45
10
1775
-
https://omeka.binghamton.edu/omeka/files/original/1709a70a257941e77c8634f507cd7596.pdf
f1eccc1163d5ca43c9a414031e1c735c
PDF Text
Text
STATE UNIVERSITY OF NEW YORK AT BINGHAMTON
HARPUR COLLEGE
THE DEPARTMENT OF MUSIC
THE LENOX STRING QUARTET
in residence
Paul Hersh, viola, piano
Donald McCall, cello
Peter Marsh, violin
Delmar Pettys, violin, viola
Sunday, July 27, 1969
Don A. Watters Theater
8 : 1 5 p.m.
___.I=Iay’dn”"
Quartet in E Flat Major, O p. 33, No. 2
A
Allegro moderato, cantabile
Scherzo, Allegro
Largo sostenuto
, 4 . J i
Z 2, 4
A / ( / [ 3 /
Presto
Liberata 11 ( 1 9 6 ; % fl f W
/
/
%
/
Paul z o m
Intermission
Piano Quartet in G Minor, O p. 25
Brahms
Allegro
Intermezzo ( Allegro ma non tro ppo)
Andante con moto
Rondo alla Zingarese (Presto)
Ice cold punch will be served outside near the main entrance to the Fine
Arts Building. The audience is cordially invited to share in this free refreshment,
The Art Gallery will be open during Intermission.
�Th e Lenox Quar te t takes i ts name f rom the town
in Massachusetts where it was founded in 1958 while its
members were on the faculty of The Berkshire Center
( Tanglewood Summer Fest ival). During four summers,
while on the staff of the Composition Department, they
were involved with the Fromm Foundation’s contempor
ary music program. This Foundation was crucial in the
su p por t of t h e Qua r te t i n i ts early years, includ ing con
c e r ts f e a t u r i ng fi rs t p e rf o r m a n c es o f n e w com posi t io ns a t
the New School of New York and at the University of
Chicago. The Fromm Foundation also supported the
Quartet’s residencies a t the Princeton Seminars in Ad
vanced Musical Studies,
Among the hundreds of concerts of Lenox Quartet
history were numerous New York appearances and
recitals at the University of California and at the Spo
leto, Aspen, Stanford, Ravinia. and Lincoln Center
Festivals.
I n 1962 the members of Lenox Quartet were ap
pointed ArtistsinResidence a t Grinnell College, a posi
tion they will hold until July, 1969 when they will
become full time faculty members and Quartetin
Residence a t Harpur College, State University of New
York at Binghamton.
Peter Marsh, violinist, studied with Hans Letz at
The New York College of Music, Scott Willits at The
American Conservatory ( Chicago ) and with Emanuel
Zetlin at The University of Washington. While attending
t h e la t ter insti tu tion, h e pl ayed in t h e f acul ty q ua r te t.
Mr. Marsh has soloed with The Pittsburgh Symphony
and other orchestras. He has also taped solo appear
ances for educational television.
Delmar Pe t tys, violinist and violist, began his early
violin studies with Arturo Petrucci in Portland, Oregon.
He received his Master’s Degree from the Juilliard
School of Music where he studied with Joseph Fuchs
and Oscar Shumsky, and also pursued extensive chamber
music studies with Felix Galimir, Mr. Pettys was a
member of The Casals Festival Orchestra.
Paul Hersh, violist and pianist, attended Yale Uni
versity and studied viola with William Primrose and
piano with Edward Steuermann and Leonard Shure, He
has concertized extensively as a soloist and has made
numerous appearances on Educational Television. His
New York debut as a pianist in 1964 was hailed by the
HeraldTribune critic as “a pianistic, musical and per
sonal triumph , , . Mr. Hersh is a pianist of exceptional
stature and a musician of impeccable taste.”
Donald McCall, cellist, of Kansas City, Missouri, is
a graduate of the Curtis Institute of Music, Philadelphia,
and studied with Leonard Rose, Winner of the Naum
burg Award for 1956, he made his New York debut at
Town Hall in the fall of 1956.
�
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Coverage
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1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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3 sound tape reels
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28:46
34:00
09:47
OHMS Object
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59501">Lenox String Quartet Recital</a>
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Title
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Lenox String Quartet Recital, July 27, 1969
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Mozart, Zonn, and Brahms. Held at 8:15 pm, July 27, 1969, Don A. Watters Theater.
Creator
An entity primarily responsible for making the resource
Lenox String Quartet
Publisher
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Binghamton University Libraries
Date
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1969-07-27
Rights
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In copyright
Contributor
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Mozart, Wolfgang Amadeus, 1756-1791
Zonn, Paul, 1938-2000
Brahms, Johannes, 1833-1897
State University of New York at Binghamton. Department of Music
Type
The nature or genre of the resource
sound
Identifier
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39091020057810
39091020057869
39091020057919
-
https://omeka.binghamton.edu/omeka/files/original/0840b455d70b8e34a822cf67afa554ba.pdf
3a7f6a96cabce9517fad414f766803e0
PDF Text
Text
STATE UNIVERSITY OF NEW YORK AT BINGHAMTON
HARPUR COLLEGE
THE DEPARTMENT OF MUSIC
with the su pport of the New York State Council on the Arts
Presents
THE LENOX STRING QUARTET
in residence
Peter Marsh, violin
Delmar Pettys, violin, viola
Paul Hersh, viola, piano
Donald McCall, cello
and
THE NEW YORK WOODWIND QUINTET
in residence
Thomas Nyfenger, flute
David Glazier, clarinet
Ronald Roseman, oboe
Arthur Weisberg, bassoon
Ralph Froelich, French horn
The Don A. Watters Theater
Sunday, August 3, 1969
8 : 15 p.m.
