35
10
1775
-
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Harpur • Season 66·67
Summer Series
�PROGRAM
Sunday, Jul y 10 , 1966
8:15 p.m.
Coll ege Theate r
QUARTET FOR TWO VIOLINS,
VIOLA AND VIOLONCELLO
in B Flat Major, K. 589
Alle gr o
Larghetto
Menuetto and Tri o
Allegro Assai
W. A. MOZART
FIVE PIECES FOR STRING QUARTET
Op . 5 (1909)
A. WEBERN
intermission
STRING QUARTET
in E Flat Major, Op . 12 7
Maestoso, Allegro
Adagio, m a non troppo e molto cantabile
Sche rzando vivace
Finale
L.V. BEETHOVEN
A RECEPTION honoring the Quartet will be
held in the Fa culty L ounge adjac ent to the
theater following this evening's Yecital. T he
audi ence is most cordially invited to attend .
�Notes
by William Klenz
he B Flat Quartet of Mozart, K. 589, is
from the year 1790 and is the second of
the three quartets dedicated to Frederick
William II of Prussia. An amateur of the
'cello, his taste was recognized by Mozart
in the highly developed, not to say formidable, part
given to that instrument. Of the most limpid clarity
of construction - one is struck on examining the
score by the surprising number of rests - every
note is indispensable and calculated with the most
exquisite precision for its balance, proportion and
effect - a sublime economy with no trace of poverty.
The delay (five bars) of the entry of the 'cello at
the beginning serves to highlight the instrument when
it does appear and gives the clue to the method of
construction - "nothing that is not necessary, notlung
simply for convention's sake." The first movement is
of the most regular construction, which however gives
the impression of being foreordained and inevitable
and in no sense imposed. The LarghetIto again features the 'cello in a cantabile style and register so
that at the opening the viola must be the bass. The
movement consists of two equal, parallel sections,
and a particularly masterly moment 1s that when
midway, the 'cello, tiring of the "small talk" of his
colleagues, directs the events to the return of his
serious cantilena. The Menuettoand Trio comprise
a large-scaled movement in which the dance form
has been subjected to the working-out of a sonata .
The Trio is a jewel box of instrumental effects, and,
it may be observed, begins with only three players.
The Finale is a sonata movement with a theme
appropriate to a rondo. It gives the impression of
a complex ritual-game - ring dance, follow-theleader - and is the distillation of the original
magical purposes of all such ritual observances
which properly inform this movement of a Classical
work.
• These pieces have been acknowledged as master-
�pieces since their first performances. They are
the realization of the direct desire to communicate,
by-passing preconceived mechanisms and formalities, which while comfortable and reassuring, eventually become "dead" weight and empty formalism.
There is no room for "dead" weight here - the
pieces are of an almost incredible, even legendary,
brevity - a necessary brevity, because of their
extreme intensity. The preoccupation is with the
unique event in time; no mechanical repetition is
possible and the sole object is expression. The
result in terms of sound is of an unearthly, fleeting
physical beauty. While constructed with penetrating
logic and unassailable musical "grammar," they are
passports to a subjective-dream world, vivid chronicles of the inner life intimately illustrated by such
painters as Klee and Kandinsky whose work they
resemble not a little in both method, dimension and
intent.
• The first of the "last" great Quartets seems to
have been begun by Beethovenin early 1822 . Later
that year Prince Galitzin (to whom the Quartet is
dedicated) approached Beethoven about "two or three
new quartets." In the course of 1823 Beethoven
resumed work on the E Flat Quartet, but set it aside
to finish the Ninth Symphony. The first performance,
March 6, 1825, by the Schuppanzigh Quartet "was
unfortunate"; another on March 23 was "more successful." It was published in the following year as
"GRAND QUATUOR/ en Partition/ pour deux violons
Alto et Violonc ell e composé et dedié/
Son Altesse
Monseigneur l e Prince/ Nicholas de Galitzin, / Lieutenant-Colonel de la Garde S,,#M,,#J,, de toutes l es
Rus s i es/ par/ LOUIS V. BEETHOVEN/OEUV 127... 11
àS
The atmosphere of the work is pastoral, not to say
sylvan, where Beethoven seems to draw strength
and peace from contact with nature. It seems pointless to reduce its structure to words when you are
about to experience the work itself . Suffice it to say
that the first movement is of normal components,
although large in dimension and is created by the
organic processes of development which unite Beethoven and his beloved natural world and sets an
(Continued on back page )
�State University of New York at Binghamton
HARPUR COLLEGE
The Department of Music presents
THE GUARNERI STRING QUARTET (in residence)
Arnold Stein hardt
vio lin
John Dall ey
violin
RECIT A LS
Mi chael Tree
viola
David Soyer
cello
O SE A SO N 1966-67
SUMME R SERIES
W IN TER SERIES
S PRI N G S ERI ES
Sunday,
Sunday,
Sunday,
Sunday,
Sunday,
Sunda y,
Sunda y, November 6
Tuesday , Decembe r 13
Wedne s day, J a nuar y 4
Wednesday , Janua r y 11
Sunday, Febr ua r y 12
Sunda y, Ma r c h 12
Saturda y, Ma r c h 18
Sunday, Ap r il 2
Sunday, April 30
Satu r da y, May 6
July 10
J uly 24
Augu st 7
August 14
September 11
October 9
All performa nc es at 8:15 p.m . in the Ha rpur Colle ge T heate r.
Late com ers will be s eated afte r th e fir t quartet.
Ushe r i ng courtesy of Alpha Phi Ome ga a nd Gamma Sigma Sigma .
OPEN REHEARSALS
The publ ic i s co r di a lly invite d to atte nd the qua rte t' s
r e hea r sals, hel d the da y prior t o eac h r ecita l , at 3 p.m . (during Augu s t 10 a .m .),
in the mus ic room (CA- 183) nea r the theater.
NOTES (C ontinu ed)
unmistakable s i gn on the work . An e spec iall y tr easu r ed de t ail i s the clos ing
section whi ch de velops a small exp r e ssi ve phr a s e into a vast summing -up .
The s econd move ment is a theme and five va ri a ti ons - the or ganic princ ipl e again (plus ça clumge, plus c 'est la même chos e} in the hand s of the
m a ste r of the va r iation. The Scherzo exploits a shifting rhythmi c module a nd its joke ena ble s one to he ar t he Cos m ic laught e r which the Indi a ns say
is the act of Cre ati on itse lf. T he Final e is anothe r s onat a fo rm built of
musi cal mate rial s t hat are in t hemse lve s unpr eposses si ng but whi c h fo r
Bee thoven clea rl y he ld the ge r m cells of life and whi ch he leads to a powe rful de monstr ation of the vitalit y of simpl e , na tural for ces guided by inne r
organic unities and t r uth.
