46
10
1775
-
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1960's - present
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Binghamton University Music Department Tape Recordings
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Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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21:14
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54379">Haydn Recital</a>
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Haydn Recital
Recital Tape 1964-8-4
Subject
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Concerts
Instrumental music
Live sound recordings
Publisher
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Binghamton University Libraries
Date
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1964-08-04
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sound
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39091019619331
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https://omeka.binghamton.edu/omeka/files/original/86de71d7fe652afae44618e3eeac3ae9.pdf
88a19058dc6973ae69b80b8c3d02b028
PDF Text
Text
MDT-1
State University of New York
Harpur College
DEPARTMENT OF MUSIC
Student Recital
Music Rehearsal Room
October 15, 1964
4:30 P.M.
Sonata in Cm, Op. 10, No . 1 (Beethoven)
1st movement Allegro molto econ brio
May Night (Palmgren)
Mrs. Alberta Weisz, pianist
Prelude No. 8 in Ebm (J. S. Bach)
Impromptu in Ab (Schubert)
Ellen Leinwand, pianist
The Little Sheperd (Debussy)
Jeffrey Gimurich, pianist
___________________________________________________
THE HARPUR CHAMBER ENSEMBLE
Five German Dance Movements in four Parts
I. Valentin Hausmann (1599)
II. Johann Staden (1618)
III. Melchior Franck (1604)
IV. Johann Staden (1618)
V . Melchior Franck (1604)
Solo Cantata No. 8 "Mein Herz is bereit" (Buxtehude)
Clifford Myers, bass
Hymn and Fuguing Tune No. 2 for String Orchestra (Henry Cowell)
__________________________________________________
Members of the Ensemble
Violins
Patricia Isham
Paula Fenimore
Anita Walls
Anne Gaylord
Frances Duda
Viola
Howard Isham
Continuo
Robert Whitney
Cellos
Christine Livingston
Kathy Gruber
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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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31:08
14:00
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54329">Student Recital</a>
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Title
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Student Recital
Recital Tape 1964-10-15
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works by Beethoven, Bach, Schubert, Debussy performed by students: Patricia Isham, Paula Fenimore, Anita Walls, Anne Gaylord, Frances Duda, Howard Isham, Robert Whitney, Christine Livingston, Kathy Gruber.
Creator
An entity primarily responsible for making the resource
Isham, Patricia
Fenimore, Paula
Walls, Anita
Gaylord, Anne
Duda, Frances
Isham, Howard
Whitney, Robert
Livingston, Christine
Gruber, Kathy
Publisher
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Binghamton University Libraries
Contributor
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Beethoven, Ludwig van, 1770-1827
Bach, Johann Sebastian, 1685-1750
Schubert, Franz, 1797-1828
Debussy, Claude, 1862-1918
State University of New York at Binghamton. Department of Music
Date
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1964-10-15
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sound
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Student Recital Recital Tape 1964-10-15.pdf
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https://omeka.binghamton.edu/omeka/files/original/8aea77f3689347eaa96bd9f648882b6b.pdf
bae8daab762c9aee697008abfaa22832
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WP-112
About the Harpur Trio:
As members of the Harpur College Music Department, each
artist brings to the trio a unique training and background.
Patricia Isham, who holds degrees from Pomona College and
Columbia University, studied with William Kroll and Alexander
Schneider.
Myron Fink, well known as both composer and pianist, studied
at the University of Illinois with Burrill Phillips in Composition and
Stanley Fletcher in Piano.
Equally proficient as performer and musicologist, Dr. Harry
Lincoln holds degrees from Macalester College and Northwestern
University.
_________________________________
Announcements:
Friday, Nov. 20
Krainis Baroque Trio
Sunday, Nov. 29
Quarneri String Quartet
Sunday, Dec. 6
Quarneri String Quartet
Monday, Dec . 14
Christmas Program
(College Choir and Men's Glee Club)
__________________________________________
A reception for the Harpur Trio will be held immediately
following the concert in the Faculty Lounge, adjacent to
the Theater. Everyone is cordially invited.
THE HARPUR TRIO
Patricia Isham, Violin
Harry Lincoln, Flute
Myron Fink, Piano
November 7, 1964
8:15 P. M.
Harpur Theater
�
PROGRAM
Trio Sonata in C minor -------------------------J.J. Quantz
(1697-1773)
Andante moderato
Allegro
Larghetto
Vivace
Sonata in A, Op. 47 (Kreutzer ) for piano and violin--------Beethoven
(1770-1827)
Adagio sostenuto - Presto
Andante con Variazioni
Finale. Presto
****Intermission****
Jeux. Sonatina for flute and piano --------------J. Ibert
(b. 1890)
Animé
Tendre
Trio in Bb- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -C. P. E. Bach
(1714-1788)
Allegro
Adagio, ma non troppo
Allegretto
PROGRAM NOTES
The two trios by J. J. Quantz and C. P. E. Bach represent different
characteristic aspects of pre-classic music. Both men were employed
by Frederick the Great at Potsdam and Berlin, Quantz from
1728-177 3, and Bach from 1738-1767. They were composing during a
time of transition, when the "learned" and polyphonic style of the Baroque
was giving way to the new formal and expressive devices, ushering in the
Classical period. The trio sonata is a characteristic Baroque form in
which two treble instruments, either alike or of differing timbres, are
supported by a continuo, consisting of harpsichord and cello. The two
works on tonight's program may be played on two violins, two flutes or two
oboes, or any combination of these instruments. In Charles Burney's
account of his visit to Potsdam, he describes Quantz's music as "simple
and natural" but of a style that was in vogue forty years earlier. Bach,
according to Burney's description, is "rich in invention, taste, and learning,"
but richest in "expression." Quantz's Trio-Sonata represents the Baroque
tradition of the "church sonata" with its four movements alternating between
slow and fast tempi and its highly imitative interplay between the two solo
voices. Bach's three-movement trio lays a greater stress on "Empfindsamkeit"--
in which expression and sensitivity play the primary role.
