47 10 1775 https://omeka.binghamton.edu/omeka/files/original/da04e0eb3a3bc862db9196e53cc1de5a.pdf 994c2e516d5ffc15362e5dc0dcb77a79 PDF Text Text NOTES Continued ■ Beethoven's Quartet Op. 135 was begun in July 1826 while the composer was working on Op. 131 and was completed around the first of October. Although this work has not the monumental proportions of the other late quartets, the very c one iseness of its motives and the extreme economy of their development, combined with the amazing variety of the contrapuntal texture, place it among the greatest. In the first movement, based on a series of short question and answer motives, the sonata-allegro form takes on new meaning through the ceaseless interweaving, variation, and contrapuntal manipulation of these motivic fragments. Reminisc enses of both the main fugal theme of Op. 133 and of its second main variation are found interwoven with a motive very suggestive of the Theme Russe in Op. 59 #2. The second movement, a scherzo and trio although undesignated as such, features a simple bass line in the cello against which the violins play a syncopated harmonization. The trio section opens with a scale-like subject, which, however, gradually ascends by stepwise modulations until it reaches a wild climax in a Bacchanalian dance in which the first violin cavorts with wide-spread leaps accompanied by a frenzied ostinato in the lower strings. In the expressive thi rd movement Beethoven approaches most nearly the meditative mood of the other late quartets. The fourth movement has achieved prominence as the source of a typical Beethovenian anecdote. Beethoven wrote in the manuscript over this movement, Der schwer gefasste Entschluss (the difficult resolution), and placed the motive and its inversion at the top with the words Muss es sein? (Mustitbe ? ) and Es muss sein! (Itmustbe). Various accounts as to the origin of this question and its answer have been given by Beethoven's biographers. One relates that Beethoven held this conversation weekly with his housekeeper when she requested money. Another says thi s refers to an episode in which Beethoven had to copy his own manuscript and was bemoaning the lack of copyists, while still another claims it deals with an incident of a publisher requesting money from Beethoven. What is definitely known is that Beethoven wrote a canon to Ignaz Dembscher on these words in April 1826, later incorporating the motive i n his quartet. The movement opens with a slow and somber minor introduction based on the questioning motive, followed by an eighth note passage which occurs later in a lighter guise in the allegro. The actual body of the movement in allegro presents the inverted motive as the reply and is worked out with the most masterful contrapuntal variety ending with a delightful pizzicato coda leading into a fortissimo affirmation of the motive. Patri cia Isham I 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 quartets of Mozart are often divided into two groups: the sixteen early quartets, written between 1770 and 1773, which reflect his knowledge of the pre-classic Italian and Mannheim symphonists and are primarily homophonic in texture, and the ten "great" quartets, dating from the years 1782-1790, which show the influence of Haydn and can be numbered among the highest achievements of the mature Mozart. K . 171, the fourth in a set of six quartets written in Vienna in 1773, lies within the former category, but its texture reveals a more idiomatic treatment of the string quartet medium than the preceding works. The seventeenyear old Mozart had recently become acquainted with the Op. 17 and Op. 20 quartets of Haydn, in which the older man had introduced a more contrapuntal texture and a greater independence of the individual voices than are found in his earlier works. Thus, in K. 171 passages of imitative and polyphonic writing alternate with those in unison or in homophonic style, as in the first and second movements. At times, such as the Andante movements, Mozart reveals a lyricism and ornamentation akin to that of W. F. Bae h. Thus this set of quartets (K. 168-173} marks a transitory phase in Mozart's quartet writing and stands as an interesting example of the formative stage in the life of this great master. State University of New York HARPUR COLLEGE, BINGHAMTON, N. Y. The Department of Music presents THE GUARNERI QUARTET (in residence) Arnold Steinhardt, violin John Dalley, violin Michael Tree, viola David Soyer, cello PROGRAM Fourteenth Recital Sunday, May 23, 1965 QUARTET in þÿ E&m Major, K. 171 MOZART Adagio-Allegro assai-Adagio Menuetto ■ Bartok's Quartet No. 5, commissioned by the Elizabeth Sprague Coolidge Foundation, was composed between August 6 and September 6, 1934, after his return from Turkey, where he had been collecting folk songs for the Hungarian Academy of Science. In this work and the preceding quartet (1928), Bartok' s style changed decidedly from the more dissonant and expressionistic music of the early twenties. He described his music as increasing in polyphonic complexity as it became harmonically simpler, while folk elements were totally integrated. These two quartets (Nos. 4 and 5) are constructed in an architectonic arch form, in which the first and fifth movements and the second and fourth movements reflect each other in mood and thematic material while the third movement, in each case, is the keystone of the arch. Although Quartet No. 5 is not diatonic in any sense, each movement is centered around a tone, the first and fifth on þÿ B&m 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 relationships 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 form the kernel motives of the first and fifth movements. The 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 important motive in both cases. The third movement stands as a sharp contrast to the slow movements encompassing it. It is written in 9/ 8 time, but according to its designation alla bulgarese, in Bulgarian rhythm - each measure is subdivided 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 running 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 movement in an incongruous setting in a short, humorous, polytonal section showing still another aspect of Bartok' s use of folk material. (Continued on back) Andante Allegro assai STRING QUARTET No. 5 BARTOK Allegro Adagio molto Scherzo, alla bulgarese Andante Finale. Allegro vivace INTERMISSION STRING QUARTET in F Major Op. 135 BEETHOVEN Allegretto Vivace Lento assai, cantante e tranquillo Finale: Grave, ma non troppo tratto - Alle gro � 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&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;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:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 