�PROGR AM
Quartet in E Flat Major, Op. 33, No. 2
Haydn
Allegro moderato, cantabile
Scherzo, Allegro
Largo sostenuto
Presto
Studies.
Debussy
Quartet in G Minor, Op. 10
Animé et trés décidé
Assez vif et bien rythmé
Andantino, doucement expressif
Tres modéré – Trés mo uvementé et avec passion
Milhaud
Cortége
Aubade
Jongleurs
La Maousinglade
Joutes sur L’arc
Chasse a Valabre
Madrigal — Nocturne
Kleine Kamermusik, Op. 24, No. 2
Lustig
Walzer. Durchweg leise
Ruhig und einfach
Schnelle
Sehr lebhaft
Among the hundreds of concerts of Lenox Qua rtet history were numerous
New York appearances and recitals a t the University of California and at the
Spoleto, Aspen, Stanford, Ravinia, and Lincoln Center Festivals.
I n 1962 the members of Lenox Quartet were appointed Artistsin
Residence at Grinnell College, a position they held until July, 1969 when they
became full time facul ty members and QuartetinResidence a t Harpur C01
lege, State University of New York at Binghamton.
Intermission
La Cheminée du roi R ené
The Lenox Quartet takes i ts name f rom the town in Massachuse t ts
where it was founded in 1958 while its members were on the facul ty of The
Berkshire Center (Tnnglewood Summer Festival). During four summers, while
on the staff of the Com position Department, they were involved with the
Fromm Foundation’s contem porary music program. This Foundation was
crucial i n th e su pport of th e Qua rte t in its early years, including concerts
featuring first performances of new com positions at the New School of New
York and at the University of Chicago. The Fromm Founda tion also supported
the Quartet’s residencies at the Princeton Seminars in Advanced Musical
The New York Woodwind Quintet. Since 1952 the New York Woodwind
Quintet has maintained its position of preeminence in the field of chamber
music through its numerous concerts in the United States and abroad, its
radio and television appearances, and its highly praised recordings. The New
York Woodwind Quintet is an ensemble of established solo artists well known
to the musical world. The collaboration of these artists has resulted in an
ensemble which has prompted many critics to classify the Quintet in the
highest category of chamber music performance together with the Budapest
and Juilliard String Quartets. They have recently returned from their second
State Department tour of South America. The New York Woodwind Quintet
has been in residence a t Harpur College since 1967 and each member is on
the faculty of the Music Department.
Hindemith
Ice cold punch will be served outside near the main entrance to the Fine
Arts Building. The audience is cordially invited to share in this f ree refreshment.
The Art Gallery will be open during Intermission.
�
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Coverage
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1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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Original Format
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3 sound tape reels
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
20:39
26:38
20:49
OHMS Object
URL
https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59515
Streaming Audio
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59515">Lenox String 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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Title
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Lenox String Quartet and New York Woodwind Quartet Recital, August 3, 1969
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Haydn, Debussy, Milhaud, and Hindemith. eld at 8:15 pm, August 3, 1969, Don A. Watters Theater.
Creator
An entity primarily responsible for making the resource
Lenox String Quartet
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
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1969-08-03
Rights
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In copyright
Contributor
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Haydn, Joseph, 1732-1809
Debussy, Claude, 1862-1918
Milhaud, Darius, 1892-1974
Hindemith, Paul, 1895-1963
State University of New York at Binghamton. Department of Music
Type
The nature or genre of the resource
sound
Identifier
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39091020057968
39091020058016
39091020058065
-
https://omeka.binghamton.edu/omeka/files/original/0342d91a949e97e63358d53e9356b29b.pdf
e09ad1e70a5e7db01f4870cd7f2b09dc
PDF Text
Text
STATE UNIVERSITY OF NEW YORK AT BINGHAMTON
HARPUR COLLEGE
THE DEPARTMENT OF MUSIC
with the support of the New York State Council on the A rts
Presents
THE NEW YORK WOODWIND QUINTET
in residence
Thomas Nyfenger, flute
David Glazer, clarinet
Ronald Roseman, oboe
Arthur Weisberg, b assoon
Ralph Froelich, French h o rn
with guest artists
THE CAMERATA WOODWIND QUINTET
of Western Illinois University
Gerald Carey, flute
George Townsend, clarinet
Roy Lawre nce, oboe
Robert Koper, bassoon
Roger Collins, French horn
The Don A . Watters Theater
Sunday, August 24, 1969
8:15 p.m.