�
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
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Concerts ; Instrumental music ; Live sound recordings
Description
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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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2 sound tape reels
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39:48
38:23
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54448">Summer Series, Recitals Guarneri Quartet Recital</a>
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Summer Series Recitals, Guarneri Quartet
Recital Tape 1966-7-10
Subject
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Concerts
Instrumental music
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Description
An account of the resource
Works of Mozart, Webern, Beethoven.
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Guarneri Quartet
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Mozart, Wolfgang Amadeus, 1756-1791
Webern, Anton, 1883-1945
Beethoven, Ludwig van, 1770-1827
State University of New York at Binghamton. Department of Music
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1966-07-10
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Summer Series, Recitals Guarneri Quartet Recital Tape 1966-7-10.pdf
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WILLIAM S.
EWMA
�State University of New York at Binghamton
Harpur College
Convocations Committee and
the Department of Music present
THE ACCOMPANIED CLAVIER SONATA
--AMissing Link in Classic Chamber Music-
LECTURE-RECITAL by WILLIAM S. NEWMAN
Assisted by
Marianne Wa llenber g, violin
Fritz Wa llenberg , cello
Anic a Carlton , piano
The recita l port ions will include excerpts fr om t he fo llowing sonatas :
Sonata in G " for the Harpsichord or Piano Forte
with an accompaniment for the Violin or German
flute ," Op. 16, No. 2 .. .... .... .. ........ .. .......... J ohann Christian Bach (ca . 1776)
Allegretto
Andante gra zioso
Sonata in C Minor "pour le Clavecin " w ith the accompaniment
"ad libitum ," Op. 14, No. 3 .
.... ... .. .. .. ...... Johann Schobert (ca . 1765 )
Allegro m oderate
Andante cantabile
Menuetto grazioso
Sonata in F fo r Two Perform er
upon one Instrument ... ............ ... .
Largo
Allegro
.... ..................... Charles Burney (1777 )
Sonata in A per Cem balo o P iano-for te con Accompagnamento
...... ...... Franz An ton Rosetti (Rossler ) (ca . 1781 )
d' un v iolino ............... .
Allegro m olto
Andante stacatto
Rondo allegretto
Sonate pour le Piano avec Accompt. de
Flute on Violon ad Libitum .. .. .... .................. ......... Ferdinand Ries (ca . 1830 )
Allegro
Allegre tto vivace
Thursday, July 14 , 1966
8:15 p.m . College Theater
Sonata in B- fl a t "per cembalo con violin o
obbligato," Op . 5, No . 3 .. . .....
Moderate
Allegro
.. ... ...... Luigi
Boccherini ( 1768 )
�EVENTS CALENDAR
WILLIAM S. NEWMAN :
Dr. Wi lliam S. Newman is na t i ona ll y kn own as pi a nis t ,
teac her , re searc her and a ut ho r (T H E P I
I T ' S PROBL E M ,
UN O E RST ANDING MUSIC , seve ral c ri t ical e di t i on s o f mu s ic
incl uding T HIRTEE N KEYBOARD SO AT AS a nd numerou s
s cho l arl y a rt icles in Am eri can a nd fo reign p ublic a t i on s , and
period i cal s) .
As Alu mni Di s t ing uished P ro fe ssor of Music a t the n1 versit y of North C aro li na , he ha s re ce ntly comple t ed the fi rs t
t wo vo lu mes (Baroq ue , C l ass i c ) in his monumen t a l s t udy d e a ling with t he " His t ory of th e Son a ta Ide a " which ha s been in
progre ss fo r more th an t we n ty years .
•
A reception honorin g the perf orm e rs w ill be h eld in the
Fa c ulty Lounge adjacent to the the at e r immediat e ly /o llo ing
the rec ital. The audien c e is cordially in v i ted to a tte nd .
A ll prog ram s are at 8: 15 P. M. in th e Co llege Th e at e r un less
oth e rw is e ind ic ate d.
J ULY 15
Fri d a y
Admi ss i on
Free
F ILM: "ALL Q IE T ON T H E WE TE R FRONT"
s tarrin g L ew Ay res , Lo ui s Wolheim . A grim s a ga
of war a s se en th rough German e yes , tra c in g th e
adventure s o f s e ve n youn g boys who ente r th e
Imperia l Arm y in 19 14 a nd le a rn o f fear , fi lth , a nd
destruction durin g four year s o f c ombat. Spon sored
by the C on voca ti ons C omm i tte e .
J U LY 1
Admis s i on
Free
YO UNG ARTI STS SE RI ES
Spons ore d by th e C on vocati ons C ommitt e e .
J U LY 22
F rida y
Admission
Free
"POT E MKI " (Ode ss a Steps Sequen c e )
"AL EX AND E R NEVS KY"
"Potemkin recreates the s pirit of the 1905 revolution through the d epicti on of one of its in c i dents , utilizing ne w technique s o f man ipulati on o f
film ma terials to communicate ph y sical s en s ati on .
" Alexand er Ne vs ky , " an e pic film monument ,
deals with the in vasion of Russia by the pow e rful
Ord er o f Teutonic Knight s , as c rusa d er s, and the
decisi ve battle of the Ice where Nevsky won a
brilliant victory .
FILMS:
�
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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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2 sound tape reels
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29:18
30:54
32:06
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54452">Accompanied Claver Sonata: A Missing Link in Classic Chamber Music: Lecture-Recital by William S. Newman</a>
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Title
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Accompanied Claver Sonata: A Missing Link in Classic Chamber Music: Lecture-Recital by William S. Newman
Recital Tape 1966-7-14
Subject
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Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of J.C. Bach, Schobert, Burney, Rosetti, Ries.
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Newman, William S.
Publisher
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Binghamton University Libraries
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Bach, Johann Christian, 1735-1782
Schobert, Johann, -1767
Burney, Charles, 1726-1814
Rosetti, Antonio, approximately 1750-1792
State University of New York at Binghamton. Department of Music
Date
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1966-07-14
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sound
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Accompanied Claver Sonata_A Missing Link in Classic Chamber Music_Lecture-Recital by William S. Newman Recital Tape 1966-7-14.pdf
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Harpur. Season 66·67
Summer Series
�PROGRAM
Su nday, Augu s t 7, 1966
8 :15 p . m. College Theater
QUART ET in E FLAT MAJOR, K.171
Adagio, Allegr o assa i
M enuetto
And ant e
Alleg r o assai
W. A.MO ZART
STRING QUARTET No . 2
Lento -
All eg r o Appassionato, all a br eve V ar i ations, Andant e tranqu illo Prest o - Adagi o -
R . SESSIONS
interm ission
QUARTET in F M AJOR, Op. 135
Allegr etto
Vivace
Le nto as sai , cant ante e tr anquillo
De r Schwer gefassl e Entschluss;
Gr ave, ma non troppo tratto, Al leg ro
L. v.BEETHOVE N
A RECEPTION honoring the Qua rtet will be
held in the Faculty Lounge adjacent lo !he
theater following this evening's recital. The
audience is
most
cordially invited
to attend.