The "Kreutzer" Sonata of Beethoven was first performed in 1803 by
the English violinist George Bridgetower with Beethoven at the piano. The
first two movements had evidently been sketched earlier in the year. At
the first performance the violinist was obliged to play from Beethoven's
own manuscript while the piano part was non-existent except for an occasional
jotting. The third movement had been composed the previous year for an
earlier sonata, Op. 31, No. 1, but had been laid aside as being too imposing
a movement for that work. When the sonata was published in 1805, Beethoven
dedicated it to Rudolph Kreutzer, with the remark that since the "sonata
was written for a thoroughly capable violinist, the dedication to him (Kreutzer)
is all the more appropriate." The sonata begins with an adagio introduction
stated by the unaccompanied violin---a unique device among Beethoven's
violin sonatas. The first movement in sonata-form is punctuated with
cadences extended by cadenza-like elaborations. In the second movement
both instruments play an equal role in spinning out the variations. Although
the first movement with the exception of the introduction is in A minor, the
third movement returns to the key of A major, as in the introduction, and
the work closes in brilliance and gaiety.
Early twentieth-century French composers have contributed greatly
to the flute repertoire. Ibert's Jeux, in spite of the subtitle Sonatina, is
rhapsodic in character . The first movement is characterized by a lively,
disjunct theme in 5/8 meter. The opening lyrical material of the second
movement is built to a climax by means of a canon between the two instruments.
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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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2 sound tape reels
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48:30
28:53
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54333">Harpur Trio Recital</a>
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Title
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Harpur Trio Recital
Recital Tape 1964-11-7
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Quantz, Beethoven, C.P.E. Bach, performed by Patricia Isham, violin, Harry Lincoln, flute, Myron Fink, piano.
Creator
An entity primarily responsible for making the resource
Harpur Trio
Isham, Patricia
Lincoln, Harry
Fink, Myron
Publisher
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Binghamton University Libraries
Contributor
An entity responsible for making contributions to the resource
Quantz, Johann Joachim, 1697-1773
Beethoven, Ludwig van, 1770-1827
Bach, Carl Philipp Emanuel, 1714-1788
State University of New York at Binghamton. Department of Music
Date
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1964-11-07
Rights
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In copyright
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sound
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Harpur Trio Recital Recital Tape 1964-11-7.pdf
-
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The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
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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4 sound tape reels
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46:42
30:03
31:07
38:50
35:52
Streaming Audio
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54337">Guarneri Quartet Reel 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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Guarneri Quartet Reel, 1964/65
Recital Tape 1964/65
Subject
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Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Guarneri Quartet
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Guarneri Quartet
Publisher
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Binghamton University Libraries
Date
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1964/1965
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In copyright
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sound
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39091019618945
39091019618994
39091019619042
39091019619091
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https://omeka.binghamton.edu/omeka/files/original/67b1032736b2b3423553f6b24e1bc583.pdf
88114d94a7bbd53dfb3071696a21319a
PDF Text
Text
THE HARPUR COLLEGE ORCHESTRA
VIOLIN I
Cukier, Robert
Concertmaster
Bernstein, Robert
Fenimore, Paula
Shope, Caroline
Wade, Ralph
Wallenberg, Marianne
Walls, Anita
VIOLIN II
Blauser, Henry
Duda, Frances
Gaylord, Anne
Gothelf, Sarah
Grupsmyth, George
Pettengill, Edward
Powazek, Irene
Robbins, Nancy
VIOLA
Colton, Russell
Herzog, Hedda
House, Laura
Isham, Patricia
CELLO
Battin, William
Gruber, Kathy
Livingstone, Christine
Zimmerman, Susan
BASS
Thomas, Richard
FLUTE
Jackson, Margaret
Cohn, Debbie
OBOE
Mohn, Abigail
Stolarcyk, Richard
CLARINET
McLellan, John
Abrahams, Arthur
Duncan, Candy
BASSOON
Walker, Stephen
Eddy, Scott
FRENCH HORN
Evansohn, John
McCool, Martha
TRUMPET
Harolds, Jay Allan
Drobak, John
TIMPANI
Levine, Lanny
ANNOUNCEMENTS
January 31 - 3:15 p.m. Guarneri Quartet
February 4 - 8:30 p.m. Jean Casadesus, pianist
February 5 - 8:15 p.m. Harpur College Dance Group
February 6 - 2:15 p.m. Harpur College Dance Group
February 6 - 8:15 p.m. Yale Russian Chorus
February 7 - 8:15 p.m. Guarneri Quartet
February 14 - 8:15 p.m. Harpur College Wind Ensemble
Harpur College Theater
THE HARPUR COLLEGE ORCHESTRA
Fritz Wallenberg, Conductor
January 24, 1965 8:15 P.M.