51:59 26:44 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54402">Fourteenth Recital Guarneri Quartet Recital</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fourteenth Recital Guarneri Quartet Recital Tape 1965-5-23 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works of Mozart, Bartok and Beethoven. Creator An entity primarily responsible for making the resource Guarneri Quartet Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Mozart, Wolfgang Amadeus, 1756-1791 Bartók, Béla, 1881-1945 Beethoven, Ludwig van, 1770-1827 State University of New York at Binghamton. Department of Music Date A point or period of time associated with an event in the lifecycle of the resource 1965-05-23 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context Fourteenth Recital Guarneri Quartet Recital Tape 1965-5-23.pdf https://omeka.binghamton.edu/omeka/files/original/81389031c2886debc8450d567cae5d0f.pdf e1d5d34a73c8083a03e5123a538dcaae PDF Text Text WP- 5 State University of New York at Binghamton Harpur College T H E D E P A R T ME N T OF lI U S IC STUDENT RECITAL From the Studios of: Roberta Schlosser 9 voice Elizabeth Korte and MIyron Fink , piano Patricia Isham, violin Laila Storch, woodwind quintet Sunday 9 June 6, 1965 College Theater 3:00 P.M. PROGRAM Romance in G Paula Fenimore 9 violin Barbara Garges 9 piano Prelude and Fugue in D Major James Baldwin, piano Beethoven J. S. Bach Duet: "La ci darem la mano" (Don Giovanni) Malita Frogate, soprano Paul Darnell , bass W. A. IIozart "Non piu andrai" (Le Nozze di Figaro) baritone Paul Darnell , W. A. Mozart Nocturne Michael Pawlicki, piano Scenas Infantis Corre, Corre Roda, Roda Marcha 9 Soldadino Dorme, Nene Salta, Salta Duo Pianists: Ellen Leinwand Cecile Berkowi tz Chopin Octavio Pinto �-200 Passacaille Quintet A. Barthe in Eb Major, Op. 88, No. 2 A. Reicha Lento-Allegro Noderato Andante grazioso Allegro Molto Woodwind Quintet: Margaret Jackson, flute Arthur Abrahams, clarinet Abigail Mohn, oboe Stephen Walker, bassoon John Evansohn, horn INTERMISSION Concerto in þÿB&m, K. 191 Andante Allegro Steven Leiden, tuba Philip Friedheim, piano 0 Mozart Schumann Four Lieder Widmung Hor ich das Liedchen Klingen Ein Jungling liebt ein Mädchen Wanderlied Paul Dieke, tenor Allegro from Sonata in D, K 205 Alice Stitelman,piano Mozart "Stride la vampa" (Il Trovatore) Debbi Pollack, mezzo soprano "M' Verdi appari" (Hartha) John Taylor, tenor von Flotow "Voi lo sapete" (Cavalleria Rusticana) Millicent Conklin, soprano Scaramouche Vif Modéré Brazileira Duo Pianists: Ellen Leinwand Cynthia Stone *** Vocal Accompanist - Barbara Garges Mascagni Milhaud � 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&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;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:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 3 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 29:14 32:59 33:47 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54406">Student Recital</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Student Recital Recital Tape 1965-6-6 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works by Beethoven, J. S. Bach, W. A. Mozart, Chopin, Octavio Pinto, A. Barthe, A. Reicha, Shumann, Verdi, von Flotow, Mascagni, Milhaud Creator An entity primarily responsible for making the resource Scholosser, Roberta Korte, Elizabeth Fink, Myron Isham, Patricia Storch, Laila Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Beethoven, Ludwig van, 1770-1827 Bach, Johann Sebastian, 1685-1750 Mozart, Wolfgang Amadeus, 1756-1791 Pinto, Octavio, 1890-1950 Barthe, Adrien, 1828-1898 Reicha, Anton, 1770-1836 Verdi, Giuseppe 1813-1901 von Flotow, Friedrich, 1812-1883 Mascagni, Pietro, 1863-1945 Milhaud, Darius, 1892-1974 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 1965-06-06 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context Student Recital Recital Tape 1965-6-6.pdf https://omeka.binghamton.edu/omeka/files/original/b79649e747c764e819e6283d78ccab7d.pdf 8c3cb679a97ffdd92c47b3d546eb9574 PDF Text Text i- 2 BARITONES Jeffrey Fitzgerald William Grossman Ronald Gruen Mark Selsby BASSES Roy Brown Paul Darnell Danny Dushman Bert Edelstein Stephen Hiller Danny Lippiner State University of New York at Binghamton HARPUR COLLEGE ORCHESTRA Violins Pat Isham Concertmaster Nancy Robbins Judy Niles David Einfeldt Edward Pettingill (Principal) Edith Osborne Fritz Loewenstein Sarah Gotthelf Violas -i'lussell Colton (Principal) Martha Colton Anne Ziegler Howard Isham Cellos Ruth Brown (Principal) Christine Livingston Kathy Gruber Bas s --reo Duroche (Principal) David Wilson Flutes M a r l e Bass ne Esther Hall Oboe --XOigail Mohn Clarinets Arthur Abrahams Candace Duncan Bassoons Steve Walker David Gagne Horns John Evansohn Brian Sternberg Martha McCool Steven Fry Trumpets William Lockwood P e ter Boor Richard Hamlin MUSIC OF THE TWENTIETH CENTURY College Choir Men's Glee Club Orchestra Trombones James Babbitt Stephen Phinney Fra nk Kearly Tuba Stevan DAVID BUTTOLPH Condu ctor Leiden 8:30 p. m. June 11 , 1965 Timpani Lanny Levine HARPUR THEATER Percussion Donald Seely Organ -reeEngstrom �HARPUR COLLEGE CHOIR PROGRAM 0, Clap Your Hands . . . . . . . . Ralph Vaughan Williams with Brass Choir, Timpani and Organ To Be Sung On A Summer Night . . . Frederick Delius This Have I Done For My True Love . . . Gustav Holst 1st SOPRANOS Virginia Baker Marcia Burnett Judith Elterman Malita Frogate Sydell Horowitz Chrystyna Prytula Elizabeth Robbins Kathleen Zaslovsky 2nd SOPRANOS Carol Anthony Sue Best Beverly Calistri Millicent Conklin Cathy Dellapenta Candy Duncan Nancy Kliban Kay Kosinski Alice Stitelman Cynthia Stone 1st ALTOS Sue Be rnhardt Elaine Bolton Linda Fishkin Ellen Leinwand Linda Lewis 2nd ALTOS Simone Buelta Joy Cejka Martha Davis Mary Beth Hoban Margaret Jackson Pamela Starr TENORS John Bennethum Harvey Bornfield Paul Dieke Benjamin Erlitz Alan Hardy Zane Kalter John Taylor BASSES James Baldwin David Crowe Paul Darnell Seth Kasten Michael Pawlicki Alan Sturdevant Peter Wenz Gilroy Zuckerman HARPUR COLLEGE CHOIR Don't Leave Me Only Tell Me Bela Bartok HARPUR COLLEGE CHOIR Four Slovak Folk Songs . . . . . Soldier's Song . . . . . . . . . with Trumpet and Snare Drum . Bela Bartok Zoltan Kodaly MEN'S GLEE CLUB The Gong of Time . . . . . . . . . . . . . . Robert Starer with Brass Quartet Song of the Open Road . . . . . . . . . . Norman Dello Joio William Lockwood, Trumpet Solo Cynthia Stone, Piano HARPUR COLLEGE CHOIR Choir Officers: - - Intermission - Te Deum . . . . . . . . . . . . . . . . . . Zoltan Kodaly assisted by Betty Hartman, Soprano Soloist and members of the Harpur College and Community Orchestra. I Choir Librarian: Accompanist: Alan Hardy, Martha Davis, Paul Darnell, Peter Wenz Kay