�Notes
by William Klenz
ozart ' s quartet in E flat, K .171 bears the date
1773 and was w ritten in Vienna, afterthe l tal1an
visit of that year . In it we pe r ceive the influence
of the taste of the capitol and of the works of
Joseph Haydn whose then "newer" quartets, Op.
17 and 20, opened the dimenslonsof organization
and econom y which mak e t he form the most highl y regarded
musical expression of ou r culture. We see Mozart at eighteen, not yet so sure-handed as he will become, borrowing
and "trying out" what he will later assimilate completel y .
The opening is a formal introduction in the taste of the
"classic" theatre, an intrada or invocation. There follows a
movement which cont ains the recognizable elements of a
sonata move ment, but, as often with Haydn, arranged in an othe r fashion. Here Mozart abandons the dramatic principle
which gover ns so much of his work, and also like Haydn,
becomes the thoroug h and systematic essayist, returning to
his main premise threetimesinordertoround out his argu m ent- structure. T he fugal nature of this main (sustained
tone) idea and incidental use of counterpoint are pa r t of the
"bor rowings" from Haydn, and contribute t o the more sinewy
s t yl e. The reappearance of the ce r e monial in1 r oduction at
the end is most unusual and serves to frame and suppor t the
ir r egular structure it bounds. The Menuetto also shows definite signs of the influence of Haydn's "new" manner in its
use of imitation among the parts, and. al so of Haydn's wit,
in the little three bar solo for the first violin. The Andante
is even mo r e ambitious in this r espec t , eschewing theatrical,
Italian l yricism fo r a rather severe "churchy" manner remin iscent of the styl e of the p r eceding century . T he Finale,
Allegro Assai , however r everts to the I talian, Milanese
manne r and coul d be the last movement of an opera-overture
symphony such as t hose of J.C. Bach or his own K . 16. The
fast terna r y meter and. the uncomplicated material s are its
earmarks.
- One of the most articul ate American co mposers alive
today, Roger Sessions, studied. at Harvard, Yal e, in Paris
and Rome, and. at the Cleveland Institute of Music,
as a pupil
and later the successor of Bloch. He al so taught at Snuth,
Princeton, and the University of California at Berkeley and
has been the recipient of many d ifferent g rants. Acutely
aware of the r esponsibility of the modern composer to his
audience, he has treated this probleminartlcl esand a book.
The Second Quartet, written in 1950, is in hve movements,
played without pause. About this work the compose r writes:
�" In three of the move ments I have adapted to my own purposes so-called standard forms which I have never he ret ofore used i11 what I conside r my mature compositions. The
first move ment may be roughl y described as a double-fugue
. . it g r ew literall y from one phrase to the next and while
I was co mposing it, each happening seemed to me the onl y
possibl e result of what had gone before.• Th e Variations of
the third movement he re fers to as "restrained,"
in that
the y do not depart far from the theme itself, although changing in dynamics , tempo, and rhythm. In the fourth movement ,
Scherzo, he uses the "da capo" form, but explains that the
"da capo• is not complete but m o re concentrate d and at a
different pitch. The second movement he describes as having
two contrasting sections, "one fast and one quieter and more
rhapsodic"; the fast section returns thr ee times enclosing
tw o quite different statements of the sl ow section. The last
movement "is the shortest and least elaborate .. and has
in a sense the charact er of an epilogue.''
• The last of Beethoven's string quartets, Op. 135 in F
m ajor, was c r eated 111 the Summer and F all of 1826. The
first public performance was in March, 1828. The work 1s
short but concent rated. A friend of Beethovenobservedt!1at
he had deliberatel y held down its l ength because the publisher
paid h11n in mere n orms instead of the agreed aristocratic
ducats; "he sends short ducats, he'll get a sho rt quartet"
was the t ypical mock-cynical
r eJoinde r. The form 1s severely cl assica l. A sonata movement Allegrettousing nonth eatri c al materials is followed by a most c harac teristi c
Scherzo, Vivace. The s l ow move ment, Lento assai, cantante
e tranquillo consists of two parallel strophes of Lied form .
The last movement bea rs the superscription, DerSchw er
gefasste Entschluss, (the d1fhcult decision). In the original
parts copied by Beethoven himself, he has inserted beneath
the notes the text Muss es sein? (Must it be?) which we hear
at the beginning, Grave f rom the viola and cello, and the
answe r, Es muss sein!
{It must be!)wh1chthe violins reply,
Allegro.
Two stories, ei ther o r even bo th of which may be
true , are gi ven for theor1ginofthesewords. We have documentary evidence - his com·ersation notebook, 1823, where
his housekeeper wrote, "Today is Saturday and I must have
money. [I must be." This pe r emptory, sybilline
utterance
of the coo k apparentl y amused Beethoven and it may have
become a household joke. In the July book of 1826, a friend,
Holz, writes ". . he laughed and asked,'must 11 be?'" Then
in the Dece1nber book there appear in Beethoven's own hand
the musical fragments which are used in the quartet. Holz
also provides a short catch for four men's voices using the
same material. This appears to have been occasioned by
(Continued on back page)
�State University of New York at Binghamton
HARPUR COLLEGE
The Department of Music presents
THE GUARNERI STRING QUARTET (in residence)
Arno ld Steinh ardt
violin
Jo hn Da lley
violin
RE C ITALS
S UMMER S ERIES
Sunday ,
Sunday,
Sunday,
Sunday,
Sunday,
Sunday ,
July 10
July 24
August 7
August 14
Septembe r 11
Octobe r 9
Michae l Tree
viola
Davi d Sayer
cello
O SE A S O N 1 96 6 -6 7
WI NT ER SERIES
SPRING SERIE S
Sunday, November 6
Sunday, M ar ch 12
T uesday, Decem be r 13
Wednesday, January 4
Wednesday, Janua r y 11
Saturday, Ma r c h 18
Sunday, April 2
Sunday, April 30
Satu rday, May 6
Sunday , Februar y 12
All pe r for mances at 8:1 5 p.m. i n the Har pur College T heater.
Lafe comers wi ll be seated after
the first
quartet.
Ushering cour tesy of Alpha Phi Omega and Gamma Sigma Sigm a.
OPEN REHEARSALS
During the month of August, the Guarne ri Quartet
will be holding o pen r ehearsals according to the fo llowing schedule:
Mondays .
. . . . . . . . . August 15 , 22
Wedne sdays .
. . . . . . . . . . . . . . August 10 , 17 , 24
F ridays .
. . . . . . . . August 12 (at 3:00 p. m .), 19, 26
All re hearsals will be held in the Musi c Rehearsal Room (Classroo m- Admi nis tration
Building- Room 183), and will begin at 11 :00a. m. ,except for the August 12 r e hear s al.