�PROGRAM
Suite of I nstrumen tal Pieces of the Re nnaissance
Ronald Roseman,
Arranger
Donna di dentro ( Issac )
J’ai pris amours ( Issac )
Il est bel e t bon (Passereau)
Ricercar bello (Cavazzoni)
(Canzon sopra Il est bel et bon )
In meinen Sinn ( Issac )
Carl Nielsen
Kvintet O p. 43
Allegro ben moderato
Menuet
Praeludium (adagio)
Praeludium (adagio — Theme and Variations)
INTERM ISSION
Wolfgang Amadeus Mozart
Sernade, K.388 No. 12
Allegro
Andante
Menuct to. ( I n Canone ) Trio
Allegro
Jacques Ibert
Trois Pieces Breves
Allegro
Andante
Assez lent : allegro scherzando
FUTURE EV ENTS
SUNDAY, SEPTEMBER 14, 8 : 15 p.m.
Don A. Watters Theater
Admission free
PAUL HERSH, P IANIST
Works by : Beethoven, Bach
�
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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2 sound tape reels
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37:59
36:25
OHMS Object
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59520">New York Woodwind Quintet 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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Title
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New York Woodwind Quintet with Camerata Woodwind Quintet, August 3, 1969
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Nielsen, Mozart, Ibert. Held at 8:15 pm, Sunday, August 24, 1969, Don A. Watters Theater.
Creator
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New York Woodwind Quintet |
Publisher
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Binghamton University Libraries
Date
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1969-08-24
Rights
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In copyright
Contributor
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Nielsen, Carl, 1865-1931
Mozart, Wolfgang Amadeus, 1756-1791
Ibert, Jacques, 1890-1962
State University of New York at Binghamton. Department of Music
Type
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sound
Identifier
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39091020058115
39091020058164
-
https://omeka.binghamton.edu/omeka/files/original/45f60538ba63948a8c4e80d1ec00f049.pdf
3da9f6bb66a703dbf1b7adab00d64d6e
PDF Text
Text
STATE UNIVERSITY OF NEW YORK AT BINGHAMTON
HARPUR COLLEGE
THE DEPARTMENT OF MUSIC
Presents
PAUL HERSH -- Pianist
Sunday, September 14, 1969
8:45 p.m.
The Don A. Watters Theater
�PROGRAM
Ludwig Van Beethoven
Sonata in C minor, Op. 111
Maestoso, Allegro con brio ed appassionato
Arietta. Adagio molto semplice e çantabile
I NTER M ISSI ON
The Goldberg Variations
Johann Sebastian Bach
A RIA
Variatio
Variatio
Variatio
Variatio
Variatio
Variatio
Variatio
Variatio
Variatio
Variatio
Variatio
Variatio
Variatio
Variatio
Variatio
Variatio
Variatio
Variatio
Variatio
Variatio
V ariatio
Variatio
Variatio
Variatio
Variatio
Variatio
Variatio
Variatio
Variatio
V ariatio
1. a 1 Clav.
2. a 1 Clav.
3. Canone ALL ' UNISONO, a 1 Clav.
4. a 1 Clav.
5. a 1 overo 2 Clav.
6. CANONE ALLA SECONDA, a 1 Clav.
7. a 1 overo 2 Glav.
8. a 1 Clav.
9. CANONE ALLA TERZA, a 1 Clav.
10. Fughetta, a 1 Clav.
11. a 2 Clav.
12. CANONE ALLA QuARTA
13. a 2 Clav.
14. a 2 Clav .
15. CANONE ALLA QUINTA, a 1 Clav.
16. O uverture, a 1 Clav.
17. a 2 Clav .
18. CANONE ALLA SESTA, a 1 Clav.
19. a 1 Clav.
20. a 2 Clav.
21. CANONE ALLA SETTIMA
22 . a 1 Clav. Alla breve
23. a 2 Clav.
24. CANONE ALL 'OTTAVA, a 1 Clav.
25. a 2 Olav.
26. a 2 Clav.
27. CANONE ALLA NONA, a 2 Clav.
28. a 2 Clav.
29. a 1 overo 2 Clav.
30. a 1 Clav. Quodlibet
ARIA DA CAPO
�PROGRAM NOTES
It was in the light of what he had said, he went on, that the work he was speaking
of in particular, Sonata Op. 111, was to be regarded. And then he sat down at the cottage piano and played us the whole composition out of his head, the first and the
incredible second movement, shouting his comments into the midst of his playing and
in order to make us conscious of the treatment demonstrating here and there in his
enthusiasm by singing as well; altogether it made a spectacle partly entrancing, partly
funny; and repeatedly greeted with merriment by his little audience. For as he had a
very powerful attack and exaggerated the forte, he had to shriek extra loud to make
what he said halfway intelligible and to sing with all the strength of his lungs to emphasize vocally what he played. With his lips he imitated what the hands played. "Tumtum, tum-tum, tum-tr-r!" he went, as he played the grim and startling first notes of the
first movement; he sang in a high falsetto the passages of melodic loveliness by which
the ravaged and tempestuous skies of the composition are at intervals brightened as
though by faint glimpses of light. At last he laid his hands in his lap, was quiet a
moment, and then said: "Here it comes!" and began the variations movement, the
"adagio m.olto semplice e cantabile ."
