he lands on his well-polished floor.
Così Fan Tutte
An early revision of 'Cosi' stated that the theme of this opera
was a satire on the highly praised fidelity of the female sex and an
innocent playing with the ·sanctity of love. The action which leads up
to the Finale of Act I concerns a wager between Don Alfonso, a
cynical old philosopher and his two young officer friends, to witthat no women can be trusted. To try to prove his point, Don Alfonso
concocts an elaborate scheme complete with deceit, disguises, poisonand miraculous recovery. The sisters, however, remain true to their
sweethearts whom they believe have been ordered to wars.
Early in Act II, after Despina derides their constancy, the sisters,
especially Dorabella, weaken and decide a flirtation will do no harm.
Dorabella will choose Guglielmo and Fiordiligi Ferrando.
-Roberta Schlosser

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                    <text>STATE UNIVERSITY OF NEW YORK
AT BINGHAMTON
THE DEPARTMENT OF MUSIC

OPERA WORKSHOP
ROBERTA SCHLOSSER, Director
presents

An Evening of Comedy
SCENES FROM LA BOHÈME
MERRY WIVES OF WINDSOR
TALES OF HOFFMANN

COSÌFAN

TUTTE

James Osborne, Musical Director
Jon Carbery, Dramatic Director

FEBRUARY 24, 25, 1975
CASADESUS RECITAL HALL

8:15 P.M.

�PROGRAM

CHARACTERS
La Bohème

LA BOHÈME

Giacomo Puccini

Act I. Scene 1.
The action takes place in a cheerless attic studio.
Time-about 1830 in Paris.
Act II. 'Musetta's Waltz'
Outside the Café Momus in the Latin Quarter on Christmas
Eve.

Otto Nicolai

THE MERRY WIVES OF WINDSOR
Act I. Scenes 1 and 2.

A courtyard on a summer afternoon in the Town of Windsor.

Rodolfo, a poet -------------- ------------------········----··------ Anthony Brienza, tenor
Marcello, a painter ------------------- --- ---------- Michael David Quinn, baritone
Schaunard, a musician ---------------------------------- Thomas Fordham, baritone
Colline, a philosopher -------------------------------------------------- Gary Levine, bass
Benoit, a landlord ------------------------------------------------ Arthur Sherry, baritone
Musetta, a grisette ------------------------------------------------ Ursula Raeth, soprano
Mimi, a seamstress ------------------------------------------ Victoria Deuany, soprano
Aleindoro, a man about town ___ _____ ______ ___ _______ __ James Osborne, baritone

The Merry Wives of Windsor
Mrs. Ford, a well-preserved, very merry
woman of thirty-five ----------- --------------------------- Shirley Brown, soprano
( Mon. performance)
Karen Haight, soprano
( Tues. performance)
Mrs. Page, lively, but less so
than her friend -------------- ------------------------------ Rachel Gardner, soprano
The Tales of Hoffmann
Frantz, an aging, nearly-deaf servant
to Crespel, a musician -------------------------------- Preston Stockman, tenor
Così Fan Tutte

- INTERMISSION -

THE TALES OF HOFFMANN

Jacques Offenbach

Act. IV. Frantz's Aria.
Crespel's house in Munich.

Fiordiligi ----------------- ----- -------------------------------- ------ Victoria Devany, soprano
Dorabella ---------- ----------- ---------- -------------------- -- ----- Alice Weintraub, soprano
Ladies from Ferrara and Sisters,
living in Naples
Guglielmo, officer, betrothed
to Fiordiligi ---------------- ------------ ---- -------- Michael David Quinn, baritone
Ferrando, officer, betrothed
to Dorabella --------- ------------------ ------------ ---- --------- Anthony Brienza, tenor
Despina, chambermaid to the ladies ______ Mary Ann Ferraiolo, soprano
Don Alfonso, an old philosopher ______________ Thomas Fordham, baritone

ACKNOWLEDGEMENTS
COSÌ FAN TUTTE
Act II. Duet.
A room in the sister's home.
Act I. Finale.
The action takes place in Naples.
Time-late eighteenth century.

Wolfgang Amadeus Mozart

Musical Preparation ---- -------------- -------- Roberta Schlosser, James Osborne
Accompanist and Coach
( 'Bohème' and 'Hoffmann' scenes) __________________________ Barbara Benvin
Accompanist and Coach
( 'Così' and 'Merry Wives' scenes) ___ ____________ __ _ Chai-kyov Mallinson
Staging Concept ( 'Casi' scenes) ---------------------- ---------------- James Osborne
Technical Supervisor ( Lighting, Costumes,
Properties, Make-up) -------------- ------------------------------------------ Roy Abbott
Stage Manager ------------------------------------------------------------------ Vincent Pantuso