HARPUR THEATER
PROGRAM
Symphony No. 1 in C-major, Op. 21..................... L. van Beethoven
(1770 - 1827)
Adagio molto; Allegro con brio
Andante cantabile con moto
Menuetto. Allegro molto e vivace
Adagio; Allegro molto e vivace
The first performance of Beethoven's Symphony No. 1 took place on
April 2, 1800 at the Hofbergtheater, at which Beethoven made his
first public appearance. Sketches for the final movement can be found
among the counterpoint exercises Beethoven wrote for his teacher,
Albrechtsberger, in 1796. The Symphony itself was probably written
during the Winter of 1799-1800. A review of the concert in the
Allgemeine Musikalische Zeitung found the Symphony to have "much
art, novelty and wealth of ideas" but criticized it for "too much use of the
wind-instruments, so that the music sounded more as if written for
military band then an orchestra." The Introduction to the first movement
begins with a cadence in F, and two measures later a cadence in
G before settling into C major. The first subject of the second movement
is treated fugally . The Menuetto, actually a Scherzo, is built
upon a scale pattern. And the scale also dominates the final movement.
W. R. S.
****INTERMISSION****
Andante for Flute and orchestra, K. 315................. W. A. Mozart
(1756 - 1791)
Soloist: Marlene Bass
During his Mannheim tour in 1777-78, Mozart received a commission
from the Dutch amateur flutist, M. de Jean, to write six quartets and
six concerti for the flute. The letters of Mozart to his father bears
evidence that he did not cherish this commission. The important Flute
Quartet in D (K. 285) was soon followed by two quartets of lesser stature
(K. 285a and K. Anh. 171), which betray Mozart's waning interest in this
form. After writing the original Concerto in G major (K. 313), Mozart
took an earlier Oboe Concerto (K. 314), adapted it for the flute and
transposed it from C to D major. When it was apparent that M. de Jean
had no intention of rewarding Mozart for his effort, the commission was
left incomplete. The Andante in C (K. 315) may have been written with
a third concerto in mind or, as Einstein conjectures, it may be a substitute
for the second movement of the G major Concerto as M. de Jean
found the original slow movement a bit too difficult.
W. R. S.
Simple Symphony - for String Orchestra............... Benjamin Britten
(1913 - )
I. Boisterous Bourrée (1926)
II. Playful Pizzicato (1924)
III. Sentimental Saraband (1925)
IV. Frolicsome Finale (1926)
Benjamin Britten is the leading figure today in English contemporary
music. His genius has been recognized in works for voice especially,
including the operas "Peter Grimes," "Billy Budd," and very recently
"A Midsummer Night's Dream." Earlier works include "Les Illuminations
for solo voice and string orchestra and "A Ceremony of Carols" for
boys' voices and harp. All of his works are marked by great emotional
power, penetrating beauty, and a completely individual manner of writing.
This "Simple Symphony" is based entirely on material from piano pieces
which the composer wrote between the ages of nine and twelve. (The actual
date is printed after each movement. ) Although the development of the
themes is new in many places, there a re large sections which have been
taken from the early pieces - save for the re-scoring for strings. The
string orchestra "symphony" was written in 1934.
Three German Dances K. 605........................ W. A. Mozart
Upon Gluck's death in 1787, Mozart received the post of Royal and
Imperial Court Composer with the modest salary of 800 gulden annually.
However, if Mozart were to expect commissions for larger works, he was
soon disappointed. He merely had to supply dances for Imperial
occasions. The Viennese public, that had so warmly supported him a
few years before, had simply lost interest. So Mozart was soon to find
himself in financial straits, as the piteous letters to his friend, Michael
Puchberg, requesting money bear witness. In the first three months of
1791, in addition to the Piano Concerto in Bb (K. 595), two Fantasias for
mechanical organ and three children's song, Mozart wrote twelve sets
of dances; Ländler, Menuets and German Dances . In his catalogue of his
own works, the first two dances on tonight's program were entered
February 12, 1791. The third dance is missing. As the autograph is
lost, we must rely upon several manuscript copies to determine that
the three dances belong together. Mozart often used a humorous type
of orchestration in the Trios of his dances . The Trio in the third
dance entitled Die Schlittenfahrt (the Sleigh-ride) is an excellent example,
scored for Bassoon, two Posthorns, five tuned Sleighbells and Strings.
W. R. S.
�
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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32:38
25:10
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54344">Harpur College Orchestra Recital</a>
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Harpur College Orchestra
Recital Tape 1965-1-24
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Concerts
Instrumental music
Live sound recordings
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Works of Beethoven, Mozart and Britten.