The arietta theme, destined to vicissitudes for which in its idyllic innocence it
would seem not to be born, is presented at once, and announced in sixteen bars, reducible
to a motif which appears at the end of its first half, like a brief soul-cry-only three
notes, a quaver, a semiquaver, and a dotted crotchet to be scanned as, say: "heav-en's
blue, lov-ers' pain, fare-thee well, on a-time, mead-ow-land"-and that is all. What now
happens to this mild utterance, rhythmically, harmonically, contrapuntally, to this pensive, subdued formulation, with what its master blesses and to what condemns it, into
what black nights and dazzling flashes, crystal spheres wherein coldness and heat, repose
and ecstasy are one and the same, he flings it down and lifts it up, all that one may
well call vast, strange, extravagantly magnificent, without thereby giving it a name,
because it is quite truly nameless; and with labouring hands Kretschmar played us all
those enormous transformations, singing at the same time with the greatest violence:
"Dim-dada!" and mingling his singing with shouts. "These chains of trills!" he yelled.
" These flourishes and cadenzas! Do you hear the conventions that are left in? Herethe language- is no longer- purified of the flourishes-but the flourishes-of the appearance-of their subjective-domination-th e appearance-of art is thrown off-at
last-art always throws off the appearance of art. Dim-dada! Do listen, how herethe melody is dragged down by the centrifugal weight of chords! It becomes static,
monotonous-twice D , three times D , one after the other- the chords do it-dim-dada!
Now notice what happens here- "
It was extraordinarily difficult to listen to his shouts and to the highly complicated
music both at once. We all tried. We strained, leaning forward, hands between knees,
looking by turn at his hands an d his mouth. The characteristic of the movement of
course is the wide gap between bass and treble, between the right and the left hand, and
a moment comes, an utterly extreme situation, when the poor little motif seems to hover
alone and forsaken above a giddy yawning abyss-a procedure of awe-inspiring unearthliness, to which then succeeds a distressful making-of-itself-small, a start of fear as it
were, that such a thing could happen. Much else happens before the end. But when it
ends and while it ends, something comes, after so much rage, persistence, obstinacy,
extravagance: something entirely unexpected and touching in its mildness and goodness.
With the motif passed through m any vicissitudes, which takes leave and so doing becomes itself entirely leave-taking, a parting wave and call, with this D G G occurs a
slight change, it experiences a small melodic expansion. After an introductory C, it puts
a C sharp before the D , so that it no longer scans "heav-en's blue," "mead-owland," but
"0-thou heaven's blue," "Green-est meadowland," "Fare-thee well for aye," and this
added C sharp is the most moving, consolatory, pathetically reconciling thing in the
world. It is like having one's hair or cheek stroked, lovingly, understandingly, like a deep
and silent farewell look. It blesses the object, the frightfully harried formulation, with
overpowering humanity, lies in parting so gently on the hearer's heart in eternal farewell that the eyes run over. "Now for-get the pain," it says. "Great was-God in us."
" 'Twas all- but a dream," " Friendly-be to me." Then it breaks off. Quick, hard
triplets hasten to a conclusion with which any other piece might have ended.
Thomas M ann-Dr. Faustus
�The Goldberg Variations were first published in 1742 by Balthasar Schmid in
N urnberg under the modest title: "Keyboard-practice, consisting of an Aria with different variations for the harpsichord with two manuals. Prepared for the enjoyment of
music lovers by Johann Sebastion Bach, Polish Royal and Saxon electoral court-composer,
director and choir master in Leipzig." The Aria appears as a Sarabande in Anna Magdalena Bach's notebook of the year 1725.
About the composition of these variations, Forkel tells the following story, which,
for all its doubtful character, has permanently attached to them the name of Bach's
pupil, Johann Gottleib Goldberg.
"For this model, upon which all sets of variations should be formed (although for
comprehensible reasons not a single set has yet been thus made), we have to thank the
instigation of the former Russian ambassador to the electoral court of Saxony, Count
Kaiserling, who often stopped in Leipzig and brought there with him the aforementioned
Goldberg, in order to have him given musical instruction by Bach. The Count was often
ill and had sleepless nights. At such times, Goldberg, who lived in his house, had to
spend the night in an antechamber, so as to play for him during his insomnia. Once
the Count mentioned in Bach's presence that he would like to have some clavier pieces
for Goldberg, which should be of such a smooth and somewhat lively character that he
might be a little cheered up by them in his sleepless nights. Bach thought himself best
able to fulfill this wish by means of Variations, the writing of which he had until then
considered an ungrateful task on account of the repeatedly similar harmonic foundation.
But since at this time all his works were already models of art, such also these variations
became under his hand. Yet he produced only a single work of this kind. Thereafter the
Count always called them his variations. He never tired of them, and for a long time
sleepless nights meant: 'Dear Goldberg, do play me one of my variations.' Bach was
perhaps never so rewarded for one of his works as for this. The Count presented him
with a golden goblet filled with 100 louis-d'or. Nevertheless, even had the gift been a
thousand times larger, their artistic value would not yet have been paid for."
- Ralph Kirkpatrick
Paul Hersh attended Yale University and studied piano with Eduard Steuermann
and Leonard Shure. As violist of the Lenox String Quartet, he has concertized extensively
in the United States, Canada, and Europe. He has been artist-in-residence and a member
of the faculty of the Berkshire Music Center, the Aspen Music Festival, the Spoleto
Festival, Lecturer in Music at Grinnell College, and is at present artist-in-residence and
a member of the faculty at Harpur College, SUNY Binghamton.
FUTURE EVENTS
Sunday, September 28, 1969-8: 15 p.m.