Kosinski Cynthia Stone MEN'S GLEE CLUB 1st TENOR Roy Gordon Zane Kalter John Taylor 2nd TENOR John Bennethum David Crowe Alan Hardy � 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&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;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:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 30:38 28:57 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54197">Music of the Twentieth Century College Choir, Men's Glee Club, Orhcestra, David Buttolph, Conductor</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Music of the Twentieth Century College Choir, Men's Glee Club, Orchestra, David Buttolph, Conductor Recital Tape 1965-6-11 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource College Choir, Men's Glee Club, Orchestra, David Buttolph, conductor. Works by Ralph Vaughan Williams, Gustav Holst, Bela Bartok, Zoltan Kodaly, Robert Starer, Norman Dello Joio. Creator An entity primarily responsible for making the resource Harpur College Choir Buttolph, David, 1902-1983 State University of New York at Binghamton. Department of Music Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Vaughan Williams, Ralph, 1872-1958 Holst, Gustav, 1874-1934 Bartók, Béla, 1881-1945 Kodály, Zoltán, 1882-1967 Starer, Robert Dello Joio, Norman, 1913- Date A point or period of time associated with an event in the lifecycle of the resource 1965-06-11 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context Music of the Twentieth Century College Choir, Men's Glee Club, Orchestra, David Buttolph, Conductor Recital Tape 1965-6-11.pdf https://omeka.binghamton.edu/omeka/files/original/99eea5f25e4c63cb1c8a78693ab4fbae.pdf e21c8e0df4c68826296b77f007c547ae PDF Text Text GUARNERI SEVE VARIA TIO S BEETHOVE on "Bei Manne rn welche Liebe fuhlen" fr om Mozart's The Magic Flute SO ATA in E Mino r, Op. 38 BRAHMS Allegro non troppo Allegretto quasi menuetto Allegro I TERMISSIO DEBUSSY SO ATA in D Minor (1915) Prologue Serenade Finale SONATA in G Mino r, Op. 19 HARPUR RACHMA Lento - Alleg r o moderate Allegr o scherzando Andante Allegr o mosso David Soyer, cello Zaidee Parkinson, piano SU SEASON 1965-66 ER SERIE Fifth Rec i ta! Sunday, October 10, 1965 ov �NOTES by Patricia Isham ■ Be ethove n's l as ting interest i n the va r iation fo r m i s evince d by t he more than t hi r ty compositions of this type whi ch he wr ote during his lifetime (not incl uding move ments within l arger wo r ks), wnd his musi cal de ve l opm ent can almost be t r aced in his handling of this form . The t hree sets of variations for ce llo and piano (two based on themes fr om M ozart's Magic Flute and the other on one from H andel ' s Judas Maccabäus ) exe mplify his earl y use of this formal structur e al ong lines cl ose l y adhering to those of Haydn and M ozart. M ozart's Th e Magic Flute had been pr oduced earl y in 1801 in Vienna and had been greeted with great ac c l aim, and its subsequent popul arity pr obabl y pro vi ded B eethoven with the stimul us to wri te the Sev en Varia t i ons (180 1) dedicated t o Count von Browne. Mozart's simple fourteen - measure m el ody is divided into two paralle l antecedent phrases of four m easur es each and a contrasting consequent phrase of six me asur es, and B ee thoven adheres to this structural design throughout. The cello and piano alternate in presenting and imitat in g the material in the four measure phrases, but often j oin in dialogue in the co nsequent phr as e . T he orna m entation in the first thr ee variations be co mes success ivel y co mpl ex in the use of thi r t y -s econd notes, trill s, and other embellishments . T he minor mode is used in the fourth variati on while the fifth, sixth and seventh va riations are given differ ent tempo indica ti ons - "Allegretto," "Adagio," and "Allegro ma non tr oppo" r espe cti ve l y . T he seve nth va riation is extend ed by a coda which modul ates to C minor, but the composition closes with a return t o the opening gigue - like rhythm and gaiety of this fina l variation . ■ The Sonata for ce llo and piano, Op . 38, was the first of seve n sonatas Brahms wr ot e for piano and s ol o instrum ent, (two for cello, three for violin, and two fo r cl arinet). T he first two movements were writ ten in 1862, with an Adagio which B rahms l ater des tr oyed , while the final Allegro was not co mposed unti l 1865. Dedi cat ed t o Josef Gansbacher, a profess o r at th e Vi enna Akad emi e, the sonata abounds with many of Brahms' chara ct eristi c passages -- syncopations hei ghtene d by ti es over the ba rl ines, unmetri cal acc entuations, wide-spaced l eaps, and m el odi es present ed in parallel thirds or sixths or in thi ck chor ds . Gei ringer in his book on Brahms suggests the who l e sonata might be in homage to J. S . Bach . He points out a possible r el ati onship betwee n the first th em e of the first movement and B ach's Third Cont rapw1 ctus from the Art of the Fugue and again a m a rked sim il arity betwee n t he them e of Brahms ' fugu e subject in the last m ove m ent and that of Cont r apunctus 13 fr om th e sam e work of Ba ch. T he fir t m ovement i n sonata fo r m expl o res t he l yric potentia l ities of U1e cello's l o west r egi st er , but the deve l opm ent section r ea hes a cli max of g r eat intensity with arpeggios and widespaced l eaps in both instrum ents. T he second movement is built on a four-note figur e first pl ayed by the piano , which forms the k e rn el m oti ve of both the Quas i Menuetto and its contrasting tri o . T he final e is a thr ee - part fugu e, in which the subj t is stated in th e bass r egister of th e piano, i answered by the ce llo and is stated th e third tim e in the treb l e r egis t e r of th e piano . T his m ov m ent co m ines the el em ents of fugue and sonata form, f o r the fu ga l expos iti on is fo llowed by a deve l opm ent section of gr eat complexity in which the fugue subject r eappea rs in inver si on and various other guises . I n th e r ecapitu l a i on Brahms expands th e fugu e into a quasi-triple fugu e by pres enting both his f o rm e r counte rsubj ects simu l taneousl y with each entry of the fugu e subj ect. T he m ove m ent cl os es with a Piu Pre to of gr at brilliance and vi rtuosit y . ■ D ebussy's only ce llo sonata, compl eted in 19 15, was the first of a project ed gr oup of six sonatas . T he su ccee ding two works for flut e, viol a, and ha r p and for violin and piano wer e finish ed, but of th e fourth contemp l ated wor k onl y th e instrum entati on -- oboe, horn, and ha r psi chord -- is known. Wilfrid M ell ers in his dis cussi on of Debuss y suggests that the co mpos er was preoccupied with the contradictions r epresented b y Harlequin in ol d Italian co m edy -- the co ntrasts b etwee n