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Harpur College Orchestra
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Binghamton University Libraries
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Beethoven, Ludwig van, 1770-1827
Mozart, Wolfgang Amadeus, 1756-1791
Britten, Benjamin, 1913-1976
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1965-01-24
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sound
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Harpur College Orchestra Recital Tape 1965-1-24.pdf
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https://omeka.binghamton.edu/omeka/files/original/0ee18bc7fb7fe2a74ae875a71d7293da.pdf
08b47027bdb0e2fa8e16f6cf23b6f8d1
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0
(J
I
0
(J
PRESENTED
BY
THE HARPUR COLLEGE CONVOCATIONS COMMITTEE
�INTERMISSION
NON-RUSSIAN AND COMPOSED MUSIC
PROGRAM
LITURG ICAL SONGS
Mozart
l.
Ave Verum
2.
Les Marina de Groix
Dutilleux
This is an arrangement of a tradi ti onal French song,
1,
Teb e Bohs Khvalim (Te Deum Laudamus)
Bortniansky
An offertory chant by Catherine the Great's c ourt composer,
the first Russian c omposer to make use of Western techniques.
3.
2,
Tebe Poem ( To Thee We Sing )
This song is sung in the Mass
Host,
Ne Sedl Jemo ( Don 1 t Sit Jemo)
Macedonian
Jemo, don't purs ue the slave-girl Fatima; you will be in
danger from t h a Turks, Furthermore,
Fatima mi ght be your
sister.
4.
Svete Ti kh ij (He avenly Light)
Kastalsky
Th is tw enti eth century ve spe r chant, a set ting of an el eventh
c entu r y me l ody to a third century text, effe ctively contrasts
Russi an and Byzant ine melodic formulae.
Kas Tie Tadi (Wh o Are Those?)
Who are those t h a t sing at sunset?
subject to a strict master.
5.
Bandura
Ukrainian
In this Uk ra i n i an song , a young man takes a bandura,en
Ukr ainian folk instrument, t h e better to expre s s his love.
Bl a zhen Muzh (Blessed
6.
z a Dunaem
Shaporin
Beyond the Danub e , there is marching aga inst t he Turks ;
at home in the gr een garden, a b e aut iful wife wept wh en
she l earned th at viol ent Vanya's
h ead had ro ll ed,
3.
Tchaikovsky
during t he consecration of the
Be The Man)
Tra ditional Chant
or t he Kie vo-Peche rsky Mona stery
This version of t he First Ps alm of Da vid da te s back to the
Si xte en th c ent ury,
FOLK AND SOLDIER SONGS
FOLK SONGS
1.
Ukra inian Cossack Song
Oi Na Hore ( On The Hi 11)
On the hi ll, the peas ants ar e mowing , but in the valley the
Coss a cks are riding.
l .
Paiduly Vyidulya (I'll Go To The Valley )
Gr et chaninoff
Down in t he valley a g irl goes to me et h er soldi er boyfriend. The song describes th eir c onvers ation.
2,
Kalinka (The Snowball
Vniz Po Matushk e Po Volge (Down The Mother Volga)
Down t he wide Mother
Volga , nothing c an be seen among the
waves except a sma ll boat. The c aptain sits at the stern
in a bla ck velv et c ape. A violent storm arises.
Nothing
is s een among the waves of the wide river.
3,
Akh Ty St ep ( Oh You St eppe So Wide)
Oh you steppes o wide, y ou Volga so free. It is no t an
eagle which rises
over the st eppe; it is a barge haul er
who has b roken f r ee. The eagle is warned not to r eturn
to t h e r iv er bank.
Varlamov
Metelitsa
(The Snow Storm)
A snowstorm sweeps along the street and beh ind it my beloved
walks. Linger, linger, my beloved one, and let me look at
you longer,
4.
Borodino
Po em by Lermontov
This s ong re c ounts the f amous battle of Borodino fought
against Napol eon in 1812.
2. Vdo l' Da Po Rechke (Along The Ka zanka River)
A young man walks along t he Ka zanka River and
pretty gi rl wi ll comb his hair.
3.
<0
5.
6.
Latvi an
They are all orphans
wonder s which
Vlotsa
The blue smok e curling from the chimneys, of bis village makes
the Co s s ack soldi er decide to fight harder.
Zhilo Dv ena dsat• Razboinikov (The Legend of The Twelve Brigands)
A fierce brigand chief, who has robbed and killed many people,
s uddenly has a ohang e of h eart, and enters a monastery as a
hermit. In the last line we find that it, is he himself who
tells this tale.
r
Tre e )
raspberry in the gar den rem inds the singer of
A little
the girl who s e love h e seeks.
Yekhal Ya Na Pobyvku (Furlough Time)
This song was written
after World War 11, As a soldier
h1t oh -h1 ke s home from Berlin, he decides that t he prettiest
girls live in his home village,
Unl es s otherwise indicated, these songs have been arranged by
Denis Mickiewicz.
�
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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1 sound tape reel
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33:24
33:33
Streaming Audio
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54382">Yale Russian Chorus Recital</a>
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Yale Russian Chorus
Recital Tape 1965-2-6
Subject
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Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Arrangements by Denis Mickiewicz.
Works by Tchaikovsky, Kastalsky, folk songs, soldier songs.
