43 10 1775 https://omeka.binghamton.edu/omeka/files/original/89f73d8dd9b2ef21eed53eeda809c94b.pdf a90d81bc6398097c3937fb9d0538e9b9 PDF Text Text ST ATE UNIVERSITY OF NEW YORK AT BINGHAMTON HARPUR COLLEGE THE DEPARTMENT OF MUSIC with the support of the New York State Council on the Arts presents THE NEW YORK WOODWIND QUINTET in residence David Glazer, clarinet Samuel Baroi;i, flute Arthur Weisberg, bassoon Ronald Roseman, oboe Ralph Froelich, French horn Sunday, February 9, 1969, 8:15 p.m. The College Theater �PROGRAM Quintet in E Minor, Op. 67, No. 2 Franz Danzi Allegro Vivo Larghetto Menuetto, Allegretto Finale, Allegretto Richard Rodney Bennett Wind Quintet 1967-1968 Notturno 1 Molto Vivace Notturno 2 Variations Intermission Variations in Bb Major, Op. 82, No. 2 Franz Schubert Arranged by David Goldstein Concerto for Wind Quintet William Bergsma Allegro Andante Allegro Assai Ushering courtesy of Alpha Phi Omega and Gamma Sigma Sigma A RECEPTION honoring the members of the New York Woodwind Quintet will be held in the Green Room Lounge immediately following the concert. The audience is cordially invited to attend and to meet the performers. �PROGRAM NOTES QUINTET IN E MINOR, OP. 67, NO. 2 - Franz Danzi Danzi, a member of the third generation of Mannheim composers was one of the first to write for solo clarinet. His interest in wind instruments culminated in compositio ns for woodwind ensemble, incorporat ing a new style in ensemble technique. This quintet . is one of nine wind quintets written by Franz Danzi. It shows an unusual understand ing of the possibiliti es of the instrumen ts and has an interesting classic style with a slight tinge of early romanticis m. It is worthwhile noting that Danzi was a teacher of Carl Maria van Weber. WIND QUINTET - Richard Rodney Bennett Richard Rodney Bennett is a young British composer, whose works are being heard more and more here in the United States. His Wind Quintet was completed early in 1968, and was commissio ned by the Serge Koussevits ky Foundation . It received its world premiere at the Library of Congress in Washingto n, D.C., only last week, by the New York Woodwind Quintet. Mr. Bennett's Quintet is written using twelve tone serial technique, and it displays very colorful textures and effects. VARIATIONS IN Bb MAJOR, OP . 82, NO. 2 - Franz Schubert Franz Schubert is perhaps more widely celebrated as the composer of some of the finest art songs ever written. He did, however, in addition to his Lieder, produce a large output of piano literature including twenty-two sonatas (of which the famous Wanderer Sonata is the most frequently played), and a multitude of short piano pieces for two and four hands. It is from this last group that Mr. Goldstein has selected and transcribe d the Variations , which was originally written as a piano duet. CONCERT O FOR WIND QUINTET - William Bergsma William Bergsma is a professor of compositio n at the Juilliard School of Music. His Concerto was commissio ned by the .Elizabeth Sprague Coolidge Foundation and was premiered bytheNew York Woodwind Quintet at the Library of Congress in 1959. The first movement of this Quintet is an excellent example of the very rhythmic, sonorous, and lyric type of writing which gained somewhat "popular usage" of many composers during the 1940's and 50's. What makes Mr. Bergsma's approach to this kind of writing for woodwind quintet superior, however, is a control of genuinely classical proportionme nt of structural melodic content. The arrangeme nt of thematic material almost mirrors that of first movement sonata form, although �the specific melodic vocabulary used is of a modal counterpoint derivation. Particular characteristics which are apparent upon first hearing in this movement are the unison and octave doublings of fleeting melodic lines that occur between flute, clarinet and bassoon, and the obvious recurrence of returning to materials found in the introduction and the first section of the movement. The second movement brings us the most lyric quality of Mr. Bergsma's composition. A lovely melody derived from the first four tones taken from the introduction of the first movement is played by the clarinet, accompanied by a counter melody played by the flute, both of which are superimposed over an ostinato figure played by the horn and bassoon. A contrasting section which is partly polytonal is introduced, containing basically the same motivic materials, but with more rhythmic activity combined with more dissonant sonorities. A quiet and literal return to the first section is smoothly initiated, reestablishing a joyously beautiful tranquility. The last movement exemplifies the implications of the title in that the term "concerto" is finally put into application. Four repetitions of a dissonant chord introduces independently each of the five instruments, starting with horn, and working up to bassoon, clarinet, oboe, and finally flute. An alternation of phrasing and articulation subtleties of each solo line heightens interest, along with a use of triadic materials reminiscent of the early styles of Aaron Copland and Roy Haris, brings the composition to a driving and forceful close. FUTURE EVENTS SUNDAY, FEBRUARY 16, 8:15 p.m. The College Theater, Admission Fee THE GUARNERI QUARTET Spring Chamber Music Series SUNDAY, FEBRUARY 23, 2:30 p.m. Recital Hall, No Charge MARIA CISYK Pianist SUNDAY, MARCH 2, 4:30 p.m. The College Theater, No Charge S.U.N.Y. AT BUFFALO ORCHESTRA Alida Stahl, Soloist � 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. 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. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 37:39 29:33 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59279">New York Woodwind Quintet 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 New York Woodwind Quintet Recital, 9 February, 1969 Description An account of the resource Held at 8:15 pm, February 9, 1969, Harpur College Theater. Works of Danzi, Bennett, Schubert, Bergsma. Creator An entity primarily responsible for making the resource New York Woodwind Quintet Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1969-02-09 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Danzi, Franz, 1763-1826 Schubert, Franz, 1797-1828 Bergsma, William, 1921-1994 Bennett, Richard Rodney State University of New York at Binghamton. Department of Music. Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020095695 39091020095745 https://omeka.binghamton.edu/omeka/files/original/91b6430d5717f8909ce6b95815807056.pdf e8a13c9b131131be21dee898be4ea870 PDF Text Text STATE U NIVERSITY OF NEW YORK A T BINGH AMTON HARPUR COLLEGE THE DEPARTMENT OF MUSIC THE GUARNERI STRING QUARTET in residence A rnold Steinha rdt, violin John Dalley, violin February 16, 1969 Michael Tree , viola David Soyer, cello 8 :15 p.m. The College Theater PROGRAM Quartet in F Ma jor, K 590 W. A . Mozart Allegro moderato Allegretto Menuetto Allegro Quartet, Op. 22 Paul Hindem ith Fugato Schnelle Achtel Ruhige Viertel Maessig schnelle Viertel Rondo Intermission Quartet in A Ma jor, Op. 41, N o. 3 Andante espr essivo allegro molto, moderato Assai agitato Adagio molto Finale allegro molto vivace Robert Schumann A RECEPTION honoring the members of the Guarneri String Quartet will be held in the Green Room Lounge immediate ly f ollowing the con cert. The audience is cordially invited to attend and to meet the per f ormers. Ushering cou rtesy of Alpha Phi Omega and Gamma Sigma Sigma. F UTURE EVENTS SUNDAY, F E BRUARY 23, 2 :30 p.m. Recital Hall, No Charge MARIE CISYK Pianist SUNDAY, MARCH 9, 8:15 p.m. The College Theater, No Charge THE HARPUR COLLEGE WIND ENSEMBLE Albert Hamme, Conductor � 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. 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. 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.) 31:42 25:58 31:38 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59276">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 Guarneri Quartet Recital, February 16, 1969 Description An account of the resource Held at 8:15 pm, February 16, 1969, College Theater. Works of Mozart, Hindemith, Schumann. Creator An entity primarily responsible for making the resource Guarneri Quartet Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1969-02-16 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Mozart, Wolfgang Amadeus, 1756-1791 Hindemith, Paul, 1895-1963 Schumann, Robert, 1810-1856 State University of New York at Binghamton. Department of Music. Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020095596 39091020095646 39091020095430 https://omeka.binghamton.edu/omeka/files/original/23e7562aa0a1ebaea8d8f3d6aff09dcd.pdf d4c117c4081c37ccb4aa759f68f8958a PDF Text Text STATE UNIVERSITY OF N E W YOR K AT BIN GHAMTON HARPUR COLLEGE TH E DEPA RTMEN T OF MUSIC MARIA CISYK, Pianist February 23, 1969 2 :30 p.m. Recital Hall PR OGR A M Toccata in E Minor Moderato Un poco allegro Adagio Allegro J. S. Bach Capriccio. Op. 76, No. 2 Intermezzo, Op. 117, No. 2 Intermezzo, Op. 11 9, No. 3 Brahms Ballade in F Minor Chopin Intermiss ion “Au bord d ’une sourc e ” Liszt Suite, Op. 14 Allegretto Bartok Scherzo Allegro Molto Sostenuto E tude pour les Arpeges composés Etude pou r les “cinq doigts ” Debussy FUTURE EVENTS SUNDAY, MARCH 9, 8:15 p.m. The College Theater, No Charge THE HARPUR COLLEGE WIND ENSE MBLE Albert Hamme, Conductor SUNDAY, MARCH 16, 8 :15 p. m. Recital Hall, No Charge ST UDENT COMPOSERS CONCERT Students of Karl Korte PLEASE NOTE : The New York Woodwind Quintet concert sc heduled for April 7, has bee n rescheduled for APR IL 8, 8 :15 p.m., i n The Col lege Theater. � 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. 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. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 28:34 00:38 28:07 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59268 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59268"> Maria Cisyk 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 Maria Cisyk Recital, February 23, 1969 Description An account of the resource Held at 2:30 pm, February 23, 1969, Recital Hall. Works of Bach, Brahms, Chopin, Liszt, Bartók, Debussy. Creator An entity primarily responsible for making the resource Cisyk, Maria Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1969-02-23 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Bach, Johann Sebastian, 1685-1750 Brahms, Johannes, 1833-1897 Chopin, Frédéric, 1810-1849 Bartók, Béla, 1881-1945 Debussy, Claude, 1862-1918 Liszt, Franz, 1811-1886 State University of New York at Binghamton. Department of Music. Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020095794 39091020095588 https://omeka.binghamton.edu/omeka/files/original/99527aa52b9378e4325db3743f0965e4.pdf 6c6ce2f6a6c97fa42f93b855adb276e7 PDF Text Text N TO M A H G IN B AT K R YO W NE F O TY SI ST AT E UN IV ER HARPUR COLLEGE T H E D EP AR TM ENT O F M USIC E L B M SE N E D IN W E EG L L O C ’R PI R T H E H A Al be rt Ha mm e, Co nd uc tor Su nda y, Ma rc h 9, 1 96 9, 8 :15 p. m. Ha rpur Coll ege T he ate r �PROGRAM lmpro mptus for Six Woodwinds P restissimo Adagio Andante Vaclav Nelh ybel ite Gothic Su Leon Boellman Chorale Priere a NotreDame Toccata Presto Harpur Clarinet Choir Allegro Dale Kleps, Clarinet Marsha Kadleck, Piccolo Caroline Glaiber, Flute Geoﬀrey Barron, Oboe Linda Crane, Bassoon Choric Quintet (1963) John Chapman, Cla rinet Bewegte Vie rtel Schnell Hans Ulrich Staeps Collegium M usicum — Wi lburn Newcomb, directo r Trio for Brass Leggiero Andante Interm ission Vaclav Nelh ybel Band Three Pieces for Partial sonata for Brass Allegro Andante Rondo Jerry ll. Bi lik Contrasts f or Percussion Overture for Woodwinds Them e and Varia tions Tom Sigler, Trum pet Grant Sullivan, Trombone Bettsie Par k, Ma tthew Goldstein, F rench horn Quartet for Saxophones Poco Adagio Largo Vivace Minuetto Divertimento for Alto Saxophone Soloist: Robert Pomlﬂ Bass Tim Craig, Drums John Chapman, P iano Lynn Blanton, Robert Linn George Panuthos, Tenor Sue Eilenberg, Soprano Charl es Ste inman, Baritone Martha Schad, Alto Sonata A Quattro Jack L . Martin George Washington Bridge William Schuman Johann Wilhelm H ertel Stuart Reev e, Ma tthew Goldstein, F rench horns Louise Belsky, Douglas Epstein, Bassoons ga and Gamma Sigma Sigma. Ushering courtesy of Alpha Phi Ome �PR OGRAM NOTES Tonight ’s program inc ludes wind and pe rcussion literatu re w ritten for small as well as la rge ensembles. Tw o of the selections a re tran sc riptions. Gothic Suite was or iginally wr itten to be played by or ga n, piano quartet or cello