the m y thol ogical , idea l ized wor l d and the wo r l d of sor did r ealit y . I n the ce llo sonata, for which D ebussy proposed the epigraph " Pie r r ot fâché avec la l une ," he juxtaposes these el ements and expresses his own disillus i onment. T he sonata op ns with a rhaps odic Prologue in which fragmentary melodic arabesques appear in eve r- changing va r iants, intensified by rhythmi c fr eedo m and changes of tempo . T he second m ove m ent éré n ad enlists va ri ous novel effects t o make the cello simulate a mandolin, a guitar , a flute, or a tamb ourine . M ell e r characteriz es this "fr ustrated" m ove m ent as "the m os t signiii ca ntly modern ." T he Final is gaye r and more fo lk-like in (Continued) �State University of New York at Binghamton, HARPUR COLLEGE The Department of Music presents THE GUARNERI STRING QUARTET (in residence) Arn old Steinh ardt violin lich ae l Tree viola John Dalley violi.n RECIT A LS Da id S oyer cello O SE A SO N 1 96 5 -66 S UMMER S ERIE S WIN TER SE RIES S PRI NG SE RIE S Sund ay, Augu s t 1 Sund ay, August 8 Sund ay , Augu s t 15 Sun d ay , August 22 Su n d ay , O c tob er 10 Sund ay , ov emb e r 14 S und ay, D ecem b er 5 Su nd a , Ja nuary 2 S unday , Ja nuary 9 Su nday , F ebru a ry 1 3 Mo nday, Ma rch 28 Su nday , Ap ril 3 Sund ay, April 10 A ll p er forman ces a t 8 :15 p.m. in th e Harpur Co ll ege Th ea te r. Late com er s will be s eated af ter th first quar t t. Ush e rin g courtesy OPEN REHEARS A LS of Alp h a Ph i Om ega Th e pub lic is co rd ia l! in it d to a tt nd th q ua rt t' r h a rsa ls, h Id th e day p rio r to eac h rec it a l, a t 3 p.m. (d u rin g ugus t 10 a. m.). in th mu s ic ro o m (C -183) n ea r th e th a te r. NOTES Continued c haracte r, but is inte r rupted by s eve r al s lower s ecti ons of a darke r mood (one is ma r ked • con of the m o rbidezza• ), which ar e reminiscent earli e r move ments. ■ The Cello Sonata in G Minor of Rac hmaninov, compos ed in 190 1, dates fr om the sam e pe riod as the Second Pi ano Conce rto a nd is similar in m ood . The compos e r s ee ms to have expe rienced a ce rtain cr eati ve r ebirth at this time, fo r these wo rks probabl y r epre s ent his highest point of artist r y . Thes e compositions might be charac te r ized as "elegiac a nd tragic," "restrained and Al though Ra chma ni nov wr ote an Ele original." giac T rio in m emory of Ts chaikows ky, a piano tri o, and a string quintet, t he latte r two works have neve r been publi s hed, and the s onata r emains the onl y chambe r workfo r whi ch thecom powe r is r e m e mbe r ed toda y . Alt hough s ome write r s have complained of the ove r -br ill ia nt piano pa r t de mandi ng the utmost virtuosity, Rac hmaninov has been highl y pr aised fo r his idiomati c hand.ling of the ce llo as a highl y elegi ac and l yr i cal inst r ument. F elix Salmond, the gifted ce lli s t , ha s called it "a beautiful and inspi r ed work." � 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&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;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:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound tape reel Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 37:19:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54201">Summer Series, Fifth Recital Guarneri Quartet Recital</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover 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 Summer Series, Fifth Recital Guarneri Quartet Recital Tape 1965-10-10 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works of Beethoven, Brahmms, Debussy and Rachmaninov. Creator An entity primarily responsible for making the resource Guarneri Quartet Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Beethoven, Ludwig van, 1770-1827 Brahms, Johannes, 1833-1897 Debussy, Claude, 1862-1918 Rachmaninoff, Sergei, 1873-1943 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 1965-10-10 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context Summer Series, Fifth Recital Guarneri Quartet Recital Tape 1965-10-10.pdf https://omeka.binghamton.edu/omeka/files/original/244a0b369841b3ca78eb555c9fcd5a1d.pdf 4d29b4e37814383cc3a0af341957deb9 PDF Text Text STATE UNIVERSITY OF EW YORK AT BINGHAMTON HARPUR COLLEGE THE DIVIS10 OF MUSIC Presents THE HARPUR TRIO Patricia Isham, Violin Harry Lincoln, Flute Myroo Fink, Piano 8:30 P. M. ovember 1, 1965 College Theater �PROGRAM OTES H ind mith w as important both as a prolific and s ucc ssful composer a nd as a theorist and t ach r. H e cam to this country from G rman in late 1930's and for som fife n yea rs was on th faculty of Y al niv rsity . H has wr itt n a w i d variety of works in all genres and for v ry orch stral instrum nt. The Sonata for Flut app are d in 1936, JUSt two y a r s b fore his most famous work , th op ra a his d r Male r . Th onata illus tra s several t n ts of H in d mith's theories of composition and of his st l in g n ral. mong th s a re th us of fourths and fifths in the m lo dic lin s, th contrapun al interplay of soloist and accompaniment (bo h qually important ) and h car ful control oft nsion an d r laxa ion in h phras Th la ter charac eri stic i s specially evident in he beautiful and pow rful slow mov m nt. The last movement closes with a march, an unusual f ature in a onata. Schumann's Second Violin onata in D Minor Op. I 2 I was written in 185 1 during a period of r n w d er ativi y and vigor for the composer . H had suff r d a s v r m ntal br akdown in 1844 and for five years ook little part in musical activit i s . In 185 0, howev r, h accepted the post of conductor in Duss ldorf, and h following y ar composed besid s th first and second violin sona as, the hird piano trio, thre ov rtures, two cantatas, and a revision of th D Minor ymphony. !lo w v r, h was unabl to b ar the strain of composition and conduc ing, and in 1854 collapse d complet ly, leading to his death (1 856 ). Th ond onata in no way fort lls this tragic dénoueme nt. The firs movem nt opens, ith a pow rful introduction, intersp rsed with cadenza lik pas g s. Th main body of the movem nt is in sonata-allegro form, th sharp con ours of th first th me contrasting with the lyricism of the s cond. Th piano and violin carry on cont inuous imitativ dialogue achieving an effcc iv musical balanc Th s cond mov ment is a scherzo of M ndelssohnian sprightlin ss. Two rio s ctions occur b tw e n succ ssive returns of the main th m , r suiting in an BA A form , followe d by a coda in which th th m of the third mov m nt is introduced in broad chords and doubl st ps. This third mov m ent them is bas d on a choral , " G elobet s ist du , Jesu Christi , " u d b Bach in anta as 64 and 9 1 among oth rs ttings . Schumann changes the rn t r from 4/4 to 3/8 an d writ s a series of variations using an extraordinary numb r of colorful ff cts, ranging from pizzica o (th e th me ) , double stops (s ond variation ), o pon ic llo (third variation ) . Also in h third variation th sch rzo h m of the s cond movem nt returns twice, linking thes e two mov m nts organically. Th fourth movement , a perp tual motion type of mov m nt cast in sonata form, is r minisc nt in its th ma ic leaps and chordal cad nces of the first mov ment, and th work closes with a brilliant coda in the major k y . . Bach an d a talen d com. P. E . Bach, t h old sl surviving son of J. pos r , s rv d at the court of Fr derick h G reat (17 38-6 7) as cembalist and accompanist to h king . llis ability at h keyboard is documented not only by cont mporary accounts but also by his famous treatis , Versuch übe r die wahr ___.!!