Creator
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Yale Russian Chorus
Publisher
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Binghamton University Libraries
Contributor
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Mickiewicz, Denis, 1929-
Tchaikovsky, Peter Ilich, 1840-1893
Kastalʹskiĭ, Aleksandr Dmitrievich, 1856-1926
Date
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1965-02-06
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sound
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Yale Russian Chorus Recital Tape 1965-2-6.pdf
-
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
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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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27:46
47:12
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54386">Harpur College Wind Ensemble Recital</a>
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Harpur College Wind Ensemble
Recital Tape 1965-2-14
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Frescobaldi, Persichetti, Haydn, and Dvorak.
Creator
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Harpur College Wind Ensemble
Publisher
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Binghamton University Libraries
Contributor
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Frescobaldi, Girolamo, 1583-1643
Persichetti, Vincent, 1915-1987
Haydn, Joseph, 1732-1809
Dvořák, Antonín, 1841-1904
Date
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1961-02-13
Rights
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sound
Identifier
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39091019619349
-
https://omeka.binghamton.edu/omeka/files/original/48e0360aa575bfdb4b5edb2c6bb00542.pdf
b2b9765745866e28a2d3304b292524bd
PDF Text
Text
HARPUR COLLEGE
1965 FESTIVAL OF THE ARTS
March 19 to April 7, 1965
Traditional and Avant-Garde Music - April 7, 1965
�HARPUR COLLEGE
THE DEPARTMENT OF MUSIC
presents a program of
Traditional and Avant-Garde
MUSIC
of the
TWENTIETH
CENTURY
�PROGRAM
First Rhapsody (1928) ········--···················--·-·---········--- ····-----· ········ Bela Bartek
"Lassu" -Moderato
"Friss"-Allegretto Moderate
Patricia Isham, violin
Myron Fink, piano
Syrinx (1912) -······-·-··············----················-· -· ----··············-····· Claude Debussy
Harry Lincoln, flute
Concerto for Piano Four Hands (1952) --···-··-·-······-·--·-· ···· Vincent Persichetti
Elizabeth Korte and
JoAnn Locke, pianists
INTERMISSION
Ernst Tech
Geographical Fugue (1930)
Cynthia Stone, Soprano
Pamela Starr, Contralto
James Baldwin, Tenor
Michael Pawlicki, Bass
Toshiro Mayuzumi
Metamusic (1960)
Patricia Isham, violin
Myron Fink, Piano
Wayne Webster, Saxophone
Stevan Leiden, Conductor
Anna Karenina, a cantata (1965) ........................................ Philip Friedheim
(Premiere Performance)
Pamela Starr, Contralto
Peter Wenz, Baritone
Harry Lincoln, Flute
Ellen Leinwand, Percussion
Smoking is Not Permitted in the Auditorium
�PROGRAM NOTES
*
In keeping with the theme of this year's Fine Arts Festival,
the Music Department will offer a program of twentieth-century
music composed for varied instrumental and vocal ensembles.
These represent both traditional and experimental elements from
the beginning of the century to the present. The first half of the
program consists of three works constructed according to moreor-less standard modern procedures, while following the intermission three works will demonstrate avant-garde and experimental approaches.
Much of Bartok's music contains melodic and rhythmic material derived from Slavonic folk mus ic. His first rhapsody for
violin and piano reveals these roots throughout. When the composer expands and develops this material , however, the tremendous force of his own personality dominates to such an
extent that one is invariably overwhelmed by the originality of
the music, and not distracted by the derivative elements. In this
work, two simple folk dances are magnified into a barbaric
composition of savage intensity.
In contrast to the violence of the open ing work , Debussy's
delicate Syrinx for solo flute represents a restrained example of
French Impressionism. An infrequently perfomed composition,
Syrinx offers the evocative atmosphere characteristic of Debussy's
more expanded compositions, while limited to a single melodic
line throughout.
Vincent Persichetti holds an honored position in the musical
world today for his multiple activities as composer, theoretitian,
and teacher. A distinguished teacher of composition at the
Julliard School, he recently published a major theoretical work
that attempts to organize the vast and complex area of twentiethcentury harmony into a coherent whole. His concerto for piano
four hands is the only work of this kind in the literature, and is
written in one uninterrupted movement. It contains a number of
striking exploitations of the sonoric possibilities of the piano .
The first number on the program to illustrate experimental
techniques is Ernst Toch's Geographical Fugue. The last movement of a suite entitled Spoken Music, it tries to recreate musical
effects through the medium of the spoken word. The device of
maintaining a musical structure while eliminating the musical
(continued on next page)
�Program Notes (cont'd)
medium is both intriguing as an idea and
fascinating as an aural experience.
5
6
9
Toshiro Mayuzumi is one of the leading young avant-garde composers today .
The element of chance often plays a
large part in his compositions . Rather
than performing all the details of a
completed score, the instrumentalist may
be offered only a set of possibilities to
be realized a number of different ways.
In the Metamusic (literally, beyond
music), each of the performers has his
own part, and each part proceeds independently of the others. Passages may
be repeated or omitted at will. The
ensemble decides in advance how long
each particular performance will last. In
regard to this work, which is, to say the
least, unusual, one might bear in mind
a sentence which John Cage, one of the
founding fathers of avant-garde music in
America, spoke here at Harpur College
three years ago. He said, "Perhaps I am
not composing music; I am merely creating a situation in which things happen."