ensemble and has been transcribed for cl ar ine t choir by Dale O. Casteel. Jack Martin’s jazzstyled compositi on for alto saxophone and orchestra was transc ribed for band shortl y a fte r i t was p re miered by the Bi ngha mton Symphony in 196 5. Contemporar y Chambe r Music for wind instruments is repres en ted by two com posit ions of Vac lav N elh ybel, Im prom ptus for Six Wo odwinds and Trio fo r Bras s, together wi th Quartet fo r Saxo ph on es by Robe rt Li nn and Charts Quintet by Hans Ul rich Staeps. The latter presents contemporar y music written for wind inst ruments of the antique va riety. Mr. Staeps, one of the leading composers of recorder music, w rites lyrical melodies, harmonized in the tertial idiom. The quartet for two horns and two bassoons was w ritten in and was designed to be played at banquets in the court of Schwerin 17 54 . Th ree Pi ec es for Par tia l Band is designedto demonst rate the te and tonal capacities of the three instrumental families that a re cochnic al mbined to produce the organization that is commonly refer red to as t he Wind Ensemble. Of the three pieces, the Ove rtu re f or Woodwinds is t int riguing. The thematic material f or this work is derived f rohe most m three distinct motives that are presented one at a time in the ear ly sections of this composition. However, what creates the int rigue me ntioned ea rlier is the wa y Mr. Bi lik has used the woodwind fami ly. No t o nly does this family have its own soprano, alto, tenor and bass vo ices, but each subdivision (with the exception of ﬂutes in this particular cas e) has the same quality. Bi lik has taken advantage of this situatio n in the early development of his composition, and has purposely avoid ed th is sa me si tuation i n the later stages . The ﬁnal e for this conce rt is an Impression f or Band that was co m missioned by the Michigan School Band and Orc hest ra Associa tion c irca 1950. This work is an outstanding landmar kof w ind ensemble literature i es a c ha lle nge to t he pe rfo r me rs by co mb ini ng lytonal sec and provid po! tio ns with exposed rh yth mical “tutti” se ctions. M r. Sc huma n has des cr ibed George Wash ington B ridge in the fo llowi ng manne r : “T he re ar e f ew da ys in the yea r w hen I do not see G eo rge W as h ington Br idge. I pass it on my way to wor k a s I dr ive al on g t he Henr y H udson P ar kway on New Yor ksho re. Ever si nce m y s tud ent da ys w hen I watc hed the prog ress of its construction, t his br idge ha s had fo r me an a lmost h uman pe rsonal ity. and t his pe rson ali ty is astonishing ly va ried, assuming diﬀ er ent moods depe nding on the tim e of da y or night, the wea the r, traﬀi c, and my own m ood as I pass b y. “l ha ve walked ac ross it late at night when it was shroud ed in fog and du ring the br ill iant sunshine hours of midday. [ ha v e dr ive n over it countless tim es and passed unde r it on bo ats . Coming to New York City by air, sometimes 1 have been luck enough to ﬂy right over it. It is diﬀicult to imagine a No y re gracious welcome or dramatic entry to the great m et ropolis . WI ND ENSE M BL E PE RSON NE L PI CC OLO Kadleck, Mar sha FL UT E Kadleck, Marsha Merle y, Bruce Glai be r, Ca roline Ki lthau, Bar ba ra Ce rr ino, Carol Forman, Nanci Fi nkelstei n, La ura Taft. Claudia OBOE5 Barron, Geoﬀrey Krauss, F rancis Anke r, Stephen ENGLISH HO RN Ba tton, Geoﬀre y BASSOON Louise a m i l y Epste in, Douglas CL A RI NE T Keap lpsma , Dn, aleJohn Ch Schab, Jean Ma rcus, David Birenbaum, Daniel Sophrin, D iane Joﬀee, Monte Bier man, Joseph Pu rnhage n, Ja nice Ludovico, Clai re Freedman, Joseph Eb CLA RINET Birenbaum, Daniel AL TO CL ARIN ET Limbache r, Ronda Coots, J ulia BASS CL ARIN ET Da ino, Ralph Pe rnick . Ralph CONT RA A LT O CL ARIN ET Gregor y, Susa n �ALTO SA XOPHONE Eilenberger, Sue Schad, Martha BARITONE Goldenberg, Harry TROMBONES Baldon, John Demilio, Tom Sullivan, G rant TENOR SA XOPHONE Panuthos, George BARITONE SA XOPHONE Steinman, Char les TUBA Prensky, Steve Wilson, Robert CORNETS Williams, John Sigler, Tom Coye, Judy STRING BASS Blanton, Lynn TRUMPETS King, Jean Senft, Jack PERCUSSION Craig, G. Tim Mirsky, Robert Block, Richard Compton, Rick FRENCH HORN Salkin, Philip Reeve, Stuart Park, Bettsie Edleson, Rosalind Goldstein, Matthew Cepero, Max Kroll, Marvin Clark, Bill LeBous, Ferris COL L EGIU M MUSICUM P ERSONN E L Joseph Reale, Soprano Recorder Barbara Hull, A lto Recorder Susan Cooper, A lto Recorder Donald Robbins, Tenor Recorder Wilburn Newcomb, Bass Recorder FUTURE EVENTS SUNDAY, MARCH 16, 8:15 p.m. Recital Hall, No Charge STUDENT COMPOSERS CONCERT Students of Karl Korte WEDNESDAY, MARCH 26, 8:15 p.m. The College Theater, Admission Charge THE GUARNERl STRING QUARTET Spring Chamber Music Series TUESDAY, APRIL 8, 8:15 p.m. The College Theater, Admission Charge NEW YORK WOODWIND QUINTET Spring Chamber Music Series PLEASE NOTE: The New York Woodwind Quintet concert scheduled for April 7, has been rescheduled for APRIL 8, 8:15 p.m., in The Col lege Theater. � 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. 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. 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.) 30:53 23:56 36:30 OHMS Object URL Harpur College Wind Ensemble Recital <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59214">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59214</a> Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59214"> Harpur College Wind Ensemble 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>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single 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 Harpur College Wind Ensemble Recital, March 9, 1969 Description An account of the resource Held at 8:15 pm, March 9, 1969, Harpur College Theater. Works of Nelhybel, Staeps, Linn, Hertel, Boellman, Bilik. Creator An entity primarily responsible for making the resource Harpur College Wind Ensemble Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1969-03-09 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Nelhybel, Vaclav Staeps, Hans Ulrich, 1909-1988 Hertel, Johann Wilhelm, 1727-1789 Boëllmann, Léon, 1862-1897 Bilik, Jerry H. Linn, Robert State University of New York at Binghamton. Department of Music. Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020095638 39091020095893 39091020095943 https://omeka.binghamton.edu/omeka/files/original/095d260eaae2358945d380c2958112b3.pdf 0e6fc776c49931cb72f89376b72568c1 PDF Text Text STATE UNIVERSITY OF N E W YORK AT BING HAMTON HARPUR COLLEGE TH E DEPARTMENT OF MUSIC PRESENTS COMPOSER’S CONCERT ST UDENTS OF KA R L KORTE Sunday, March 16, 8:15 p. m. Recital Hall P ROGRA M Introduction for Piano (1968) Pe rfor med by the com pose r Opus 1 7 /8 (1968) ChaiK you Kim Monte Joﬀee Monte Joﬀee Clarinet Dale Kleps The Dark Hills (1966) Terry Howell, Tenor Donna Hallen, Piano P relude for Piano (1967) Barbara Garges, Piano Loren Broc Christian G ranger Every Day I Will P raise Thee, (Psalm 145) (1968) Soprano Ca rol yn Kimble Hill Al ida Stahl Alto Phylis Costanzo Elizabeth Lee Barry Liesch Tenor Greg Mathews Bar ry Liesch Bass James Dunn Terry Howell Barbara Garges, Piano Dust (1964) Nancy Carlson, Mezzo Soprano Donna Hallen, Piano T rio f or Recorders ~ (1968) Alto, Tenor Recorder, Susan Cooper Alto Recorder, Barbara Hull Bass Recorder, Wilburn Newcomb G reg Mathews James Dunn � 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. 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. 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 1 sound tape reel Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 35:24:00 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59208 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59208">Composer's Concert</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 Composer's Concert, March 16, 1969 Description An account of the resource Held at 8:15 pm, March 16, 1969, Recital Hall. Student composers: Chai-Kyou Kim, Monte Joffee, Loren Broc, Christian Granger, Greg Mathews, James Dunn. Creator An entity primarily responsible for making the resource Students of Karl Korte Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1969-03-16 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Kim, Chai-Kyou Joffee, Monte Broc, Loren Granger, Christian Mathews, Greg Dunn, James State University of New York at Binghamton. Department of Music. Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 3.9091E+13 https://omeka.binghamton.edu/omeka/files/original/8e102b659a1d478b075bd8c3e6f8cbd8.pdf 5c2759a4066337ff8636d264d11a22e5 PDF Text Text STAT E UN IV ERSIT Y OF N EW YORK AT BING HA MTON HARPUR COLLEGE TH E D EP AR TM ENT O F M USIC with the sup lmr l o f the New Yor k S tate (fo und ! on the .lr ts presen ts THE NEW YORK WOODWIND QUINTET in resid ence Sam uel Baron, ﬂut e Ronald Rosem an, oboe Dav id G laze r, clarinet A rthu r W eis berg, ba ssoon Ral ph F roe lich , Fr ench ho rn Tuesda y, A pril 8, 196 9, 8 :1 5 p. m. The Do n A . W atte rs T hea te r �PROGRAM NOTES PR OGRA M INTRODUCTION AND ALLEGRO IN D MIN OR – Anton Reicha Introduction and Allergro in D minor Quintet (1951) Anton Reicha Robert Palmer Lento expressivo Allegro giocoso Andante con molto Allegro molto vivace Who was the ﬁrst composer to write music for the Woodwind Qui ntet? P robably G. Cambini in the last few years of the 18th Century. But in the minds of most woodwind players Anton Reicha is the father of the Woodwind Quintet, for he not only wrote quintets (24 in all) , but he pop ularized the medium and propagandized for it. Reicha began his wor k with Woodwind Quintets in Paris in 1815. He had the foresighttosu r round himself with a ﬁrstrate group of players who not only had the skill to play his diﬀicult music (diﬀicult for the state of development of the wood wind instruments of 1815) but also the desire to rehearse suﬀiciently to create a new type of chamber music ensemble. Reicha subsequently became a professor of harmoney, counterpoint and composition at the Paris Conservatory. Among his students were Hector Berlioz and Charles Gounod. QUINTET (1951) – Robert Palmer Out of a wideranging interest in all music Robert Palmer has fashioned a unique style. Renaissance polyphony and American jazz have inﬂuenced Intermission his preferred textures and rhythms. He has kept his early commitment London Trio in C ma jor, No. 1 Joseph Haydn for ﬂute, oboe and bassoon Allegro moderate Andante to tonality as a basic organizing formal principle and within this framework has evolved a harmonic language which is both sensitive and sinewy. Those who know his music will immediately think of its energetic rhythms, but it is the balance between these rhythms and the lyricism of the melody and harmony which has created an enduring place for his music in the rep eratory of our time. Robert Palmer is am embe r of the music faculty at Cornell University. He has recently returned from a sabbatical leave in Italy where he began composing a new piano concerto and a work commissioned by the Cornell Finale: Vivace Wind Ensemble. Permutazioni a Cinque (1958) Matyas Seiber Quintette en forme de Choros Heitor VillaLobos Ushering courtesy of Alpha Phi Omega and Gamma Sigma Sigma LONDON TRIO IN C M AJOR, NO. 1 — Joseph Haydn Written in London in 1794, the Trio in C was composed for the Earl of Abingdon. Since the original manuscript is lost, it is impossible to ascertain whether Haydn assembled the collected volume of three Trios (the other two are in G), or whether they were colated afterwards at their ﬁrst printing in 1805. Originally scored for two ﬂutes (or two violins) and ’cello, the members of the quintet will play the Trio as a woodwind grouping consisting of ﬂute, oboe and bassoon. The Trio’s essence is one of Haydnesque humor, beautiful ﬂowing melody, with the grace, charm, and elegance so inserperable, so inherent in the vast output of Haydn’s chamber music. �PERMUTAZION I A CINQUE (1958) – Matyas Selber A native of Hungry, Matyas Seiber did most of his composing in England. He was the composer and teacher most prominent in bringing and pro liferating twelve tone music in England up until his death in 196 1. Per mutazioni a Cinque is a serial work, consisting of manipulations (pe r mutations) of the basic set material to form short and vivid contrasting sections, complex textural relationships, and a brilliant display of the woodwind colors. QUINTETTE EN FORME DE CHOROS – VillaLobos Probably the foremost composer of Latin America, Villa –Lobos was a ﬁgure of international reputation. He was an incredibly proliﬁc composer (a complete list of works encompasses over 2,000 items) who absorbed the folk idiom of his native Brazil, as well as quanit ies of impressionistic tendencies during his stay in Paris, when this piece was w ritten in 1928. A favorite form which was of his invention, the Choros, was perhaps his major contribution to twentieth century music. Of his 14 essays in this form, there are various sizes and instrumentalvocal combinations. The Quintette is very characteristic of what VillaLobos deﬁnes as “a new form of musical composition in which a synthesis is made of diﬀe rent types of Brazilian music, Indian and popular, reﬂ ecting in its fundamental elements the rh ythm and characteristic melodies of the people” . URE EV ENTS F UT WEDNESDAY, APRIL 9, 7:30 p.m. NEW YORK WOODme QUINTET Hughes Hall, Admission f ree Open Rehearsal THURSDAY, APRIL 10. 