_ das Clavier zu s pi sp 1 n, in which h formulates his th n "modern" zu approach to his instrum nt. H is compositions fall within th p riod d vote d to the "Doctrin of Affections," of Empfindsamkeit , an ra characterize d by th e emphasis plac d on th af f c ions and sensibil.ti s . In music this m ant the por- �trayal of one mood or sentiment throughout a movement or piece, and took the form of lavish embellishme nt s an d ornamentation, chromaticism, an d startling modulations and harmonizat ions . In the Third Trio for Flute, Viola and Piano Bach uses the familiar trio - sonata arrangement of two melody instruments supported by a keyboard instrument as a continuo, but he deviates from the usual polarity of this form by giving the keyboard a brilliant solo part. In th e first moveme nt, a monothematic rudimentary sonata form, the piano at times assumes th e role of a soloist, while at others it retains the function of a continua. The second movement, however, is like a miniature concerto in which t he flute and viola function as the ripieno, accompanying the piano's free and improvisatory solo . The third movement, again a rnonothematic sonata form, returns to a more tradiational tripartite distribution of material, with imitative figurations passing continually from one to another of the three instruments. A very prolific Cz echoslavakian composer, Martinu successfully fus e d nationa l a nd international elements in his music. Although he st udi e d in Paris a nd came under the influence of Stravinsky, many of hi s melodics were derived from Czech an d Moravian folk songs. His numerous chamber works em ploy a wid variety of i nstrume ntal combinations. The Madrigal Sonata derives its nam from the similarity of its texture to that of a R enaissance madrigal in wh ich each part phrases independently of the others, although there may be imi t ation between th e parts. The fi rst movement is in a modified sonata form with exposition, middle section , r capitulation, and coda; the middle section can hardly be consi de red to develop the original material however. The second movement i.ncorporates both a slow and a fast movement as it begins with a moderate which is followed by a rapid allegro , each section being r ecapitulated to create an ABAB form. Both movements are ch aracterized by a wide variety of effect s--pizzicato, natural and artificial harmonics, double steps, rapid metrical an d rhythmical changes , syncopations of all kinds, s t a rtling dissonance , and a highly complex contrapuntal texture. 1though th e flut e, violin, and piano have both homophonic and contrapuntally imitativ sections, each instrument is also gi ve n independent i diomatic material, which makes the best use of tha t particular instrument's characteristic qualities and gives an interesting and unique text ure t o the work. Conce rts for Nove mber: Tuesday, November 9 Thursday, November 11, 12 Sunday, Novemb e r 14 Friday, November 1 9 Sunday, November 21 Mus ic from Marlboro Max Morath and the Original Rag Quart et The Guarneri String Quartet ew York City Ballet Jean Casades us, pianist The Departme nt of Music is please d to announce tha t pianist, Jean Casadesus will give a series of informal Wednes day e vening recitals in Rafuse Lounge on the following dates: November 3, 10 December 8, 14 (Tuesday) January 5, 26 February 2, 9 ****** A reception for the Harpur Trio will b e held immediately following the concert in the faculty lounge, a djacent to the Theater. Everyone is cordially invited. �PROGRAM Sonata for flute a nd pi ano - - -- --- -- - ----------------Pa ul Hin demit h H iter b wegt Se hr langs am Sehr lcbhaft - Marsch Sonata for violin and pi ano - ----------- - --- - --- -- -- - Rob rt chumann Ziem li ch langsam - L cbhaft S hr lebhaft L is , infach **II ntermission Trio in G major for flut e, viola an d piano --- ------ -- C. P . E . Bach Allegretto Adagio Prest o Madrigal onata for flute, violin and piano- - - - - - - - - -Bohuslav P co llegro Mod rato - Allegro Martinu � 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&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;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:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 42:13 24:06 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54204">Harpur Trio Recital </a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Recital Harpur Trio Recital Tape 1965-11-1 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works by Paul Hindemith, Robert Schumann, C. P. E. Bach, Bohuslav Martinu. Recital held Nov. 1, 1965 at the College Theater. Creator An entity primarily responsible for making the resource Harpur Trio Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Hindemith, Paul, 1895-1963 Schumann, Robert, 1810-1856 Bach, Carl Philipp Emanuel, 1714-1788 Martinů, Bohuslav, 1890-1959. Date A point or period of time associated with an event in the lifecycle of the resource 1965-11-1 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091019619356 39091019619406 https://omeka.binghamton.edu/omeka/files/original/422e84d5b50f03a9bba4378d96af66ab.pdf d20866168bf534a1515b2668b7932ffb PDF Text Text Winter Series - First Recital Sunday, oven,ber 14, 1965 PROGRAM STRING QUARTET in D Major, Op. 20 #4 HAYD Allegro di molto Un poco adagio affettuoso M enuetto. All egretto alla zingarese Presto scherzando STRI G QUARTET #11 KIRCH ER Alle gro ma non troppo Ad agio Divertim ento and Trio Adagio INT ERMISSIO QUARTET in A Minor Op . 51, No. 2 Allegro non troppo Andante moderato Quasi Minuetto, moderato Allegretto vivace Finale. 1965-66 All egro non assai BRAHMS �NOTES by Patricia Isham ■ H aydn' s s ix Op . 