The publi c is cor dially invited to attend. Pe rsons may qui etl y ente r and le ave the
r ehearsal area at anytime .
NOT ES (Continued)
the sam e words E s muss sei11, used byBeethoveninanot her connection (the fi r st per fo rmance of Op. 130), and who was then amused to find himse U as or acula r as his
cook . Beethoven's sense of humor and unvarying abilit y to perceive the large within
the s mall and take fresh strength from eventhetrivial has not failed him even a mong
t he tribulations of his last year. This was , as he knew and said, his last quarte t -"a difficult decision ," which he faces with yet one mo re profession of faith and abunda nt humanity.
Program d esig11 by Will iam Mihalko
�
Dublin Core
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Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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3 sound tape reels
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27:39
24:03
27:42
Streaming Audio
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54467">Summer Series Recital Guarneri Quartet Recital</a>
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Title
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Summer Series Recital Guarneri Quartet, August 7, 1966
Recital Tape 1966-8-7
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Mozart, Sessions, Beethoven.
Creator
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Guarneri Quartet
Publisher
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Binghamton University Libraries
Contributor
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Mozart, Wolfgang Amadeus, 1756-1791
Sessions, Roger
Beethoven, Ludwig van, 1770-1827
State University of New York at Binghamton. Department of Music
Date
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1966-08-07
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In copyright
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sound
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Summer Series Recital Guarneri Quartet Recital Tape 1966-8-7.pdf
-
https://omeka.binghamton.edu/omeka/files/original/0f57e22199fb619c088b7635b59a0c3b.pdf
94dedc272ca5062cfa5ce8b4662d058b
PDF Text
Text
�PROGRAM
SUnday, Oct obe r 9, 1966
8:1 5 p.m. College Theate r
Q UARTET No . 75 i n G MAJOR Op . 76, No . 1
All egro con spirito
Adagio sostenuto
M enuetto. Presto
Allegro ma non t r oppo
J.HAYDN
SIXTH QUARTET
I M es to, Pu i Masso, Vivace
II Mesto, Marcia
III Mesto, Bu rletta
IV M esta
B.BARTOK
intermi s sion
QUARTET i n G MAJOR Op . 18, No . 2
All egr o
Adagio Cantabil e
Sche rzo . Alleg r o
Alleg r o molto quasi Presto
L. v. BEETHOVEN
A RECE PTION honoring
the Quartet will be
held by the residents
of Johnson Hall in the
Lounge of their dormitory immediately following the performance.
The audience is
cordially invited lo attend. Johnson Hall is
situated directly across Center Drive from
the Student Center Building.
�Notes
by William
Klenz
osef Haydn's seventy-fifth quartet is the first
ol the set of six known as Op. 76 written in the
--:
mid 1790's and published in the last year of the
century. They are thus the products of Haydn's
period of transcendent mastery - the decade
which also produced the London symphonies.
The first movement opens with the briefestof fanfares
(three chords) and proceeds at once to the principal, generating theme which is tossed back and forth amongthe single
instruments before being heard in a massive presentation.
From •tus moment on there is a constant development and
intensification of both rhythm and tonal relationships. All
elements of design are extracted from the principal theme
whose apparent naiveté 1s really the cover for an ultimate
in sophistication and "know how.• Even the fresh-seeming,
innocent, wide-eyed tune which finishes off this exposition
1s really not new at all, but a reworking of its elements.
The development begins as a study in simple counterpoint,
gives way to schematic dynanusm . Emerging from this we
encounter a passage of really complex counterpoint winch
gradually simplifies
itself t o prepare for the masterly r eturn
of the 111it1al material and another,
this time definitive,
working-nut of its elements.
The fortll of the Adagio is oft he simp l est strophic order.
A sustained choral-like verse alternates with sections of
beautifully contrived textural writing, writing which certainly
did not go unnoticed by Beethoven.
T he Me 1111, /lo (once the symbol of courtly etiquette and
the long shadow of Louts X IV) 1s not sedate or courtly - 1t
is marked Presto and 1s a caricature o f the ancie 11 régime
The Revolution has taken place - and do we see Citizen
Capet, wig askew, trundling along a rough road in undignified haste 111 his carriage?
T he final movement begins in the minor key and its
materials have, as often with Haydn, a Central European
flavor.
These are subjected to a complex development
marked by subtle am\ remote modulations. These ultimately
re t urn us to the starting point and then to the major key for
a bnlliant ending.
€ The quartets of Béla Bartók have become recognized as
masterpieces lll our time.
It has been observed and with
c onsiderable justice that as a body they are th, o nly worthy
�successors to the quartets of Beethoven. They are based
on the same principle and mode by the same method, that of
integrative organic unity, closeness of derivation and the
stnrtest economy which saturates every detail, every
rhythm, every 111terval - 111 short the method createdbv
!laydn and followed by Mozart and Beethoven. The materials
a re the distinctiv
ve and extremely personal assimilation made
by Bartok of the basic materials of the racial and national
music ol Eastern Europe which he collected so faithfully and
studied with such love and care that it seems to have offered
hLm as a reward a flawless omnipotent language for the
expression of his intransigent originality. This process the forging of a "classical" language from basic materials
1s usually the product of centuries. To Bartok it was granted
to accomplish it in one hfetime. To those who realize the
achievements of Ins life work 1t seems that he deserved it.
The sixth quartet is Bartok's last and was completed in
Budapest late Ill 1939. Its movements are bound together
by a recurring "motto" theme, slow, Mesto, which embodies
the element of lassu,
brooding melancholy and concealed
fire, typical of Hungarian music. In contrasting rapid kinesthetic movements, friss,
the materials become incandescent and propose exhilarating experiences of muscles,
mind and spirit.
€ The quartet, Op. 18 No. 2 bears the nickname, "Compliment Quartet" because of the florid, elegant nature of its
opemng phrases which set thetonefortheenure first movement. However the rnatenal is not empty flattery, but rich
in patterns and motives which receive a searching analysis
and resynthesis lll the course of the movement. Juxtaposition, mutual modification, interaction are 1hr devices which
make the work a reflection of the natural world and the
Force behind it. These are carried out at obvious, overt
levels, and at recondite, arcane depths whence they operate
directly upon the subconscious which senststhe "rightness"
and precision of things for which the
"small-change counting"
consciousnesshas no recognition or epistemological terms.
The quartet is all of a piece. The Adagio has many
thematic and motivic references to the first movement it also contains a surprise, a miniature Sonata Allegro
tucked between
its two broad statements which are themselves a Lied formand its variation. The Scherzo continues
th, atmosphere of elegance and wit while the very Haydnlike finale develops a motive first presented (f) at bar 20
of the firstmovement.