Don A. Watters Theater, Admission Charge
Lenox Quartet, New York Woodwind
Quintet-Combined Concert
FALL CHAMBER MUSIC SERIES
�
Dublin Core
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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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Original Format
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3 sound tape reels
Duration
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27:24
39:12
04:20
OHMS Object
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https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59819
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Title
A name given to the resource
Recital, Paul Hersh, September 14, 1969
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Beethoven and Bach. Held at 8:45 pm, September 14, 1969, Don A. Watters Theater.
Creator
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Hersh, Paul
Publisher
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Binghamton University Libraries
Date
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1969-09-14
Rights
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In copyright
Contributor
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Beethoven, Ludwig van, 1770-1827
Bach, Johann Sebastian, 1685-1750
State University of New York at Binghamton. Department of Music
Type
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sound
Identifier
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39091020057620
39091020057679
39091020057729
-
https://omeka.binghamton.edu/omeka/files/original/1a4493c0638ec4cba23e1f09b97ac874.pdf
cf5e054e256d2aee75bd0e496a6d8185
PDF Text
Text
STATE UNIVERSITY OF NEW YORK AT BINGHAMTON
HARPUR COLLEGE
THE DEPARTMENT OF MUSIC
Presents
THE LENOX STRING QUARTET
in residence
Peter Marsh, violin
Delmar Pettys, violin, viola
Paul Hersh, viola, piano
Donald McCall, cello
and
THE NEW YORK WOODWIND QUINTET
in residence
Thomas Nyfenger, flute
David Glazer, clarinet
Ronald Roseman, oboe
Arthur Weisberg, bassoon
Ralph Froelich, French horn
The Don A. Watters Theater
Sunday, September 28, 1969
8:15 p.m.
�PROGRAM NOTES
PROGR AM
Quin te t No. 8 i n A minor, O p. 91, No. 2
Anton Rciclia
QUINTET NO. 8 IN A MINOR, OP. 91, no. 2 —Ant
on Reicha
Anton Rcicha ( 17701836). born in Prague. can add to his name as a
composer tha t of a magnificen t theorist a n d pedagogue. A t both Bonn a n d
V ienna he was intimate with Bee thoven and among his pupils numbered such
Adagio—Allegro a ai
Andante
notable figures as Franz Lizt, Hector Berlioz, Charles Gounod, Cesar Franck.
The notable clarity of his mind is shown in his dextrous chambermusic and in
the brilliance of his theoretical works, through some of his doctrines in the
Min ue t
Finale—Allegro
la t te r have been challenged. Along wi th F ranz Danzi h e pionee red i n the
developmen t of the wi n d q uintet, having writ ten 36 works for th e combination
alone.
Jean Francaix
Quatour
Allegro
Q U ATOUR — Jean Francaix
Andante
Jean F rancaix born i n L e Mans i n 1912, in to a family of musicians, be
came a gen uine child prodigy i n composition publishing his first wo rk wh en h e
was ten years old. He studied with the famous Nadia Boulanger, where he
displayed an astonishing mastery and facility i n all branches of music theory.
Allegro molto
Allegro vivo
He is among the French composers of our time who have already secured their
uncontested position in the international music world. His music is typically
F rench, rich in piq uancy, spirit a n d ch a rm a n d is invested wi th a sparkling
technique and polish along with an un rivalled sense of humor.
I nter missio n
Q
Qua r te t i n D Ma jor, K . 575
Wolfgang Amadeus Mozart
Allegretto
Andante
Men uetto. Allegretto
Allegretto
String Qua r te t No. 5
Allegro
Adagio molto
Scherzo, alla bulgarese
Andante
Finale. Allegro vivace
U A R T E T I N D
MA J OR, K . 575 — W . A . Moza r t
The Quartet in D Ma jor of Mozart (K . 575 ) is one of the projected set
of six ( only three were written ) dedicated to Frederick William I I and there
fore known as the “Berlin” or “King of Prussia” quartets. Th e King was a
’cellist which accounts for the importance given the cello in their fabric. Char
acterized by a richness and beauty of sound and genial melodic inspiration
they represent the balance among the elements of spontaneity, tradition and
science which Mozart achieves in his latest works.
Copyright William Klenz
Bela Bartok
QUARTET NO. 5 Bartok
7
Bartok’s Quartet No. 5, commissioned by the Elizabeth Spraguc Coolidge
Foundation, was composed between August 6 and September 6, 1934, af ter
his return f rom Turkey, where he had been collecting folk songs for theHun
ga rian Academ y of Science. I n this wo rk a n d the preceding q uarte t ( 1928 ) ,
Bartok’s style changed decidedly f rom the more dissonant and expressionistic
music of the early twenties. He described his music as increasing in polyphonic
complexity a s i t became ha rmonically simpler, while folk elemen ts were totally
�integrated. These two q uartets ( Nos. 4 and 5 ) a re constructed i n an archi
tectonic arch form, in which the first and fif th movements and the second and
fourth movemen ts reflect each other i n mood and thema tic material while the
third movement, in each case, is the keystone of the arch. Although Quartet
No. 5 is no t diatonic i n a ny sense, each movemen t is centered a round a tone,
the first and fif th on Bb, the second, a third above on D, the fourth, a third
below on G, and the third on C # . Unity is achieved not only through the
arch structure and the related tone centers, but also through motivic relation
ships between all the movements. The first movement, in a type of sonata
allegro form, opens with a forceful rhythmic figure which combines with a
theme based on a chromatic progression opening into an augmented fourth
( tritone ) to f o rm the ke rnel mo tives of th e first a n d fif th movem en ts, T h e
second and fourth movements, ternary in form, run closely parallel ; for
example, trills in the former become pizzicati and glissandi in the latter, and
plain double stops become tremolo, The interval of the fourth is a highly
im por tan t mo tive i n both cases. T h e thi rd movem en t stands as a sha rp con trast
to the slow movem en ts encompassing i t. I t is wri t ten i n 9 / 8 time, bu t according
to its designation—alla bulgarese, in Bulgarian rhythm—each measure is sub
divided irregularly in groups of four, two, and three, The trio in 10/8, grouped
in three, two, two, and three, has a highly chromatic ostinato figure, first run
ning through the first violin part and later taken up by the other instruments.