20 qua rtets ma rk a turn ing point in his chambe r mus i c. He r e hi s o wn pe rsonal style begins to take s hape with a bala nced mixture of polyphoni c and hom ophoni c t exture s . Op. 20 #4 opens with a r e ite r at ed three -not e figur e whi ch fo rms the basi c motive of thi s monothe ma ti c s onata fo rm movement. Haydn also introduces a fals e r ecapitulation, a n identifying devi ce of his late r s onata-form move ment s . The second m ove m e nt is in the me and va ri ation fo rm, the first variation being devote d to an o rna m e nted dialogue between s econd violin a nd vi ola, the s econd t o embellishme nts by the ce llo, the third t o triplet orname nta tion by the first violin , and the fourth t o an exten s ion of the them e through syncopation a nd o rna m e ntation in all the voi ces. The Menue tto, alla zingar es e , i s cha r act e r ized by a two -beat me lodi c patte r n whi chi sfitt edinto the triple met e r through skillful syncopa tions a nd a cce nts on eve r y s econd beat. The fourth movement r eturns t o s onata -allegr o fo rm prese nting contra sting theme s , the fir s t a peas a nt-like dance figure, the second m a r ch-like in characte r , and i ntroducing still a nothe r them e in the development sec tion. The four string instrume nts pa rtake a lmost equally of m elodi c m at e rial and e nte r into contrapuntal inte rplay i n a ll m ove ment s. se ve r a l wo r ks for vi olin and piano, a piano t r io, and a s econd qua r tet. His st yle is cha r acte rize d by chromaticism , s et within a fr a mewo rk of s wiftly cha nging moods and rh ythmic pat terns . He us e s the m ode rn idio matic s t r ing device s fr eque ntl y em ployed by Bartok, Be r g, a nd othe r s, su ch as snapped pi zzi cati , po r tam e nti, colle gno, and a ll t ypes of gli ssandi, but has expe ri me nted onl y s li ghtl y with the 12 -tone r ow. T he fou r m ovement s of the qua r tet are fu r t he r di vided into seven sections , a lt e r nating in te mpi , fo r t he opening a llegro is inter r upted by an andant e whi ch anti c ipate s the mat e ri a l of the a dagio, and the fina l adagi o conclude s with an a lle gr o . In Aaron Copland' s r e vie w of this wo r k, he write s that Ki r chne r ha s "a c r ea tive ur ge s o vital as to burst a ll bonds of o r dina r y control. It is the 'out- of-c ont r ol ' quality t hat give s an y o ne of his wo r ks e no r m ous excitement. To date it would see m t o me t hat that is his pr in cipa l claim to origi nality; the da r ingly fr e e stru ctural or ga ni zati on of his com po sitions .n And furt he r "the impr essi on ca rri ed a way fr om a Kir chne r pe r fo r mance is one of ha ving mad e co ntact not me r e ly with a compos e r but with a highl y s e nti e nt human be ing; of a ma n who c r eates his musi c out of the spec ial climate of toda y' s uns ettl ed wo rld ." ■ Leon Kirchne r ' s First String Qua r tet , dedicated to Roge r Se ssions , was written i n 1949 a nd first pe r fo rmed in 1950. Kirchne r , bor n in 1919 in Brookl yn, s tudied mainl y at the Unive rsit y of Califor nia, Be rkeley, unde r Elkus, Se ssions , Bloch, a nd Schonbe r g, a nd afte r completing his MA degr ee i n 1947, he ente r ed the tea ching profession . He has b een the r ecipie nt of s eve r a l gr ants, including a Guggenheim F ellowship , an a war d fr om t he Nationa l Institute of Art s and Lette rs , a nd a Fromm F oundation commission . His c hamb e r works include, be sides the qua r tet, ■ In 1873 at t he age of fort y Bra hms com pos ed the fir st t wo of his t hree existing s tri ng qua r tets, afte r des troying ove r two do zen pr evi ous attempts . He had bee n inhi bit ed in t he writ ing of string qua r tets and s ymphonie s by the gr e at pr e cede nts found in the wo rks of Beethove n. The Quart et in A Mino r had been intended fo r his fr iend, the violi ni st J oseph J oachim, and included s ev e r al devices that we r e meaningful only to t he t wo of them . As a student J oa chim had chos en t he motto F r e i aber Einsam (fr e e but (Continued) �State University of New York at Binghamton, HARPUR COLLEGE The Department of Music presents THE GUARNERI STRING QUARTET (in residence) Arnold Steinhardt violin Mi chae l Tre e viola John Dalley violin Dav id Saye r cell o RECITALS O SE A SO N 1965-66 SUMMER SERIES WINTER SERIES SPRING SERIES Sunday, August 1 Sunday, August 8 Sunday, August 15 Sunday, August 22 Sunday, Octob er 10 Sunday, No ve mb er 14 Sunday, Decemb er 5 Sunday, January 2 Sunday, January 9 Sunda y, February 13 Monda y, March 28 Sunda y, April 3 Sunday, April 10 All performan ces at 8:15 p.m . in th e Harpur Coll ege Th eater. Late com er s will be s eated after the first quartet. Ush erin g co urtes y of Al pha Phi Omega OPEN REHEARSALS The publi c is cordially in vi ted to att end th e qu artet's rehea rs als, held the day prior to each recital, at 3 p.m., in th e musi c room (CA-183) nea r th e th eat er. NOTES Continued a l one) - FAE - for hi mse lf whi le Brahms had se lected F rei ab er Froh (fr e e but happ y) -- F A F . Thus in r e m emb r an ce of thei r friends hip Brahms constructed the them e of t he fir st mo vement out of t hese two mottos , using t he notes f a e andininve r si onfaf, i. e . a f a , thus a rriving at t he notes a fa e . T he ir co mmon inte r est in writing canons was also r efl ecte d i n t he va r ious types of canons whi ch appear thr oughout this wo rk, as fo r e xamp le, t he mir r or canon in the coda of the fi r s t m ovement and the canon near the end of the fourth m ove me nt. A s li ght mi s unde rstanding be t wee n the fri ends later led Brahms to change the ded icati on befo r e pub l ication to a Dr. Bi ll r oth. Ident ifyi ng cha ra cte risti cs of Bra hrn ' s s t yle ca n be r e cognized in this wo rk in hi s use of com pl ex rhythms , su ch a s the two notes played aga ins t thr ee in the first move me nt , the cha ngi ng m etri ca l s che m es in the third move ment, and the num e r ous exa m ple s of syncopati on, a nd in his fr eque nt pa iri ng of voi ces i n pa r al le l thirds and sixths . Cover Des ign by El ai ne Luc as � 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&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;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:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound tape reel Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 32:39:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54348">Winter Series Recital Guarneri Quartet Recital</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Winter Series Recital Guarneri Quartet Recital Tape 1965-11-14 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works of Hayden, Kirchner and Brahms. Creator An entity primarily responsible for making the resource Guarneri Quartet Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Haydn, Joseph, 1732-1809 Brahms, Johannes, 1833-1897 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 1965-11-14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context Winter