�State University of New York at Binghamton
HARPUR COLLEGE
The Department of Music presents
THE GUARNERI STRING QUARTET (in residence)
Arnold Steinhard t
violin
Michael Tree
viola
John Da lley
violin
RE C ITALS
O
David Sayer
cello
SEASO N 1966-67
SUMMER SERIES
WINTER SERIES
SPRING SERIES
Sunday, July 10
Sunday, July 24
Sunday , November 6
Tuesday , Decembe r 13
Wedne sday, J anuary 4
Wednesday , January 11
Sunday , Mar ch 12
Saturday, March 18
Sunday, August 7
Sunday , August 14
Sunday, September 11
Sunday, Octobe r 9
Sunday, February 12
Sunday , April 2
Sunday , April 30
Satu rday, May 6
All performances at 8:15 p.m. in the Harpur College Theater .
Late comers will be scaled after the first quartet.
Ushering cou rtesy of Alpha Phi Omega and Gamma Sigma Sigma.
OPEN REHEARSALS
The public is co rdially invited to attend the Quartet's
rehearsals, held the day prior to each recital, at 3 p.m. in the music room (C .A.-183)
near the theate r .
Program design
by William Mihalko
�
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
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3 sound tape reels
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
19:44
29:26
22:25
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54664">Summer Series Recitals Guarneri Quartet Recital</a>
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Summer Series Recitals Guarneri Quartet, October 9, 1966
Recital Tape 1966-10-9
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Haydn, Bartók, Beethoven.
Creator
An entity primarily responsible for making the resource
Guarneri Quartet
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Contributor
An entity responsible for making contributions to the resource
Haydn, Joseph, 1732-1809
Bartók, Béla, 1881-1945
Beethoven, Ludwig van, 1770-1827
State University of New York at Binghamton. Department of Music
Date
A point or period of time associated with an event in the lifecycle of the resource
1966-10-9
Rights
Information about rights held in and over the resource
In copyright
Type
The nature or genre of the resource
sound
Identifier
An unambiguous reference to the resource within a given context
Summer Series Recitals Guarneri Quartet Recital Tape 1966-10-9.pdf
-
https://omeka.binghamton.edu/omeka/files/original/a9f65a767a53c48c7fda43977c43c48f.pdf
5756cfb95195de143614c738de59e201
PDF Text
Text
BEETHOVEN IN 1811
After the bust by Klei n
Guarneri String
Quartet
Harpur - Season
66-67
cpf'rnta, ifew;,
�Sunday, Nove mbe r 6, 1966
8 : 15 p .m. College T heater
L. v.BEETHOVE N
QUARTET in E M I NOR, Op. 59 , No . 2
Al l egr o
Motto Adagi o
Alleg r etto
Fi nal e, Pr esto
QUART E T in D M A JOR, Op. 18, No .
A ll eg r o
Andante con moto
All eg r o
P r esto
int ermission
Q UARTE T in E- FLAT M A JOR, Op. 127
M aestoso: All egro
Adagi o m a non troppo e molto
cantabile
Scherzando V ivace
Fi nale
A REC EPTION honoring the Quartet will be
held in the Faculty Lounge adjacent to the
theater following this evening's rec ital . The
audience is most cordially invited lo attend.
�Notes
ET
by William Klenz
he three "Rasoumovsky" qua rt ets of Op. 59 date
from the year 1805-1 806. Count Rasoumovsky was
the Russi an Ambassador to t he Vi ennese cou r t.
Like Pri nce Galitzin, he also was a pract ical
m usic ian-•a good fiddler"--and
maintained his own string
qua r tet under the guidance of Beethoven's f riend t he vio-
li nist, Schuppanzigh.
These wo rk s belong lo the so called "middle
period"
of Beethoven's devel opment . The apprenticeship and mast er 's exa mination are over. T he musica l language changes
fro m t he t hea tr e - (opera) -de ri ved instrume ntal diction of
ea rl y Classi cism to the directl y observed and transcribed
senti ment of ea r l y (possibl y the onl y true) Romanticism .
In t his stylistic change, Beethoven must be regarded as the
l eade r. He manages the transition without losmg the force
of for mal clarity: the tru th of t hi s is shown by the fact
that three of t he four movements are In Sonata form. T he
first, nonethel ess, re fl ects a sensitivit y and febrile quality
which is to be fu r t her expl or ed by Schumann .
The Molto Adagio begins with a chorale- like the me and
p roceeds as a l a r ge expansion of it. T he subscription- "Thls
piece is to be treatedwith the greatest f eeling- ("molto di
sentimento")" al so bear s out the l eani ng toward Romantic i s m. The Allegretto(the onl y move ment not in Sonata form)
is a sche r zo- threef old like t hat of the Ninth Symphony . It
appropri atel y incl udes a Ru ssian tune In its alte r nate section
(M aggiore) - the sa me as used by M oussourgsk y in Boris
Goudonow. The l a.st move ment is an expanded co mbination
Rondo- Sonata in which development takes the place of recurring repe tition.
T he quartet was p r obabl y originally intended as the first
of the six quartets of Opus 18. Schuppanzigh wisely advised
agai nst its publication in this pl ace now illustriously occupied by the eminentl y .suitable Quartet 1n F M ajor.
A mong the ori ginal j udgements, the Allge meineMusikalische Zeitung, August 1801, said: •outstandi ng works". ..
"complete evidence of his art; but they must be played
often and very well since they are difficult to perform and
by no means 'popular.'• The most striking movement of
Opus 18 no. 3 is the finalein which basic rhythn11c materials
of a dance-game are rende r ed incandescent by a headlong
tempo and the lightest, most unconstrained possible movement, an exhilarating, effortless escape from time.
�The Qu artet i n E - Flat , Opus 127 appear s 10 have been
begun {sketches f or t he fir st movement) in ea rl y 1822. In
No vembe r , we hea r of i nquiries by Prince NicholasGalitzin
as to whether Beet hoven would undertake the composition
of two o r three new quartets to be dedi cated ("avec reconnaissance") to him. This se t in motion the effo rts which
l ed to the composition of the quartets Opp . 127, 130, 132.
The work on the earlier materials of Opus 127 p r oceeded
In 1823 after an interruption caused by the Ninth Symphony.
embodies the circu ms tances
The f i gu r e of Price Galitzin
and conditions III whi ch the chamber music of the Cl assic
Viennese Period reac hed Its acknowledged pinnacl e to such
a degree th at it may be useful to exam ine in the sixth decade
o r a se lf-congratulator y centu r y (in which the do-it-yourself
p r incipl e however appears not to go beyond attracti ve pe r iphe r al s). Not s i mply the Maecenas-he was a good 'cellist
and hi s wi fe a good pi anist . Lik e many of Beethoven's patrons, including Archduke Rudo l ph of Hapsburg, they were
able to perform and often did perform in domestic circumstances the works they had commissioned and we r e eminentl y
able to judge directly without cri t ical or journalistic "assistance" of its worth and qual ity.