The concluding work on the program is Philip Friedheim's cantata Anna
Karenina. Mr. Friedheim had two goals
in mind when writing this work. First,
he wanted to explore the relationship
between structure and form in such a
way as to transform a highly subjective emotional content into a totally objective abstract form. Second, acting
from an idea suggested by John Cage,
he has created a composition in which
the element of time is completely elim inated. Since the details surrounding the
construction of th is work are both complex and provocative, Mr. Friedheim will
deliver a short talk prior to the performance of his cantata expla i ning the compositional procedures involved.
�1965 FESTIVAL OF THE ARTS
MARCH 19 - APRIL 7
In past years, Harpur College has held an annual art festival which
featured events centered upon a unified theme. Thus, in 1961 the
festival was devoted to the Centennial of the Italian unification and last
year's festival honored the 400th anniversary of William Shakespeare's
birth.
The subject of this year's festival is the twentieth century. Scheduled events range from those products of this century which have
become standard "classics" to examples of the contemporary avant-garde
in the arts.
Among the major events are:
March 19, 20, 21
A production of The Trial by Franz
Kafka, adapted for the stage by
Andre Gide and Jean-Louis Barrault.
March 28
The premiere performance of Karl
Korte's 2nd String Quartet, performed by the Guarnari Quartet.
April 5
An evening of experimental films,
featuring Salvator Dali's The Andalusian Dog (Le Chien Andalou)
April 7
"Music in Mid-Twentieth Century";
musical works featuring the premiere performance of Philip Friedheim's Cantata Anna Karenina.
March 14-28
Photography '64. An exhibition of
the work of America's 25 foremost
photographers.
�
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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46:14
24:59
Streaming Audio
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54390">Traditional and Avant-Garde Music of the Twentieth Century 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
A name given to the resource
Traditional and Avant-Garde Music of the Twentieth Century
Recital Tape 1965-4-7
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works by Bela Bartok, Claude Debussy, Vincent Persichetti, Ernst Toch, Toshiro Mayuzumi, Philip Friedheim.
Creator
An entity primarily responsible for making the resource
Harpur College Festival of the Arts (1965)
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Contributor
An entity responsible for making contributions to the resource
Bartók, Béla, 1881-1945
Debussy, Claude, 1862-1918
Persichetti, Vincent, 1915-1987
Toch, Ernst, 1887-1964
Friedheim, Philip, 1930-1986
State University of New York at Binghamton. Department of Music
Date
A point or period of time associated with an event in the lifecycle of the resource
1961-04-06
Rights
Information about rights held in and over the resource
In copyright
Type
The nature or genre of the resource
sound
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Traditional and Avant-Garde Music of the Twentieth Century Recital Tape 1965-4-7.pdf
-
https://omeka.binghamton.edu/omeka/files/original/6c00f3e7454e396553a260859d77f5ed.pdf
90301d76725067fa684aa0c608765e2c
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Text
State University of New York
HARPUR COLLEGE, BINGHAMTON, N. Y.
The Department of Music
GUARNERI
presents
THE GUARNERI QUARTET
(in residence)
Arnold Steinhardt, violin
John Dalley, violin
Michael Tree, viola
David Sayer, cello
RECITALS
O SEASON 1964-65
I
Tuesday, August 4
Sunday, September 20
Monday, September 28
Saturday, October 3
Sunday, November 29
Sunday, December 6
Sunday, January 10
Sunday, January 31
Sunday, February 7
Sunday, Mar c h 14
Sunday , March 28
Sunday, April 4
Friday, April 30
Sunday, May 23
Sunday, May 30
All performances at 8:15 p. m .
in the Harpur College Theater
Ushering courtesy of
Alpha Phi Omega
OPEN REHEARSALS
The public is cordially invited to attend
the quartet's rehearsals, held the day
prior to each recital, at 3 p. m., in the
music room (CA-183) near the theater.
HARPUR
�NOTES
■
The Serenade Op. 25 is usually ascribed to the same period
(c. 1795-1797) as the Op.8 serenade, although not published
until 1802. These stylistically similar works, together with
the Septet Op. 20, are akin to the divertimento and represent
a lighter facet of Beethoven's chamber music. A divertimento generally consisted of many short, gay movements,
usually in major keys and based on simple binary or ternary
dance forms, designed to "divert" the listener. Op. 25 has
seven movements, the first being a type of fanfare to capture the attention of the audience. This is followed by a
minuet with two trios, the first devoted to the strings, the
second featuring the flute. The third movement presents
the only extended contrasting minor section of the work.
Then follows a simple theme with three variations, each
exploiting a different instrument, and a closing coda. The
fifth and sixth movements are very short - the former consisting of a lively scherzo and the latter serving as a slow
introduction to the rollicking rondo which closes the work.