This movement demonstrates the complete integration of the folk idiom in the
composer’s own personal style. A simple folk melody is introduced in the fifth
movem en t i n a n incongruous se t ting i n a short, humorous, polytonal section
showing still another aspect of Bartok’s use of folk material.
Patricia Isham
A reception honoring the Quartet and Quintet will be held in the
Green Room Lounge immediately following the concert. The audience is
cordially invited.
FUTURE EVENTS
SUNDAY, OC TOBER 12, 8 : 15 p.m.
Men’s Gymnasium
BUF FALO PH I LHARMONIC ORCHESTRA
Works by Ives, Kay and Copland
TUESDAY, OC TOBER 14, 8 : 15 p.m. BUFFALO PH ILHARMONIC ORCHESTRA
Works by Stravinsky, Korte and Liebermann
Men’s Gymnasium
SUNDAY, OCTOBER 19, 8:15 p.m. LENOX STRING QUARTET
MONDAY, OCTOBER 27, 8:15 p.m. NEW YORK WOODWIND QUINTET
�
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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Original Format
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4 sound tape reels
Duration
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24:17
32:33
32:08
13:03
Streaming Video
HTML For video
https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59529
OHMS Object
URL
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Streaming Audio
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59529">Lenox String 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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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
Lenox String Quartet Recital, September 28, 1969
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Reicha, Francaix, Mozart, Bartok. Held at 8:15 pm, September 28, 1969, Don A. Watters Theater.
Creator
An entity primarily responsible for making the resource
Lenox String 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
1969-09-28
Rights
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In copyright
Contributor
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Reicha, Anton, 1770-1836
Francaix, Jean, 1912-1997
Mozart, Wolfgang Amadeus, 1756-1791
Bartók, Béla, 1881-1945
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
39091020057778
39091020057828
39091020057877
39091020057927
-
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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24:50
15:08
40:27
Streaming Audio
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59535">Lenox String 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>.
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
Lenox String Quartet Recital
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Mozart, Zonn, and Beethoven. Held at 8:15 pm, October 19, 1969, Don A. Waters Theater.
Creator
An entity primarily responsible for making the resource
Lenox String 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
1969-10-19
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
Zonn, Paul, 1938-2000
Beethoven, Ludwig van, 1770-1827
State University of New York at Binghamton. Department of Music.
Identifier
An unambiguous reference to the resource within a given context
39091020057976
39091020058024
39091020058073
-
https://omeka.binghamton.edu/omeka/files/original/6848c7847b30cf939c77040394fb37ae.pdf
e491966a8862685ff3be85950e987c6f
PDF Text
Text
STATE
UNIVERSITY OF 1
TA BINGH AMTO N
70”
HARPUR COLLEGE
THE DEPARTMENT OF MUSIC
Presents
THE LENOX STRING QUART ET
i n residence
Paul Hersh, vio la , plano
Peter Mareh, v io l in
Delma r Pe ttys, v io l in , vio la Dona ld McCa ll, cel lo
wi th
THE NEW YORK WOODWIND QUINTET
i n residence
Thomas Ny f enger , fl u t e
Ralph Froe lich, Frenc h horn
David G lazer , c larine t
Arthur Weinberg, bassoon
GUEST ARTIST, ALVIN BREHM
doub le bass
8 :15 P .M.
The Don A . Hatt ers Theater
* " £ kx
fk
*
%
Monday, October 27, 1969
7”
Q ’ “ ' ' _ " “ ” " '
PROGRAM
Mozar t
Flute Quar tet i n D Ma jor, K . 285
Alleg ro
Adag io
Rondo
Bartok
S tr ing Q uar tet No . 3
Prima parte (moderato)
Seconds parte (alle g ro)
Ricap i tu lazio ne de l la pr ima parte (moderato)
In termi ssion
Beethoven
Septe t , E Ma jor, Op . 20
t t a k ’ k t
.