T he first movement opens with a formal fanfare, a very
compressed version of an invocatio11-1nt r oductlonwhlch also
serves to ma r k off the principal subdi visions of the movem ent - a sonat a for m in which the princ ipal deve lopment
of the materials is reserved for the closing section after
obligations of exposition devel opment and
the "contractual"
recapitu l ation have been tersely but unanswerabl y complied
with.
T he Adagio is highly regarded. It is, lik e many such
move ments, a theme and (five) variations whi ch brings to
mind t he Benedictus of the Missa Solemnis, (compl eted in
the same year), here possibl y in an even mo r e exalted,
because 111ore disembodied, medium. The textural comp l exity of the central va r iations are not merel y "devices•
but bear the stamp of organic growth, evol ution and regeneration-the theme of life itself-which begins, proceeds
from and returns to an elemental state. The analogy to the
world of Nature, (with which we must always be prepared
to deal In Beethoven's work) 1s intens1hed by a generic resemblance to the slow movement of the Pastoral Symphony,
"The Scene by the Brook,• in which the "blessing" of the
worship of the Earth is overtly acknow ledged.
The Scherzo is a kaleidoscopic t r eatment of a variety
of compressed aphorisuc el ements all of which ultimately
derive f rom the satiric, dynamic increment upon Menuet
types whose traditions also dictate t he (alternating) form.
T he Finale again emphasizes the re l ationship to the
(Continued on back page)
�State Unjversity of New York at Binghamton
HARPUR COLLEGE
The Department of Mus ic presents
THE GUARNE RI STRING QUARTET (in residence)
Arnold Stei nha rdt
violin
John Dalley
violin
Michae l T ree
viola
David Soyc r
ce llo
R EC IT ALS Q SEASON 1966 - 6 7
SUMMER SERI ES
WINTER SE RI ES
SPRING SERIES
Sunday,
Sunday,
Sunday,
Sunday,
Sunday,
Sunday ,
Sunday, November 6
Tuesday, December 13
Wedne sday, January 4
Wednesday , January 11
Sunday , February 12
Sunday , Marc h 12
Saturday, March 18
July 10
July 24
August 7
August 14
Septembe r 11
October 9
Sunday , Ap r il 2
Sunday , April 30
Saturday, May 6
All performances at 8:1 5 p.m . in the Harpur College Theater.
Late comers will be seated after the first quartet.
Ushering courtesy of Alpha Phi Omega and Gamma Sigma Sigma.
NOTES (continued)
natural, pastoral wo rl d-always close at hand when Beethoven writes in his be loved
key of E- !lat. The Dionysian principle of transfo r mation is the key to the final
pages; bread and wi ne , leaf and flower and seed are transcended in a new vitality,
s m all in dimension but of infinite im pli cation-t he re turn .
Programdesign by William
Mihalko
�
Dublin Core
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
3 sound tape reels
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
38:21
24:44
37:27
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54669">Winter Series Recital Guarneri Quartet Recital</a>
Accessibility
Copy/Paste below:
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
Winter Series Recital Guarneri Quartet, November 6, 1966
Recital Tape 1966-11-6
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Beethoven.
Creator
An entity primarily responsible for making the resource
Guarneri Quartet
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Contributor
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Beethoven, Ludwig van, 1770-1827
State University of New York at Binghamton. Department of Music
Date
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1966-11-6
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sound
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Winter Series Recital Guarneri Quartet Recital Tape 1966-11-6.pdf
-
https://omeka.binghamton.edu/omeka/files/original/630506ff37bfc059caa765acffd467f4.pdf
d7669006e68591f3cda67925561d8ceb
PDF Text
Text
Tape Cue Sh ee t
Program
the Campus
Music from
11, 1966
December
Date
9:00-9:30 PM
Airtime
Starts
7 1/2
speed
7
size
number 1 of 1
equalize
_
_
C O MPLETE ON T AP E
Cold
on tape
on tape
o n t ape
Attention Eng ineer: _ _ _ _ _ _ _ __
_
to be done live,
AV's
_ __
_
between music
c e r :
tape
n
l eader
Attention A n n o u
MMuHA.
n umber
reel
(at
BEGINS
ENDS:
UA;{
1 of 1
(at marker)
1
.......the Ave Maria.........
Music
marker)
leadertape
segue
h v e ax
number
reel
E NOS:
1 of 1
Cut 2
(at marker)
BEGINS:
(at marker)
leader tape
(at marker)
B E GINS:
E NOS:
timing
Selections from "Aspects o
live ax _ _ _ segue
nus Dei
of A
us Dei
Agn
Benedictions
(at marker)
marker
___ .. ,ue
paper live ax
Producer
E. Zore
engineer
Total timing
rec. date
�
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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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26:41:00
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54681">Music From Campus</a>
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Music From Campus, December 11, 1966
Recital Tape 1966-12-11
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Concerts
Instrumental music
Live sound recordings
Description
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Ave Maria, Benedictus, Agnus Dei. Held Dec. 11, 1966?
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Binghamton University Libraries
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1966-12-11
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Music From Campus Recital Tape 1966-12-11.pdf
-
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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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32:26
19:31
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54684">Harpur College Choir Recital</a>
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Harpur College Choir
Recital Tape 1966-12-11
Subject
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Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Held at Christ Church, Binghamton, NY
Creator
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Harpur College Choir
Publisher
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Binghamton University Libraries
Date
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1966-12-11
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sound
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39091020059097
39091020059147
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https://omeka.binghamton.edu/omeka/files/original/6acdcefd96de033bc2608d118f6d7c1b.pdf
a578831026ab82cca4c1ac04ffbc4ee8
PDF Text
Text
Beethoven nach
(1819)
chim on
Guar
String ne
Quart
Harpur
Season - 66-67
Winter Series
�Tue sd ay, Dece mb e r 13, 1966
8 : 15 p.m. Coll ege The ater
L.v. BEETHOVEN
QUARTET in C MAJOR, Op. 59,
o. 3
Introduzione, Andante con mot o:
Allegr o vivace
Andante co n moto quasi All egr etto
Me nue tto : Gr az ioso
Allegr o Molto
QUARTET in A MAJOR, Op. 18,
o. 5
Allegr o
Me nu etto
Andant e Cant abil e
Allegr o
int e rmissi on
QUARTET in B FLAT, Op . 130
I
II
III
IV
V
VI
Adagi o, ma no n troppo ; All egr o
Pre sto - L'iste ss o te mpo
Anda nt e con mot o, m a non troppo
All a danz a tede s ca. All egro assai
Cavatin a . Adagio molto exp r e ssi vo
Finale; Grand Fugue ( Op. 133)
A RECEPTION honoring the Quar tet will b
held in th e Fa culty L ounge adjacent to the
theater fo ll owing this ev ening 's r ecital . T he
audience is most cordially invited to att end .