8:15 Social Room, Student Center, Admission f ree WISCONSIN CHAMBER SINGERS Donald Neuen, Director SUNDAY, APRIL 13, 8:15 The Don A . Watters Theater, Admission f ree THE COLLEGE CHOIR David Buttoph, Conductor � 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. 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. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 30:56 25:46 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59192">New York Woodwind Quintet 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>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single 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 New York Woodwind Quintet Recital, April 8, 1969 Description An account of the resource Held at 8:15 pm, April 8, 1969. Works of Reicha, Haydn, Seiber, Villa-Lobos. Creator An entity primarily responsible for making the resource New York Woodwind Quintet Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1969-04-08 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Reicha, Anton, 1770-1836 Haydn, Joseph, 1732-1809 Seiber, Mátyás, 1905-1960 Villa-Lobos, Heitor State University of New York at Binghamton. Department of Music. Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020095935 39091020095984 https://omeka.binghamton.edu/omeka/files/original/7d6bb6ed9d812ec70baed7ce57cb73ef.pdf 0e1ba7a46172d6e8a3953f7f0c02fc25 PDF Text Text STAT E UNI VERSITY OF NEW YORK AT BINGHA MTON HARP UR COLLEG E T H E DEP ARTM ENT O F MUSIC T H E HA RPU R C HORALE & O RC H EST RA MEN ’S GLEE CLUB WOM EN’S CHORUS Sunda y, A pril 13, 1969, 8 :15 p. m. T he Don A . W atte rs T hea te r �PR OGRA M UNE CANTA T E DE NOEL PR OGRA M NOTES A rthur Honegger Donald Miller, Baritone Solo Treble Choi r Harpur Chorale and Orchestra A rthur Honegger composed the Cantata de Noel during the tall and winter of 1953 while recuperating f rom an illness. The work was commissioned by Paul Sacher for the 25th anniversary of the Basle Chamber Orchestra and was given its premiere by that conductor and orchest ra on Decem ber 18th of the same year. Opening wi th Psalm 130, De P raﬁmdis,the Cantata moves toward a potpourri of Christmas carols, artf ully woven together and culminating in the Latin hymns, Gloria in Excelsis Deo lnterm iss ion and Laudate Domimm. CHANTEYS arr. Marsha ll Bartholomew SPIRITUALS DE WIN D BLOW OVER MY SHOULDER I COULDN ’T HEAH NOBODY P RAY HE ’S GOT THE WHOL E WORLD IN HIS HANDS (Jim Osborne, soloist) a r r. Ma rshall Ba rtholomew a r r. Ma rshall Ba rtholomew a r r. Fenno Heath A S OF F TO T H E SOU TH ’A RD WE GO AWAY TO RIO A–ROVING SHENANDOAH T RADITIONA L SONGS ERIE CANA L (Bob Kendall, tenor soloist) AURA LEE (Terry Howell, baritone soloist) THE SCOTC HMAN AJ, LUCKA . LUCKA SIROKA Men’s Glee Club American Folk Song T raditional a r r. Joseph Canteloube COME SLEEP BARBARA A LLEN (Alida Stahl, soloist) MOUNTAIN NIGHTS Women’s Chorus Robert Starer arr. Katherine Davis Zoltan Kodaly Piano, Donna Hallen Drums, Steve Millheise r The genesis of the Cantate de Noel dates back to 1940 when Honegger was setting to music the ﬁrst portion oi‘ La Passion de Selzach as it was conceived by the poet, Caesa r von Arx, which began with the episode of the Nativity of Christ. “It is this pa rt of the work,” writes the composer, “which has served me as the basis for the Cantate de Noel, not without undergoing in the course of its writing a nu mber of necessary changes. The ﬁrst chorus, the 12th Century plainsong Vent Emmanuel, brings the anguished appeal of humanity to the Saviou r . ‘ In answer to this cry, the archangel announces to the shepherds the coming of the Messiah. We then hear Freu Dich, O Israel; the 16th Century air, Es Ist Ein Reis Enlspmngen; the French folksong, ll Est Ne Le Divin Enfant; Van Himmel Bach, Ikr Engelein Kommt; and the famous Die Heilige Nacht, melody by Franz G ruber — all intermingled and terminating in Psalm 117, Laudate Dominum,. An orchestral postlude concludes the work. The Cantate de Noel is scored for double woodwinds, 4 horns, 3 trumpets, 3 trombones, ha rp, organ, s trings, bari tone solo, a nd two choruses (mixed and children). f rom Yale U niversity Bohemian Marching Song LOU BAYLERO (chant de Be rgers de HauteAuvergne) (Phyllis Costanzo, Soloist) Harpur Chorale DIDN ’T M Y LORD DE LI VE R DAN I EL SH A DRA CK A CHRISTMAS CANTA TA — Honegger arr. Walter Ehret Robert MaeGimsey Bass, Steve Kotrch NURSERYROUND f rom the musical, FAN NY IT’S A SIMP LE LITTLE SYSTEM, f rom the musical, BELLS ARE RINGING (Shandor is sung by Jim Osborne) Harold Rome Jules Styne Harpur Chorale Ushering courtesy of A lpha Phi Omega and Gam ma Sigma Sigma THE HARPUR CHORA LE The Harpur Chorale is a group of 61 voices composed of a Men’s Glee Club and a Women’s Chorus, with each group singing a representative choral repertoi re. The Chorale ’s member ship is dra wn f rom both music ma jors and general college students and was founded in 1964. The Chorale and Women’s Chorus are under the di rection of David L. But tolph. The Men’s Glee Club is under the direction of Philip F. Nelson. The groups have, in recent years, toured the Long Island area, Western New York State, and Canada. Most of the members of the Harpur Chorale are residents of New York State. Oﬀicers T e r r y H o w e l l . . . . . , . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P resident S a l l y B a r o n . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Libra ri a n Wa rdrobe NancySimp kins Secretary T RINIT Y ME MORIA L CHURCH JUNI OR CHOIR — BOY T RE BL ES Jack Hooton, Director Thomas A rnold G rant Best David Brown Craig Dykstra Kent Heald Kim Ha r rison, Depu ty Head T reble Matthew Joggerst Barry McDevitt Joseph Pilotti David Purd y, Head T reble Scott Purdy Thomas Rincker James Sage F rederick Shumaker David Stibe r James Trucker Jeﬀrey Usas Keith Walte r Christopher Whitmore Jonathan Whitmore Paul Whitne y �T HE HARPUR C HORA L E PERSONNEL WOMEN ’S CHORUS SOP RA N OS Audrey Adler Elvira Chiccarelli Phyllis Costanzo Nora F reeman Joann G rizzanto Linda Holgers Bettsie Park Donna Ribble Regina Sablauskas Nancy Simpkins Alida Stahl Ricky Stern Terry Tedeschi Linda T raver Ca rol Tubbs Kathy Tyrrell L inda Uhly Nadene V redenburgh Jacobi Westerhuis Vi rginia Wetherbee Nancy Zucker MEN ’S GL EE C L U B ALTOS TENORS Gail Arnold Sally Baron Nancy Carlson Helen Cooney Alona Cuningham Joyce Ellenson Laura Finkelstein Carol Gill Debby Kanter Barbara Maggs Penn Moulton Shi rley Newberry Susan Paisley Simone Pel zman Lynne Rudwick Reva Weiskopf Donna Hallen, Accompanist ‘ BARITONES & BASSES Ken Davis Bill Hopson Michael Kass Bob Kendall Dick Michalak Doug Steward Jim Vanhart MichaelWeingarten Max Cepero David Clark Douglas Dorph Jon Erlitz Jeﬀ Feinsilver Leon Fried David Fry Terry Howell Steve Kotrch David Marcus Ira Miller Steve Millheiser John Niessen Jim Osborne Alan Sanders Douglas Shadwick Dick Squiers Ernie Tong ChaiKyou Kim Accompanist Keith Willcox T HE HARPUR ORC HEST RA PE RSONNE L VIOLIN *Ralph Wade, Concertmaster *Melba Sandberg *Daniel Mowrey *John Mayorchak *Richa rd Leavitt Toby Harris Ma rtha Strassberger *Pamela Seversky *Edward Pettengill, P rincipal Vi rginia Pantalone Debby Davidson Sally Shaf e r ‘Sophie Horowit z Douglas Diegert Karen Voight VIOLA *Russell Colton, P rincipal Joyce Stel zl ‘Kenneth Hollister *Ann Ziegler *Ma rga ret Sewa rd ‘Binghamton Symphony members CELLO *Ruth Brown, Principal David Howard *Jane Whitmore *Thomas Riis CONT RABASS *Richa rd Thomas, P rincipal *James Hills *Anthony P reus Dayle Sherba ORGAN Jack Hooton HARP Katherine Eliot FLUTE Ma rsha Kadleck Bruce Merley Glaiber OBOE Geoﬀrey Ba r ron F ran K rauss CLARINET David Marcus Jean Schab BASSOON Louise Belsky Douglas Epstein HORN Matthew Goldstein Stu Reeve Rosalind Powell P hil Salkin TRUMPET Deibert Cobleigh Tom Sigler Peter Dodge TROMBONE John Baldon Tom Demilio G rant Sullivan PERSONNEL MANAGER Edwa rd Pettengill � 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. 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. 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.) 33:20 23:56 31:41 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59185 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59185">Harpur Chorale & Orchestra Concert</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>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single 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 Harpur Chorale & Orchestra Concert, April 13, 1969 Description An account of the resource Held at 8:15 pm, April 13, 1969, Don Watters Theater. Works of Honegger, Starer, Kodály, Rome, Styne. Creator An entity primarily responsible for making the resource Harpur Chorale & Orchestra Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1969-04-13 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Starer, Robert Honegger, Arthur, 1892-1955 Rome, Harold, 1908-1993 Styne, Jule, 1905-1994 Kodály, Zoltán, 1882-1967 State University of New York at Binghamton. Department of Music. Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020095687 39091020095737 https://omeka.binghamton.edu/omeka/files/original/6989498ec2e36901fad7e132d635c9ab.pdf 102ec2b391452c593b7b64417ccb2320 PDF Text Text STA T E U N IVE RSI T Y OF N E W YOR K A T BIN G H A M TON HARPUR COLLEGE TH E DEPA RT M EN T OF MUSIC / / e ///////Z f X / U / M / THE GUARNERI STRING QUARTET in r es idence Arnold Steinhardt, violin Jo hn Dalley, violin M ichael T ree, viola David Soye r, cello Sunday , A pr il 20, 1 96 9, 8 :15 p. m. The Don A . Watte rs T heater �O P L (I ~ D ﬂ / e e [ S E T p e e = P A C E i z = § M i r / ﬁ t Ho w ¢ f ¢ v 4 O P 4 C ~ ﬀ l f j £ 2 A74j°<PROGR$4§JPL 6 / QUARTET IN E FLAT MAJOR, OP, 127 4 1 ’/ Beethoven Maestoso, Allegro Adagio, ma non troppo e molto cantabile Scherzando vivace Finale Intermission ADAGIO & FUGUE, K. 546 QUARTET IN E FLAT MAJOR, OP, 18, NO. 6 Mozart Beethoven Allegro con brio Adagio, ma non troppo Scherzo, Allegro La Malinconia Adagio: Allegretto quasi Allegro Ushering courtesy of Alpha Phi Omega and Gamma Sigma Sigma �PR OGRA M N OT ES QUARTET IN E FLAT MAJOR, OP. 127 Beethoven The ﬁrst of the “last ” great quartets seems to have been begun by Beethoven in 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 per formance, March 6, 1825, by the Schuppanzigh Quarted “was unfortunate'; another on March 23 was “more successful. ” It was published in the follow ing year as “ G R A N D QUATUOR/en Partition/ pour deux violons alto et Violoncelle compose et dedie/a SonAltesse Monseigneur le Prince/Nicholas de Galitzin,/LieutenantColonel dela Garde S,,#M,,#J,,de toutes les Russies/ par/LOUIS V . BEETHOVEN/OEUV 127 . . . " 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 unmistakable sign on the work. An especially treasured detail is the closing section which develops a small expressive phrase into a vast summing–up. The second movement is a theme and ﬁve variations — the organic principle again (plus ca change, plus c ’est la meme chose) in the hands of the master of the variation. The Scherzo exploits a shifting rhythmic module — and its joke enables one to hear the Cosmic laughter which the Indians say is the act of Creation itself. The Finale is another sonata form built of musical materials that are in themselves unprepossessing but which for Beethoven clearly held the germ cells of life and which he leads to a powerful demonstration of the vitality of simple, natural forces guided by inner organic unities and truth. ADAGIO & FUGUE, K.546 Mozart On June 26, 1788 Mozart noted, “A short Adagio for 2 violins, viola and bass, to a fugue which I had long since written for two pianos. ” At the end of the autograph the bass part is divided “violoncelli” and “contra �basso,” which suggest that Mozart also had an orchestral performance in mind. Beethoven was familiar with this work having copied the score. The fugue is not idiomatic keyboard music but is in the abstract “severe” style cultivated by the Italians in church music with implications of rig orous and learned development. In this matter Mozart’s fugue is related to Beethoven’s own Great Fugue and it is interesting to speculate as to the pos sible impetus toward his work that this acquaintanceship may have been. QUARTET IN B FLAT, OP, 18, NO. 6 Beethoven Although the last in the series as published, the Bﬂat quartet was almost certainly not the last composed. The work presents a cu rious mixture of styles and looks both backward and forward. The ﬁrst move ment is a sonata movement of the most regular preHaydn construction. Many of its details are reminiscent of the style of the Mannheim orc hes tral composers ; the opening theme is a version of the “Rocket ” and the heavily deﬁned, tutti cadences also show their inﬂuence. However, the farreaching modulations and key references bespeak the young master, expecially in the way they transform the rather banal marchlike second subject and let it “break ranks” for a spirited skirmish before being marshalled into formation again by the reappearance of the eﬀicient martinet–grenadiersergeantlike, ﬁrst subject (end of exposition and end of movement). The second movement is a simple ABA form with a short coda based on both themes. What is astonishing is the ﬁligreelike ﬁguration which, both on the page and in the ear, reminds one of the slow movements of the very latest works. We hear things that a re to ﬁgure in the last ’cello sonata (Op. 102 No. 2) =– the dotted ﬁgures in bar 13 — and others that will appear in the variations of the A rchduke Trio. The Scherzo is another of the long list of comic pieces originally called alla Zappa in early Italian instrumental music — the eﬀect is one to the opposition of rhythms of two and of three and resembles the uneven progress of two unequally gaited individuals. who nonetheless insist upon conversing. The Trio, in contrast, is a moment of the lightest and easiest movement befo re the f rog march resumes. The last movement, La Malinconia (Melancholy) alternates a slow introduction and interludes of a kind of vexatious, exasperated hypersen sitivity with lighter but far from jocose principal sections. The eﬀect is febrile and hectic and only in the last moments does a clear gust of vitality dispel the sultry atmosphere. � 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. 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. 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.) 27:53:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59182">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 Guarneri Quartet Recital, April 20, 1969 Description An account of the resource Held at 8:15 pm, April 20, 1969, Don Watters Theater. Works of Beethoven and Mozart. Creator An entity primarily responsible for making the resource Guarneri Quartet Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1969-04-20 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Beethoven, Ludwig van, 1770-1827 Mozart, Wolfgang Amadeus, 1756-1791 State University of New York at Binghamton. Department of Music. Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020095471 39091020095521 39091020095786 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. 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. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media 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.) 25:05 28:49 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59182"> 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 Guarneri Quartet Recital Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works of Beethoven and Mozart. Creator An entity primarily responsible for making the resource Guarneri Quartet Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1969-04-20 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Beethoven, Ludwig van, 1770-1827 Mozart, Wolfgang Amadeus, 1756-1791 State University of New York at Binghamton. Department of Music Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020095471 39091020095521 39091020095786 https://omeka.binghamton.edu/omeka/files/original/1023aa79dc0df4c09d11de17cf03ddc4.pdf f12c905dc990fe4ebd58ad3dc8495686 PDF Text Text STATE UNIVE RSlTY OF N E W YORK AT BIN GHAM TON HARPUR COLLEGE TH E DEP ARTM ENT OF MUSIC with the support o f the New York State (fouru‘il on the .I rls THE NEW YORK WOODWIND QUINTE’I‘ in residence David Glazer, clarinet Samuel Baron, ﬂu te A rthur We isberg, bassoon Ronald R oseman, oboe Ralph Froelich. F rench horn Sunday, A pril 2 7, 196 9, 3 :0 0 p. m. The Don A . Watters Theate r �PROGRAM Divertimento in B Flat Major Haydn Allegro con brio Andante Menuet Rondo, Allegro Eight Etudes and a Fantasy for Woodwind Quartet Elliot Carter Interm iss ion Variations on a Folk Song Bachianas Brasileiras No. 6, for ﬂute and bassoon Pentagram Jan Sweelinck VillaLobos Ernst Krenek Presto Andante Allegretto Moderato, Allegro Ushering courtesy of Alpha Phi Omega and Gamma Sigma Sigma �PROGRAM NOTES DIVERTIMENTO IN B FLAT MAJOR Haydn The divertimento is a musical form Haydn often turned to for functional music of the court. Unlike its predecessor (the dance suite) it is prevailingly homo phonic. Probably the most noticeable connection between the two forms is their rather optional number of movements. Originally scored for two oboes, two clarinets, three bassoons, and serpent, the second movement will be recognized as the famous St. Anthony Chorale used by Brahms in his Variations on Theme by Haydn , op. 56. EIGHT ETUDES AND A FANTASY FOR WOODWIND QUARTET – Elliot Carter Certainly one of the most supreme intellects who contributes infrequent but nonetheless monumental works to the current musical world, Elliot Carter is a leading exponent in American music of the instrumental genre; perhaps the leading force in new but soluable directions of comprehensibility, (at least it is apparent that he is dedicated to an art form still concerned with a commu nicative importance.) Although his most recent works are of a highly complex and esoteric nature, the Etudes, written in 1950, not