'
ttan Schoo l of Music
ALVIN BREHM i s current ly on the f acult y of the Manha
s wi t h whom he has
Group
and an Ar t is t– in–Residence at SUNY a t S tonybrook.
t ivals, New York
Fes
ls
Casa
perf ormed inc lude the Budapes t S tring Quar tet ,
composer h is
a
As
Ph i lharmon ic, and T he Contemporary Chamber Ensemble.
ia t ion,
Assoc
tral
s
works have been comm issioned by the Na t ional Orche
Wind Quin tet ,
ic
on
lharm
i
h
Amer ican Brass Qu in te t , ComposersThéa ter and the P
s
such place as Carnegie
Perf ormances of these works have been presented in
on Community Concert
Ha l l , Town Ba l l and Carnegie Reci tal H a l l as wa l l as
e and the Far East,
Tours and S tate Depar tment Tours throu ghout Europ
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF / Rosetta
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Original Format
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.)
20:04
40:15
17:02
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59540">Lenox String Quartet Recital</a>
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Title
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Lenox String Quartet and New York Woodwind Quintet Recital, October 27, 1969
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Mozart, Bartok, Beethoven. Held at 8:15 pm, October 27, 1969, Don A. Watters Theater.
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Lenox String Quartet
Publisher
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Binghamton University Libraries
Date
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1969-10-27
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Mozart, Wolfgang Amadeus, 1756-1791
Bartók, Béla, 1881-1945
Beethoven, Ludwig van, 1770-1827
State University of New York at Binghamton. Department of Music.
Type
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sound
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39091020059303
39091020059352
39091020059402
-
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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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35:39
36:21
38:06
31:41
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Father Haga Lecture
Subject
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Concerts
Instrumental music
Live sound recordings
Publisher
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Binghamton University Libraries
Date
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1969-10-30
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State University of New York at Binghamton. Department of Music.
Type
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sound
Identifier
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39091020058123
39091020058172
39091020057638
39091020057687
-
https://omeka.binghamton.edu/omeka/files/original/b61756ddd59f9d55940cb5889a6c15e3.pdf
e13d2cdd1ec068bfb22a51e7bca69c2e
PDF Text
Text
STATE UNIVERSITY OF NEW YORK AT BINGHAMTON
HARPUR COLLEGE
THE DEPARTMENT OF MUSIC
THE LENOX STRING QUARTET
in residence
Peter Marsh, violin
Delmar Pettys, violin, viola
Sunday, November 2, 1969
Paul Hersh, viola, piano
Donald McCall, cello
8:15 p.m.
Don A. Watters Theater
PROGRAM
Quartet No. 12 in C Minor (Quartett-satz)
Sincronie (1964)
Schubert
Luciano Berlo
Intermission
Piano Quartet No. 1 in G Minor, Op. 25
Allegro
Intermezzo (Allegro, ma non troppo)
Andante con moto
Rondo alla Zingarese (Presto)
FUTURE EVENTS
Sunday, November 16, 8:16 p.m.
HARPUR COLLEGE WIND. ENSEMBLE
Sunday, November 23, 8:15 p.m.
JEAN CASADESUS, Solo Recital•
Friday, December 5, 8115 p.m.
THE LENOX STRING QUARTET*
*Chamber Music Series
Brahms
�
Dublin Core
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Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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2 sound tape reels
Duration
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31:14
42:22
Streaming Audio
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59549">Lenox String Quartet Recital</a>
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Dublin Core
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Title
A name given to the resource
Lenox String Quartet Recital, November 2, 1969
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Schubert, Berio, and Brahms Held at 8:15 pm, Nov. 2, 1969, Don A. Watters Theater.
Creator
An entity primarily responsible for making the resource
Lenox String Quartet
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
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1969-11-02
Rights
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In copyright
Contributor
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Schubert, Franz, 1797-1828
Berio, Luciano, 1925-2003
Brahms, Johannes, 1833-1897
State University of New York at Binghamton. Department of Music.
Type
The nature or genre of the resource
sound
Identifier
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39091020057737
39091020057786
-
https://omeka.binghamton.edu/omeka/files/original/b033bf91b7391dc768040c15226294be.pdf
704404240b8b3ceda933134928519243
PDF Text
Text
CE) Binghamton Symphonette
FRITZ WALLENBERG, Conductor
presents a
Concert
SOLOISTS :
Georgetta Maiolo, Flute
Marianne Wallenberg, Violin
Christine Lindsay, Harpsichord
SUNDAY, NOVEMBER 9th, 1969, 8:16 P.M.
DoN A. Wynms Tumrm
�PROGRAM
Sonata for strings in Cmajor
G . Rossini
(norill!)
Allegro
Verklaerte Nacht (Transfigured Night) op. 4 .
A . Schoenberg
(1874–1951)
Almost twenty years after his death, Arnold Schoenberg still remains
the
most controversial composer of this cen tury. H is most popular work, i
ndeed his
only composition that has found any permanent place in the instrumenta
l reper
toire, is his op. 4, Transfigured Night. Written originally as a string s
extet, it
was later arranged by the composer for atrlng orchestra, in which f
orm it is most
frequen tly perf ormed. Although its rich quasiWagnerian harmonies aand
expres
sive melodies render it continually interesting as a purely musical exp
erience, it
was conceived as a tone poem following a literary plot. Based on
a poem by
Richard
Dehmel, the story tells of a woman who confesses to her lover that she is
pregnan t with the child of another man. She tells him how, before
she me
she became so afraid that life would pass her by and she would never be t him,
come a
mother that she gave herself to a virtual stranger. Now that she has fo
und some
one she truly loves, she is full of remorse and guilt. He assures her that
their love
has transformed them both, and the child will be his. While played withou
t inter
ruption, the music falls into tw o large parts, th e first reflecting the ang
uish of
the woman, the second the comforting words of the man.