�by William Klenz
he third of the three quart ets dedi cated t o Count Rasou m osk y and first perfor med in his home was, l ike the
others, written in 1806 . It was from the first considered
t he m ost acce ssi bl e of the t hree . T he Allgemeine
mus tka l i che
Zeitung of 27 F ebru ar y 1807 repo rts: "Three new ve r y l ong and
difficult Bee thov en qu artets . . . attract the attention of all connois seurs . They ar e profound and spl endidl y m ade, but not generall y
com prehensibl e - w i t h t he exception of the third whi ch, f or its
o r i gmality, m el ody, and harmonic fo r ce cannot fail t o impress
eve r y cultivat ed am ateu r of musi c ."
The opening i s yet another cl assi c i ntroducti on - "invocation"
of a num inous or der which galvanizes the audi t o r ' s attention and
l eads him into the r i tu all y designated t i m e space wher em the subs equent act i on is t o unfol d. Th e first movem ent pr oper is a sonat a
m ove ment of the breadth and i nt ensit y we expect of Be ethoven at
t hi s period . Likewise pres ent, i f not obvi ous, is the cha r act en sh c
fastidiousness and economy . The compl etel y m co nspi cuous initial
as cend m g half step of the Allegro becomes a ubiquitous gener atmg
p rincipl e (bars 40-41 ; 5f; 65ff; 70-74 ; 86 - 87; 90 - 92 ; 104 - 109)(both
endings - et pas i 11,) and fin all y gene r at es an entire chro mati c half st ep - s cale in the coda (bar 259-261).
The Andante is a Lied for m devel ope d into a sonata b y the
p r inciple of devel opm ent and r eturn . T he Menuetto ls at once
" gr aci ous" (Grazioso) and smcere, even mten se . I t is, like the
l ate M ozart quartet minuets , deepened by co nt r apuntal writing beneath the polish the r e li es a co mpl et el y devel oped stru ct ure.
Also, the rh yt hmi c dyna mism transcend s t hat of the simpl y schem ati c dance fo rm .
The l ast movem ent, Allegro molto, is a sonat a f orm 111 whi ch
the m at er ial is initiall y presented in a regul ar and ext ensive fugal
exposition . Like t he Final e of M oz art' s Jupiter Sym phony and
other f ugal final es, this mo ve m ent i s to be tr aced to the bri lli ant
Amen" chor uses of l ate Baroque chur ch music as given
"Alleluia
their final dynami c for ce by t he earl y 18th century eapolit an s .
Thi s is clea r from the natu r e of the subject (conjunct motion) and
t he •squ ar e" counter subje cts (e .g . ba r 210) and confirm ed in the
coda by the appear ance of the typi cal four note motivv e (c .f. "Jupiter") in bar 391 , V .2 .
In t hi s wo r k we see Beethoven carefull y studying hi s pr ede ce ssor s . We know t hat Bee thoven copi ed out the Finale of M ozart' s
Quartet in A Major K . 464, obviousl y fo r stud y and B eethoven' s
qu artet also contains, like Mozar t's, a set of variati ons as i ts
s l ow movem ent. I t is probably the fi nest movement of the qu artet
and is the first of the variation works found i n the quartets - the
va n ah on fo rm 111 whi ch so much of t he weightiest wr i ting of the
l at er quar t ets wil l be cast.
The Quartet in B Fla t , Op. 130 is on e of t he t hre e works under t aken fo r Prince i chol as von Galitzin . The series begins with
�127 in 1823-24, followed by Op. 132 in 1825 and Op. 130 in
1826. (The see ming cont r adiction in order is the result of the
o rd er of publication.) With an unusually l arge nu mb er of movem ents, the work is co mplex, varied and extensive. In the original
version, performed this evening, the work ended with a titanic
fugue.
At the first performance, 1826, the second and fourth movements
had to be repeated whereas t he final fugue, which is of transcendent
difficulty for both player and listener, was felt to be without effect.
F or this, and practical r easons suggested by the publisher (with an
eye to sales!), Beethoven supplied in November, 1826 a new finale
which was his last completed co mposition. The "Grand Fugue"
was published, and is often played, separately as Op. 133 with a
dedication to Ar chduke Rud olph.
The first movement is a sonata form which begins with a s low
introduction before its brilliant principal theme. The movement is
co m plicated by a number of reappearances of the introductory material at crucial moments in the form, e.g. the beginning of th e
development and of the coda . This most unusual procedure may at
first disturb the listener's formal accounting, but in r eality it is a
powerful unifying factor imposing both order and moments of respite-variety upon the somewhat intractable materials of the s onata
proper.
The multipl icity of movements is occasioned by Beethoven's use
of two Sch rzi, one in binary meter, one in ternary meter, movements 11 and IV . The inclusion of the second may have been due to
its pre-existence . Intended originally for the A Minor quartet,
Op. 127, wher e it was to have been in A Major, it is labelled "Alla
danza ledesca" ("like a German dance"). Its popular el ements ar e
we l come in the rarefied, intense atmosphere of the rest of the
work. Another possible reason for its removal to this quartet
where it appea rs in the key of G is that this key permits the us e
of the hurdy - gurdy drone-like "open" D string in the waltz -like
passages of the first violin in the trio .
The third movement, Andante, is, in the classic Viennese traditi on, the r esult of the appli cation of the principles of Sonata
deve lopment and variation to lyri c (rather than theat ri cal) ma
terials. The r esulting ri chness, variety and fantasy of design
e lements and texture are nowhere surpassed even by Beethoven
himself. The Cavatina, V, is as its name implies, a direct l yric
utterance of simple form without extensive development. It is of
t he exalted , sublime exp ressi on accessible only to the greatest
masters .
The Fugu e -finale is according to Beethoven's own superscription "now free, now strict," and resembles no other then existing
work. Its form:
I. Introduction ("Overtura") a stark exposition of its "Euclidian" or perhaps better "Cartesian" kernel-theme, whi ch
incidentall y bears not a little resemblance to the corematerials of both Op. 131 and 132 . Also presented ar e
fragments of a second fugu e theme.
TI. First Fugue (st ri ct , subject in wide, jagged inte rvals ac companied by kerne l-theme) followed by three variations or (free)
Op.
(Continued on back page)
�State University of New York at Binghamton
HARPUR COLLEGE
The Department of Music presents
THE GUARNERI STRING QUARTET (in residence)
Arnold Steinhardt
vio lin
John Dalley
vio lin
Michael Tree
iola
Dav id So er
ce llo
RECITALS O SEASO N 1 966-67
SUMMER SE RIES
Sunday,
Sunday,
Sunday,
Sunday ,
Sunday,
Sunday,
W INTER SERIE S
S PRIN G SERIES
July 10
Sunday, November 6
Sunday , Ma r ch 12
July 24
Tuesday, December 13
Saturday, March 18
August 7
Wednesday, January 4
Sunday, Apr il 2
August 14
Wednesday , January 11
Sunday , April 30
September 11
Sunday, February 12
Sa turday , May 6
October 9
All performances at 8:15 p.m. in the Harpur College Theater.
r_
Late com ers will be s eated after the firs t quarte t .