Series Recital Guarneri Quartet Recital Tape 1965-11-14.pdf https://omeka.binghamton.edu/omeka/files/original/f283f81cf1ba3a8895c1468618eeaf56.pdf b29e3d92e1a22d6e4b1238c36817ec14 PDF Text Text C C HO RN I C S E T R MT A s December 10, 1965 8:15 P.M. �PROGRAM 0 CO ME EMMA UEL Arrang III nl by D 11/D B TTOLPH GO TELL IT ON THE MO U 1TA I . rrang m nl by JOI! 1 W. WOR MICHAEL T RCEOt , T eno r olo AVE MA RIA TOM TORIA OCE T LAMB Arrangem ent b I R HALL B RT/I l OMEW HARP R OLLE E 1E ' L EE L B Magnificat Alan Hovhaness FFE R, op rano RR, ontrallo KE, T nor RD MYER. , Ba CELESTIAL FA FARE AG IFI CAT ( horu ) ET EXSULTAVIT ( T enor) QUIA RE SPEX IT (Soprano) OMN ES GE ERAT I O S (Women' horu ) QUIA FECI T MIHI MAG A ( Ba and horu) ET I SERI CO RDIA ( oprano) FECIT POT E T I AM ( ontralto) ESU RI E TES I PLE IT BO I S ( T nor and M n' SUSEPIT I SRAEL (W om n' horu ) and horu ) SI CUT LOCUT US EST ( Ba GLORI A PATR I (Choru ) HAR PU R COLLEGE CHO IR and membe rs o f the R EPE RTO IR E Dir cted b D I horu ) RCH STRA L. B TT LP !/ INTERMISSION (Ten Minut es) I mme di atl following in termi ssion r. Ho han ss will address th_e audience brief! speaking abo ut th 1agnifi ai. and epl ai ni ng hi s int enti ons. We hope ou wi II enjoy e en mo re th rep at p rformance which follows. Magnificat ( Rep eat ed) Alan Hovhaness Virail Thomson offered an extremely perceptive estimate of the talents of Alan Hovhaness when he wrolc in the New York Herald Tribune on February 8, 1947 : " He writes in the early Christian, the medieval and the mod • ern Armenian techniques, possibly even a little in 1hc pre-Chris1ian manner of that ancient and cultivated people. He observes the ancient rules and imitates wi1h m o dviolins e r na sizeable selection of near-Eastern stringed instruments. He even extends the orienta l grammar or composition to include, as it may well have done in Greek times, held notes against which florid melodics expand al ease and even quintal counterpoin1 "It remains oriental and classical, nevcr1hcless, in structure. The music is at times strophic in phraseology and emo tionally con1inuous, never climactic . Each piece is like a long roll of hand-made wall paper. hs mo1ionless quality is a lillle hypnotic. There is resemblance here , too , 10 the early urcmonial pieces of Erik Sa1ie - 1he 'Mass For The Poor', the ' Prelude To The Heroic Gate o f Heaven ·, and 1he Rosicrucian Fanfares. Its expressive function is predominantly religious, ceremonial, incantory, its spiritual co n1cn1 of the purcsl . 11 is oriental fro m 1hc right side o f the railway track." The music of Alan Hovhaness has developed richly in lhe eleven years since Mr. Thomson penned this tribute and yet it is still essentially serviceable in pin -pointing the strangely beautiful, individu :11 gift of this composer. One or two points no longer seem accurate - as, for example, the estimate 1ha t Mr. Hovhancss' music is "never climactic''. Mr . Hovhaness has moved o n from there, hut 1hc overall approach noted hy Mr. Thomson remains 1hc same. The composer's "orientalism " ( in no way to be confused with the term so often appl ie d to the techniques o r ma ny Russian mu,icians from Glinka o n ) has no qua lity of faddism about i1. T o begin wi1h , it is part o f his heritage through his Armenian father . ( He was born in Somerville, Massachusetts, where his father was a chem is1ry professo r. His mother was of Sco11ish extraction.) Although he wasraised in a 1horo ughly American background and even resisted, as a child, whatever a11emp1s h is father made 10 help him iden1i(y with his cullural legacy, Mr. Hovhanen eventually came 10 ii as his love of old music, art , and a rchitecture developed antiquari a n tastes. H is stud ies o f ancienl Armenian (and later 0 1hcr near-Eastern and 1hen Easle rn ) c uhure were given impetus when he became organist in Boston's Armen fan church and was exposed 10 the occasio nall y ageless modes and monody of traditional liturgical Armenian music. The " orientalism" was a hard-won, carefully -tho ught-out expres1ion, 100. Mr. Hovhaness was trained in music in Boston in the usual s1rict , academic fashion. He s1 udied piano wilh Adelaide Proctor and Heinrich Gebhard , composition at the Conservatory under Frederick Converse. By the early " Thirties (when he wa.5 in his early twenties), he had already composed an impressive body of music which had drawn not a little admiration in Boston music circles. His spiritual mentor seemed to be Sibelius and his mu.sic supposedly was marked by "a pronou nced Finnish accent ". He traveled off to Finland at one point and af1er his return seemed even mo re destined to become some1hing of "the America n Sibelius" . And , then he took serious stock of himself, undoub1edl y aided in his dec ision by his growing interest in Eastern c ul1urc . He decided to destroy all o f his music up to that time - a diffic ult decision, one imagines, since this material included no less than two ambitious symphonies and several full-length operas, over a thousand wo rks in all. The destruction was ruthless and complete : little trace o r this music exists now. Then began the serious study of Oriental styles and techniques, the experimentation wilhin these styles and techniques, and 1hc attempt to fuse them with certain traditional forms or our own music. There was necessary, 100, a period of "digestion", in which the materia of oriental music could be bsorbcd and blended so that, say, a mode (rom Armenian so urces might be blended with a rhythmical structure from Ind ia n sources for working within a classicalwestern canonic form. Mr. Hovhaness' success at his task is exemplified impressively by 1he music which has resulted (rom hi• work . Few composers today seem so capable so consistently of making music of such real beauty, such intense personal expressiveness, such profc;>und spiritual effect. �THE HARPUR COLLEGE CHOIR First T enors: Paul Dieke, Zane Kalter, R y Go rdon. eco nd T eno r: J ohn Bennethum, Harvey Bo rnfield , Ben Erlitz, Al a n Ha rdy pre id ent, Terry Ho well Baritones: James Baldwin, Davi d Crowe, Russel I Fuller, Micha el Pawlicki . Jack Sp e rling, Bob Whitney, Keith Wilcox. Bass e s: Da nny Du s hman , Stephen Foulk, Seth Kasten, Steve Walker, Pete r Wenz sec retary. Fi rs t oprano: Virginia Baker, Marcia Burnett, Malita Frogate, Rosemary Gruss, Sydel! Horowitz, Eli zabet h Robbins, J essica Roth, Alida Sta hl, Kathle en Zaslovsky. Seco nd So prano: Carol Anth o ny, Millicent Conklin, J oanne Grizzanto, Su e Jurkowski , Mary Mo rr iso n, Chrystyna Prytula, Alice Stitelman,, Cynthia Stone vi ce pres id ent and acco mpaini l . Fir t A lto s : Elaine Bolton, Michelle Gibson, Cynthia Gilchrist, ancy Kliban, Linda Lewis, Christine Livingston. Carol McAvoy. Se cond