�PROGRAM NOTES

La Bohème
Act I
In their cold, shabby attic--Rodolfo, the poet and Marsella, the
painter--hungry and freezing, are trying in vain to concentrate on
their work. Colline, the philosopher enters complaining that because
the pawnshops are closed on Christmas Eve he has been unable to
sell his books. Schaunard, the musician, had better luck. He comes
bringing fuel and provisions. During the preparation of their meal,
the landlord enters unexpectedly and demands payment of his long
overdue rent. The Bohemians offer him wine and turn him out amidst
joking and laughter.
On to Café Momus.
Act II
At the Café Momus, Rodolfo has just introduced Mimi to his
friends when Musetto appears escorted by old but rich Alcindoro.
Marcello, whom she loves--if only periodically--describes her fickle
character to Mimi. Musetta, angered by Marcello's simulated indifference, breaks into a description of her charms, hardly modest but
entirely accurate.
The Merry Wives of Windsor
The Nicolai treatment ( first performance-1849) of the Shakespearean subject preceded the Verdi version ( Fallstaff-1893) by nearly
a half century. Hermann von Mosenthal's tight and fast moving
libretto employed only the main sections of the comedy. In the opening scenes, therefore, we deal immediately with Falstaff's extraordinary love letters which both Mrs. Ford and Mrs. Page have just
received. The two women compare letters, and discovering them to
be alike plan revenge.
The Tales of Hoffmann
Crespel has just left his house in a rage because his nearly-deaf
old servant Frautz misunderstood everything he said. Frautz then
consoles himself with singing, although he knows his technique is
wrong-and with dancing, although he lands on his well-polished floor.
Così Fan Tutte
An early revision of 'Cosi' stated that the theme of this opera
was a satire on the highly praised fidelity of the female sex and an
innocent playing with the ·sanctity of love. The action which leads up
to the Finale of Act I concerns a wager between Don Alfonso, a
cynical old philosopher and his two young officer friends, to witthat no women can be trusted. To try to prove his point, Don Alfonso
concocts an elaborate scheme complete with deceit, disguises, poisonand miraculous recovery. The sisters, however, remain true to their
sweethearts whom they believe have been ordered to wars.
Early in Act II, after Despina derides their constancy, the sisters,
especially Dorabella, weaken and decide a flirtation will do no harm.
Dorabella will choose Guglielmo and Fiordiligi Ferrando.
-Roberta Schlosser

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                    <text>STATE UNIVERSITY OF NEW YORK AT BINGHAMTON

Harpur College
Department of Music

LENOX QUARTET

Chamber Music Series
February 22, 1975
8:15 PM

Don A. Watters Theater

�Peter Marsh, violin
Delmar Pettys, violin

QUARTET IN A MINOR
opus 29

Toby Appel, viola
Donald McCall, cello

FRANZ SCHUBERT

Allegro ma non troppo
Andante
Menuetto. Allegretto
Allegro Moderato
THE 1975 CHAMBER MUSIC SERIES
Feb 22 - Lenox Quartet
Mar 16 - Donald McCall, cello
Walter Ponce, piano
Apr 3 - Dorian Quintet
Apr 13 - Lenox Quartet

STRING QUARTET NO. 2
opus 10

ZOLTÁN KODÁLY

Allegro
Andante

INTERMISSION

QUARTET IN F MAJOR
opus 18, no. 1

LUDWIG VAN BEETHOVEN

Allegro can brio
Adagio (Affettuoso et Appassionato)
Scherzo (Allegro molto)
Allegro

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                    <text>STATE UNIVERSITY OF NEW

YORK
AT

BINGHAMTON

Harpur College
Department of Music

Alfred

Clinton

Morris,

conductor

DON A. WATTERS THEATER
FEBRUARY 20, 1975 at 8:15 PM

�2

THE HARPUR SYMPHONY ORCHESTRA
FIRST VIOLINS

BASSES

HORNS

Mary Reynolds
Mary Barton
Gregory Fulkerson
Andrea Andros
Elmar Oliveira
George Myers
Robert Provell
Paul Goodman
Lydia Werbizky
Oscar Maxwell

Richard Thomas
Michael Sanders
Debra Neu
Dominique Hyatt
Donal O'Buckley

Brian Sternberg
Martin Burki
Kenneth Weissman
Kenneth Steiger

soloists
BARBARA GARGES and DAVID HEISS*

TRUMPETS
FLUTES
Sharon Kosakoff
Jane Gottlieb
Merrell Weiss

Steve Winans
Allan Winans
Alfred Szymaniak
David Bespalko

PICCOLO

TROMBONES

Merrell Weiss

Michael Williamson
Richard Gower
Roger Keagle

SECOND VIOLINS
Jean Puleo
Rosa Campa
Bruce Berg
Susan Mitchell
Janet Brady
Alexandra Werbizky
Paul Childs
Cordula Rosow

ALFRED CLINTON MORRIS, conductor

ORGAN SONATA NO. 14, K. 329
Barbara Garges, organ

OBOES
Eliot Friedman
Geoffrey Barron
Janet Ziebur

TUBA

ROCOCO VARIATIONS
FOR CELLO AND ORCHESTRA
David Heiss, cello

WOLFGANG AMADEUS
MOZART
(1?56-1?91)
PETER ILYICH
TCHAIKOWSKY
(1840-1893)

Tom Wood

VIOLAS
Judy Geist
Geoffrey Brooks
Larry Bradford
Barbara Gorin
John Dexter
Carol Isaacson
Sandra Robbins
Jeanne Woodruff

ENGLISH HORN
Geoffrey Barron

Nancy Julius

CLARINETS

TYMPANI

Paul Ketchoyian
Anne Stern

Kent Oldfield
PERCUSSION

CELLOS
BASSOONS
Craig Weaver
Holly Wilson
Tom Shaw
Seth Jacobs
Steven Stalker
Myra Greenstein
Dan McIntosh
Howard Cohen
Tracy Slack

HARP

Louis Papastrat
Lois Chantry

Keith Martens
Laurie Goodheim
Roy Weinberger
PERSONNEL MANAGER
Geoffrey Barron

INTERM ISSION

SYMPHONY NO. 32 IN G MAJOR
K. 318 (in overture form)

WOLFGANG AMADEUS
MOZART

Allegro spiritoso
Andante
Allegro spiritoso
CAPRICCIO ITALIEN

PETER ILYICH
TCHAIKOWSKY

*Winner of the Second Concerto Competition

�</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="39771">
                <text>1975-2-20</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="39772">
                <text>In copyright</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="39773">
                <text>sound</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
</itemContainer>