Ushering courtesy of Alpha Phi Omega a nd Gamma Sigma Sigma .
T he Quartet wi ll hold an open rehearsal tomorrow , Dec. 14th at 12:00 noon
NOTES (continu ed)
deve lopments: a. Triplets; b. Eighths and sixteenths; c . Subj ect (wide intervals modifi ed by triplets).
Ill. Second Fugue (st ri ct, subject fl owing sixteenths with kerne l-the me) fo llowed by the
va ri ations or (f r ee) de velopments: a. Al leg r o, ff, kernel-the me; b. Ke rnel-the me
augmented and subject inve rt ed; c . Subject diminished, mod ulation.
IV . Threefold development of the tw o fugues, r e minis cences and development of preceding
sections.
V. 1. Repetition of first vari ation of the se cond fugu e.
2. Furthe r development of second fugue.
VI. Coda
1. Kernel-the me ff, massi ve, unison.
2. Subject of second fugue, (transformation by trills) .
3. Recapitul ation of first subject (wide inte r vals v . 1} with ke rn el -the me in aug me nta ti on (v. 2, 'cello) and cha r acte risti c rh ythm (in vi ola) .
4. Brilliant, r esonant statement of simple st ele me nts of the subje ct.
A tow ering edifi ce indeed, nor is its access easy, or gained at the first attempt!
Program design by William Mihalko
Copyright 1966.
by William
Klenz
�
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Coverage
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1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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22:46
33:47
23:29
30:38
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54688">Winter Series Recital Guarneri Quartet Recital</a>
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Winter Series Recital Guarneri Quartet, December 13, 1966
Recital Tape 1966-12-13
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Beethoven.
Creator
An entity primarily responsible for making the resource
Guarneri Quartet
Publisher
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Binghamton University Libraries
Contributor
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Beethoven, Ludwig van, 1770-1827
State University of New York at Binghamton. Department of Music
Date
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1966-12-13
Rights
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In copyright
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sound
Identifier
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Winter Series Recital Guarneri Quartet Recital Tape 1966-12-13.pdf
-
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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42:01
22:20
15:21
27:50
31:15
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54674">Christmas Concert Harpur College Choir Rectial</a>
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Title
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Christmas Concert Harpur College Choir
Recital Tape 1966-12-4
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works by Antonio Vivaldi, Andrea Gabrieli, David L. Buttolph, Randall Thompson, Richard Kountz, Johann Sebastian Bach, Alan Hovhaness. Held Dec. 4, 1966, Harpur College Theater.
Creator
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Harpur College Choir
Publisher
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Binghamton University Libraries
Date
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1966-12-4
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In copyright
Type
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sound
Identifier
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39091020058990
39091020059048
39091019619679
39091019619729
39091019619778
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https://omeka.binghamton.edu/omeka/files/original/752105b27beb9693ae54e2e1c1ec9743.pdf
eb045dc353a05ff4d936b37b7512ce3b
PDF Text
Text
state university of new york at binghamton
harpur college
y
0
u
convocations
committee
presents
N
G
A
R
T
1
s
rec ital
students from the piano master class
T
s
E
R
I
E
s
july 17, 1966
8:15 p.m.
college theater
�State University of New York at Binghamton
HARPUR COLLEGE
CONVOCATIONS COMMITTEE presents:
YOUNG ARTISTS SERIES
program two
RECITAL
by students from the
Piano Master Class
Sunday, July 17, 1966
8:15 p.m .
College Theater
A RECE PTION honoring th e pe rfo rmers w ill be he ld in the
Faculty Lounge adjacent to the theater immediate ly fo llow in g
th e recital. The audience is cordially in v ited to attend.
THIS ·EVENING'S ARTISTS are advanced students who are members this summer of the Piano Master Class being held by Harpur Faculty Member , Jean Casadesus .
�PROGRAM
TOCC ATA IN C MINOR
Bach
Ellen Leinwand
SONATA IN B FLAT MINOR , Op. 35
Chopin
Grave - Do pp io Mov im ento
Sche rz o
Marche Funebre - L ento
Fin ale - Presto
Arlene Portney
- IN T E RMISS ION -
Beethoven
SON AT A, Op , 109
V ivace, ma non troppo
Pres ti ss imo
Andante mo lt o cantabile
Ariane Josef
Debussy
PR E LUDE S
Dan se us es de De lp he s
Vo iles
Le Ve nt dan s la plaine
L es sons et !es par/ums ...
L es co/lines d' Ana capri
De s pas sur la n eige
Dans e de Pu ck
Ce q'ua vu le vent d'Ouest
Anita Carlton
�EVENTS CALENDAR
All programs are at 8:15 P.M. in the College Theater unless
otherwise indicated.
JULY 22
Friday
Admission
Free
JULY 24
Sunday
Admission
Fee
RLMS:
"POTEMKIN" (Odessa Steps Sequence)
"ALEXANDER NEVSKY"
"Potemkin recreates the spirit of the 1905 revolution through the depiction of one of its incidents, utilizing new techniques of manipulation of
film materials to communicate physical sensation.
"Alexander Nevsky,"
an epic film monument ,
deals with the invasion of Russia by the powerful
Order of Teutonic Knights, as crusaders, and the
decisive battle of the Ice where Nevsky won a
brilliant victory. The famous musical score for
the film by Sergei Prokofief has won international
acclaim as the "Alexander Nevsky Cantata."
Sponsored by the Convocations Committee.
THE GUARNERI STRING QUARTET
Sponsored by the Department of Music. Series
and individual recital tickets available at the college Box Office.
�
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
3 sound tape reels
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
26:20
20:53
32:35
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54457">Recital By Students From the Piano Master Class</a>
Accessibility
Copy/Paste below:
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Recital By Students From the Piano Master Class
Recital Tape 1966-7-17
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Performances by students Ellen Leinwand, Arlene Portney, Ariane Josef and Anita Carlton. Works by Bach, Chopin, Beethoven, Debussy. Held at 8:15 pm, July 17, 1966, Harpur College Theater.
Creator
An entity primarily responsible for making the resource
Leinwand, Ellen
Portney, Arlene
Josef, Ariane
Carlton, Anita
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Contributor
An entity responsible for making contributions to the resource
Bach, Johann Christian, 1735-1782
Chopin, Frédéric, 1810-1849
Beethoven, Ludwig van, 1770-1827
Debussy, Claude, 1862-1918
Date
A point or period of time associated with an event in the lifecycle of the resource
1966-7-17
Rights
Information about rights held in and over the resource
In copyright
Type
The nature or genre of the resource
sound
Identifier
An unambiguous reference to the resource within a given context
Recital By Students From the Piano Master Class Recital Tape 1966-7-17.pdf