only displays prophetic utilization of his mature craftsmanship and profundity of thought, but they have also left a legacy of certain performance and compositional techniques which are exploited fully by todays “Avant Garde. " After hearing the piece, a question may be raised as to whether the title “ETUDES” refers to the actual virtuosity of performance spectaculars, (as in the classical sense) or whether M r. Carter really had in m i ndat ype of Com positional etude, Etude #1 has the type of harmonic vocabulary more common to his Piano Sonata – 1945, or The Minotaur (1947). It is somewhat alienated f rom the vocabulary of, say, the Double Concerto or his most recent Piano Concerto. Polychordal implications of pyrmading intervals, especially thirds and sixths are prevalent, A thinning out of texture occurs in Etude #2, where long solo legato lines are combined at various immitative time spans. Etude #3 is an interesting orchestration as well as ensemble study (in terms of intonation and balance). A simple D major triad provides a rather vast amount of source material for each of the woodwind colors, particularly when these colors are redistributed among the root, third and ﬁfth members of the chord. A f ractured, scattered mosaic compiled entirely of a twonote cell (which is found at every place in each instrumental range) comprises Etude #4, Etude #5 also makes use of extreme range, but in a more lyric manner. High oboe and bassoon parts are combined with low ﬂute and low clarinet parts. Etude #6 contains a foreshadowing of sounds used in some of the most recent twentieth century compositions. There is an interesting use of artic ulation as a structural reference, and many rhythmic complexities are subtly combined with brilliant instrumental eﬀects as well as harmonic niceties. The note G in Etude #7 is similarly used as in Etude #4. The diﬀerence in the two etudes is that in using only one tone, M r. Carter can successfully experiment in combining only the pure and individual colors of each instrument, using a basic controlling device of dynamic change. �The last Etude is of a Passacaglia type, except that as the melodic lines go ﬂeeting by, various individual tones of the Passacaglia are shot out of the texture on either end of eac h instrument’ s own extreme range. In the Fantasy, a long theme is fugally and cannonically treated in con junction with every technique previously heard in the Etudes. This Finale is an amazing contrapuntal “tour de force, ” as well as a testament of justiﬁ cation for the esthetic behi nd the entire work. VARIA TIONS ON A FOLK SONG – Jan Sweelinck Jan Sweelinck was the most f amous organist of the 17th centu ry. A Neth erlands composer, he was a prophet of the f reer contrapuntal style, and a constant developer of the theme and va riation form. This form was undoubtedly one of the most popular forms in the 17th centu ry. Ernst Lubin, a contemporary composer living in New York City, trans cribed this organ variation for the quintet, with the thought of emulating the baroque organ, retaini ng the characteristics of its stops, and then transfer ring these sounds to their corresponding woodwind colors. BACHIANIS BRASIL EIRAS, NO. 6 FOR FLUTE AND BASSOON — VillaLobos Contemporary musicologist and author of the book Introduction to Can tem porary Music , Joseph Machlis sums up this VillaLobos piece very nic ely. “VillaLobos was much preoccupied with what he called SINCRETISMO— the fusion of native with outside inﬂuences. In his Bachianis Brasilerias he created a form intended to forge a link between the a rt of his homeland and the Western tradition. There is very little true counterpoint in these nine suites that were written ‘in homage to the great genius of J. S. Bach.” But their easy tunefulness has recommended them to a wide public.ll PENTAGRA M – E rnest K renek Mr. Krenek is a composer who has certainly gone th rough a numbe r of “periods” and transitions; f rom jazz and post romanticism. to 12 tone pro cedures and beyond. He has an immense output (over two hundred works) and is well known and admired among his colleagues. Pentagram is a very ac cessible work, even upon ﬁrst hearing. Although it is dodecaphonic in assem blage, serialization is often abandonedaseach movement progresses, causing the entire content to be more reﬂective of tonal orientation than it really is. Its four short movements evoke a wide range of emotional responses: f rom humor and charm to an ultimate awa reness of its extreme organizational neat ness. and f rom a type of introspective wandering, to bristling complexity, particularly in the last movement. The New York Woodwind Quintet, in residence at State U niversity of N ew York (Harpu r College) Binghamton, will leave on May 12 for a two– month tour of LatinAmerican countries under the auspices of the Cultural Presentations Progra m of the United States State Depart ment. The countries to be visited will be Mexico. Nicaragua, Curacao. Guyana, Surinam, Venezuela, Brazil, Paraguay, Chile, and Columbia. This will be the third State Department tou r for this group, which visited South America in 1956 and East Asia in 1962, Besides presenting recitals in the major cities, the quintet will pe rform with some orchestras and present semina rs and workshops in univers ities and music schools. � 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. 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. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 32:08 33:46 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59428">New York Woodwind Quintet 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 New York Woodwind Quintet Recital, April 27, 1969 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works of Haydn, Sweelinck, Villa-Lobos, Krenek. Held at 8:15 pm, April 27, 1969, Don Watters Theater. Creator An entity primarily responsible for making the resource New York Woodwind Quintet Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1969-04-27 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Haydn, Joseph, 1732-1809 Sweelinck, Jan, 1562-1621 Villa-Lobos, Heitor, 1887-1959 Krenek, Ernst, 1900-1991 State University of New York at Binghamton. Department of Music Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020095620 39091020095679