■
Quartet No. 2 of Bartok, written between 1915 and 1917
while Bartok was a piano teacher at the Budapest Academy
of Music, foreshadows the style of his following four works
in this genre. Though deeply disturbed by the war, Bartok
continued his study of the folk music of his own country and
neighboring areas, imbibing and assimilating their musical
cultures. The characteristic elements of his style, a folklike idiom, thematic unity, and an architectonic musical
structure, begin to manifest themselves in this work. In
the first movement, Bartok uses the fourth (a favorite interval in folk melodies and in Bartok's later works) as a generating motive from which the other themes of the composition
are derived. Syncopations and constantly changing meters
join with the continuous contrapuntal interplay of the four
instruments to create a texture characterized by dissonance
and restless activity. In the second movement, a rondo of
barbaric and demonic force, Bartok continues to develop the
style he had introduced in his AllegroBarbaro of 1911. Driving rhythm, the masterful use of alternating major and
minor thirds and the tritone, and the employment of all the
percussive devices of which the string instruments are capable combine to give this movement amazing power and virility.
In contrast, the third movement with its folk-like parlando
style gathers the germinal motives from the other movements
into a reflective summation of the whole and closes the work
with a sense of unity and consummation.
■ The Quartet in G Major, Op. 161, the last quartet which
Schubert wrote, was composed between June 20 and 30, 1826.
Originally intended as the third in a group of quartets, Op.
29, this work was not published until 1851 and then as Op.
161, while the intended Op. 29 #2 ("Death and the Maiden")
was published posthumously in 1831 without any opus number. Thus only Op. 29 #1 in A Minor was published during
Schubert's lifetime. However, the first movement ofOp.161
was performed during his life at the only concert the composer gave of his own works, in 1828 on the anniversary of
Beethoven's death. This quartet is perhaps more orchestrally conceived than either of the preceding two and includes
tremolo sections and unison passages, which produce a
thicker texture than is usual for Schubert. The whole work
fluctuates between major and minor tonalities, evoking a
rapid interplay of light and shade. A dotted rhythmic figure
appearing in various guises in each movement promotes a
sense of unity. The cello is singled out in the second movement for a particularly lovely lyrical solo which Schubert
later set to words and used for a song in his cycle Die Winterreise. The trio of the third movement is a typically
Schubertian ländler with an ostinato accompaniment simulating bagpipes.
Patricia Isham
PROGRAM
Thirteenth Recital
Friday, April 30, 1965
SERENADE in D Major, Op. 25
BEETHOVEN
for Flute, Violin, and Viola
Entrata. Allegro
Tempo ordinario d'un Menuetto
Allegro molto
Andante con Variazioni
Allegro scherzando e vivace
Adagio
Allegro vivace disinvolto
(N. Dalley-flute; J . Dalley-violin;
M. Tree-viola)
QUARTET No. 2, Op. 17
BARTOK
Moderato
Allegro molto capriccioso
Lento
INTERMISSION
STRING QUARTET in G Major,
Op. 161
Allegro molto moderato
Andante un poco moto
Scherzo - Allegro vivace
Allegro assai
SCHUBERT
�
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Coverage
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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2 sound tape reels
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55:22
45:23
Streaming Audio
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54394">Thirteenth Recital Guarneri Quartet</a>
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Title
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Thirteenth Recital Guarneri Quartet
Recital Tape 1965-4-30
Subject
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Concerts
Instrumental music
Live sound recordings
Description
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Works by Beethoven, Bartok, Schubert.
Creator
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Guarneri Quartet
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Binghamton University Libraries
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Beethoven, Ludwig van, 1770-1827
Schubert, Franz, 1797-1828
Bartók, Béla, 1881-1945
State University of New York at Binghamton. Department of Music
Date
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1965-04-30
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sound
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Thirteenth Recital Guarneri Quartet Recital Tape 1965-4-30.pdf
-
https://omeka.binghamton.edu/omeka/files/original/2fc9bab0b9426ce97fbcce9d0fe6a3c4.pdf
02f4ce4c49857df3d64a171d1905d639
PDF Text
Text
Harpur College Orchestra
May 21, 1965
Notes
Vivaldi is remembered today chiefly for his instrumental works, but he was a
prolific composer in all genres, a brilliant violinist, and the professor of violin
and maestro dei concerti (from 1716) at the Ospitale della Pietà in Venice (a ·conservatory
for foundling girls) . It was in the latter capacity that he composed his numerous concerti
grossi, concerti ripieni, and solo concertos (over 400), for he had to provide his students
continuously with fresh material. The Concerto in E. Minor, found in manuscript in
Turin, demonstrates a half-way point between the concerto grosso with its two opposing
groups and the opera overture or sinfonia, for it has neither solo parts nor introduces
an opera. Thus it falls in a category designated by Vivaldi as a concerto ripieno, in
which the four string sections are equally balanced and polyphonically used. The first
and last movements of this particular work are very contrapuntal, while the second move ment is lyric and homophonic. A proof of the individuality and provocative character
of Vivaldi's works lies in th e fact that J. S. Bach later used many of them as raw material
for his own compositions. Vivaldi himself often used his own themes more than once and
another concerto of his opens with a theme very similar to the first theme of the first
movement in this work. His themes are often characterized by repe ated notes while his
general style is identifiable by its rhythmic drive and vitality.
STATE UNIVERSITY OF NEW YORK AT BINGHAMTON
Harpur College
***
Wagner compos e d the Siegfried Idyll in 1870 as a birthday present to his wife Cosima
and it was performe d as a serenade by a small orchestra on the stairway of their home.