Brandenburg Concerto No. 5 in Dmajor
Allegro
Affettuoso
Allegro
. J. S. Bach
(numo)
Andante
Moderato
Because Rossini is known to the music world as a composer of comic ope
ras,
many people are not aware of the considerable amount of instrumental
and piano
muaie he composed throughout his life. These works can best
be approached,
however, if one remembers that they were written by a master composer
of comi c
operas, even his very early sonatas for strings. Although these w
orks were writ
ten when their composer was still a student, indeed still a “teenage
r,” all the
characteristics that were later to endear him to singers and audiences
alike can
be found: a light entertaining sense of humor, lyric melodies suppor
ted by the
simplest accompaniments, a. profusion of ornaments and embellishments
decorat
ing these melodies, and a brilliant approach to virtuoso display. Thus,
these oom
parativsly simple works require especially skillf ul performers and
very precise
ensemble playin g to be properly realized. As if anticipating the arias he
was later
to write for comic bass voices, there appears a tri cky passage for
double bass in
the variations that comprise th e last movement of this sonata.
Symphony No. 29 in Amajor, K. 201
. W . A. Mozart
(17661791)
Allegro moderato
Bach’s Brandenburg concertos are among the finest examples of the Baro
concerto grosso. Unlike the solo piano or violin concerto, which became que
more
popular in the latter part of the 18th century, the earlier concerto
grosso f ea
tured a group of solo instrumen ts playing against a larger ensemble. In t
his con
certo, th e string orchestra is contrasted with a trio consisting
of a flute, solo
violin, and harpsichord. In the first movement, the large ensemble
continually
restates its ma jestic opening ritornello, or f ragments of it, while th
e solo instru
ments perform elaborate and in tricate figures. A surprise occurs near th
e end of
the movement as the instrumen ts recede into the background leaving th
e harpsi
chord exposed in a dazzling cadenza. In the second movement, the large
is totall y silent, and the trio performs alone. The last movement begins ensemble
with the
solo instruments playing a f ugue, which soon expands to include
the f ull en
semble once again.
INTERMISSION
Andante
Menuetto
Allegro con spirito
By his o wn statement, Mozart considered himself first and foremo
st a com
poser o f cperas. Many m usicologists consider his contribution to the
piano con
certo to be at least of equal value musically. Interestingly, although he
composed
many more symphonies throughout his life (his first was completed wh
en he w as
eight), and although the last few are among the greatest in the entire re
pertoire,
most of the others are hardly known, and rarely perf ormed. Probabl
y the finest
of the early symphonies is this one in A, in which the composer’s
uniquely lyrle
gif ts can be felt f rom the opening bars. It is this exceptionally a
ttractive theme
that appenrs at the open ing of th e first movement that re mains th
e most memora
hle melody in the listener’s mind. The slow movement beautif ully com
bines th e
elegance of the Classic style with the seriousness of Mozart’s
music at his
best.
Program Notes by Dr. Philip Friedheim
�MEMBERS OF THE SYMPHONETTE
Violins :
Ralph Wade
Marianne Wallenberg
Melba Sandberg
Nancy Robbins
Howard Meyer
J udith Niles
Betty Lou A gard
David A gard
Violas:
Russell Colton
Edward Pettengill
Richard Brooks
Fritz Loewenstein
Oboes:
Scott Eddy
Debbie Booth
French Horns:
Brian Sternberg
George Papastrat
Cellos :
R uth Brown
Timoth y Perry
Personnel Manager:
Bass :
Donal O’Buckley
Publicity :
Mrs. Stephen Smyk
Robert Knight
Lillian Burwasser
We wish to extend our thanks to the Evening Press, The Sun Bulletin, WNBF,
WINR, WKOP, WENE, WBJA, WEBO, HiFi Record Shop, Studio Book Shop,
Kent Drug Stores, Harpur College, Philip Conole, Mrs. Joseph Schwartz, Vestal
News, and to all other friends whose support has made this concert possible.
The Friends of the Symphony cordially invite you f or a reception to meet wi th
the artists in the Green Room immediately following the concert.
BINGHAMTON SYMPHONY AND CHORAL SOCIETY
Next : JOINT CONCERT
Sunday, Dec. 7, 7 :30 p. m . Binghamton West J unior High School
Program : Edward Elgar : The Dream of Gerontius
�
Dublin Core
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Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
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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.)
39:08
25:26
22:41
Streaming Video
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https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59555
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Streaming Audio
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59555">Binghamton Symphonette Concert</a>
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Binghamton Symphonette Concert, November 9, 1969
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Schoenberg, Bach, Rossini, and Mozart. Held at 8:15 pm, November 9, 1969, Don A. Watters Theater.
Creator
An entity primarily responsible for making the resource
Binghamton Symphonette
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
1969-11-09
Rights
Information about rights held in and over the resource
In copyright
Contributor
An entity responsible for making contributions to the resource
Schoenberg, Arnold, 1874-1951
Bach, Johann Sebastian, 1685-1750
Rossini, Gioachino, 1792-1868
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
39091020057992
39091020057943
39091020057893