One of the few pieces of "absolute" music Wagner wrote , it is based on two themes he had
written earli e r in 1864 and had intended for a string quartet. The piece is scored for
strings, flute, oboe, basoon, trumpet, 2 clarinets, and 2 horns, and is delicately and
intricately orche strated. Although written in one movement it has several sections
pre senting a variety of moods and t extures.
***
One of the most prolific compos e rs flourishin g during th e first half of the eighteenth
century, Georg Philipp T e l e mann (1681-1767), composed over 170 concertos, besides
numerous other works ran g ing from ope ras to fantasias for solo violin. His fame as a
composer and particularly as a contrapuntalist sp re ad throughout Europe, and twice he was
giv e n pre c edence over Bach in b e in g offe red positions. (It was only after he and a second
choice had refus e d th e covete d post of twon musi c director and cantor of th e Thomasschule
at Leipzig that Bach was offere d this position.) Tele mann served at Hamburg from 1721
until his death as town music director, composing and directing operas, passions, cantatas, and various chambe r ensembles. His works refle ct many diverse influences including the ornate Italian opera, the French suite, the polyphonic concerto grosso, and
the simpler, folk-lik e divertimento. This conc e rto derives its form from the Baroque
Sonata da chiesa or church sonata with four movements of alternating tempi, the first
and third being slow, th e forme r in duple and th e latter in triple meter. It also contains
elements of the concerto grosso, in which two groups of different size are contrasted; here
the oboe takes the place of the smaller group (concertino), which is pitted against the
main body of strings (the ripieno).
Haydn composed the Symphony No. 99 in 1793-94 during the interim between his two
trips to London. This was the seventh of the so-called "London Symphonies"--Nos. 93-10 4 - ·•
written for the impressario Salomon, who had arranged Haydn's visit to London and conducted his concert series there . It is the first symphony in which Haydn used the clarinet
although he had used it previously in other works. The first movement opens with a slow
introduction followed by an allegro in sonata form. The second theme upon which the
development section is based proves to be of greater significance than the first theme, and
the recapitulation continues to develop and expand this subject matter. The second movement is cast in a deeper, more meditative mood, contrasting sharply with the gay, folklike quality of the minuet. The contrapuntal character of the last movement, calling for
fugue-like imitation at breathless speed, forms a fitting and joyful climax to the work.
***The Harpur College Orchestra***
Fritz Wallenberg, Conductor
Friday, May 21
8:15 P. M.
Harpur Theater
�The Harpur College Orchestra
PROGRAM
-------------
Concerto in e -minor for strings . . . . . . . . Antonio Vivaldi
(1678
-
1741)
Violin I
Fenimore, Paula - Concertmaster
Isham, Patricia
Prytula, Christine
Robbins, Nancy
Wallenberg, Marianne
Walls, Anita
All egro mod e rato
Andante
Allegro
Siegfri e d Idyll. . . . . . . . . . . . . . . . . . . . . . . . Ri c hard Wagner
(1813
-
1 883)
Concerto for Oboe and strings in e-minor ..
George Philipp Telemann
(16 81
-
1767)
Andant e
Violin II
Blauser, Henry
Duda, Grances
Gaylord, Anne
Gothelf, Sarah
Grupsmith, George
Loew enstein, Fritz
Powazek, Irene
Viola
Colton, Russell
Colton, Martha
Sajor, Laurie
Cello
Battin, William
Gruber, Kathy
Livingstone, Christin'?
Zimmerman, Susan
All eg ro molto
Largo
Bass
Duroche, Leo
Flutes
Jackson, Margaret
Cohn, Debbie
Oboe
Mohn, Abigail
Stolarcyk, Richard
Clarinet
Abrahams, Arthur
Duncan, Candy
Bassoon
Walker, Stephen
Eddy, Scott
French Horn
Evansohn, John
McCool, Martha
Trumpet
Maye r, Jack
Backlund, Fred
Timpani
Iacovazzi, Frank
All e gro
Continuo
Robbins, Donald
Harpsichord: Courtesy of Donald Robbins
Soloist : Laila Storch
INTERMISSION
Symphony No .
99 in e -flat major.
. Joseph Haydn
(17 3 2 -
1809)
Adagio; Vivace assai
Ad ago
Menuetto Allegretto
Vivace
�
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The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
Template: PDF / Rosetta
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Original Format
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2 sound tape reels
Duration
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43:02
28:32
Streaming Audio
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54398">Harpur College Orchestra 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
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Harpur College Orchestra
Recital Tape 1965-5-21
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works by Vivaldi, Wagner, Telemann, and Hayden.
Creator
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Harpur College Orchestra
Publisher
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Binghamton University Libraries
Contributor
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Vivaldi, Antonio, 1678-1741
Wagner, Richard, 1813-1883
Telemann, Georg Philipp, 1681-1767
Haydn, Joseph, 1732-1809
State University of New York at Binghamton. Department of Music
Date
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1965-05-21
Rights
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In copyright
Type
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sound
Identifier
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Harpur College Orchestra Recital Tape 1965-5-21.pdf