Altos: Emoke B e recz, Linda Fishkin, Margaret Jackson librarian, J ay ne Kaplan, Ellen Leinwand li brari an, Mel a nie o rd en, Pam el a Starr. HARPUR COLLEGE MEN 'S GLEE CLUB First T enor: Roy Gordon, Zane Kalter pres iden t, Mike Sturgeon. econd T enor: J ohn Benneth um, David Crowe, Al an Hardy treasure, Andy Willinger. B ari tone : Ma rc B ainer, Davi d Colman, Demnis Fenichel, Fred F orman, Bill Grossman , Alan Metri c k, J ack Sperling, Bob Whitney, J effrey Gimprick . B asses : Bob Cancro, Chri s C ancro, Danny Dushman v ice pres id ent, B urt E delstein , J o hn Harris o n, Alan Sturd eva nt, Buzz Waterston. THE HARP UR RE PERTOIRE ORCHESTRA Vio lin· : David Einfeldt con certmas te r, Patrici a Isham, Francin e adeau, Dav id Rajn s , Kathy Co x, Ire ne Wetzelbe rg prin cipal, Alida St ahl, Ru th Ril ey, Sall y Sh a fe r, Ruth Rili , Kay ·c. R obe rts. Violas: Edward Pettergill princip le, Ke nneth Holliste r, L a ur a Erin ger. Val e ry Ga rabedian . Ce ll os: Odile Nade au principal, Christ in e Li vingston , Becky O 'Conn o r, Kath y Gruber. Basses : Bill Wills, Philip Sh a rpst een. Harp: L i se adeau . Oboe : Kenneth Anderson, Elle n Schwarz. French Homs: J o hn E vanso hn, Da le Whitman . Trump et : David Hurd, Cra ig Jacobson. Trombone: J ohn Baldon . Percus ion : Lanny Levine , Vi cki \V ol . Librarian:Can dace Duncan . This program s ponsored by the Convocati ons Committee and t he Depa rtm e nt o f Music. � 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&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;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:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 3 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 40:10 41:12 17:18 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54351">Christmas Concert Harpur College Choir Recital</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover 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 Christmas Concert Harpur College Choir Recital Tape 1965-12-10 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource O Come Emmanuel, Go tell it on the mountain, Ave Maria, Little Innocent Lamb, Magnificat / Alan Hovhaness Creator An entity primarily responsible for making the resource Harpur College Choir Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Hovhaness, Alan, 1911-2000 Date A point or period of time associated with an event in the lifecycle of the resource 1965-12-10 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context Christmas Concert Harpur College Choir Recital Tape 1965-12-10.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 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&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;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:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound tape reel Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 15:22 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54373">Karl Korte Quartet No. 2 Recital</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Karl Korte Quartet No. 2 Recital Tape 1965 Subject The topic of the resource Concerts Instrumental music Live sound recordings 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 1905-05-18 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091019619141 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&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;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:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound tape reel Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 40:18:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54204">Recital Harpur Trio</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Recital Harpur Trio Recital Tape 1965 spring Subject The topic of the resource Concerts Instrumental music Live sound recordings 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 Spring 1965 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091019619398 https://omeka.binghamton.edu/omeka/files/original/e687cf7e7fa43cd91092adea6a4643c0.pdf 3c65c2a52566182280b19932b01f59f1 PDF Text Text FANTAI IE C M OR J. S. BACH N E VARIATIO O A MINUET BY DUPORT MOZART 0 ATA OPU 13 ' PATHETIQ E ' Grave , Allegro di molto e con brio Adagio antabile Rond c - Allegro BEETHOVEN I TERMISS/0 THIRD OP O AT A FOR P IANO 44 Prestissimo L ento e Tristamente Rondo Giocoso ROBERT CASADESUS FOUR PIECE Impromru ous-Bois Idy lle La Bourrée Fancasque EMMANUEL CHABRIER �T HI S evening's program w ill op e n wi t h two rare ly perfor med wo r ks by two 18th-cen t ury mus ic a l gian t s. Bac h ' s sho rt fa nt asia in C mi nor I )us t ra t es many c ha r ac te r.i s t ic s of t his compose r ' s mor e well - kn o wn compositions , such as h is dr ama t ic in t ensi t v and propu lsive r hy t hmic drive. Moz art ' s va ri a ti ons on a minue t by Dupo rt is one of t he finest wo rks he c omposed in t his fo rm. Alt ho ugh t he va r ia t ion is trad it ionally a melod ic embe ll ishmen t of a g ive n theme, Moza rt so tr ans c ends D u port' s minuet th a_t his variations tend t o become more melodic t han the theme itself. C haracteristica l ly, to c reate a r o unded fo rm, Mozart composes a slow variati o n for t he next to last section , and t hen closes wi t h a faster finale . A R ECEPT!O hon oring Mr. Cas ade su s will be h eld in the Facult y Loung e immediat e ly follow in g th e conc ert. Th e audienc e is cordially in v il d lo attend. EVENTS CALENDAR A If pro ra ms ar al BEETHOVEN ' S ' Pa t he t ique ' sona t a is one of t he fi rs t works tha t shows thi s compose r clearl y breaking away fr om t he ref i ned C lassical s t yle of the la t e 18 t h ce nt ur y. From t he fi rs t c hord o ne senses su c h pe rsonal intensity t ha t one ca n o nl y wonder wha t ic mus e have sounded like t o th e audien c e tha t hea rd it for the firs t r ime. The slow introdu::cion no longe r ' introd uces ' t he fi rst movemen t a t all , but ac t s as an integral pa rt of the s truc t ure , drama t ically break in g in t o t he middle , coming back in broken fragments a t the end. The s e cond m ovement opens with one of Beethoven ' s most lyrical melodies , while t he th ird m ovemen c re t urns to the da r ke r movemen t of the fi rst. ALT HOUG H Robe rt Casadesus is c ertainly more well known as a pianis t th a n as a c ompo ser , t he numbe r and qual it y of his composio ions reveal an unques t ionable tale nt in t h i s a rea. H is t hird sonata is beau t ifully con ceived from the point of view of t he pianist although t he vi rt uoso ele men t s a re thoroughly integ ra t ed into the musical fab r ic. Inte restingly , all three moveme nt s utilize a diffe rent approa c h to a tr iple me t e r. In the fir s t movemen t the th ree - bear ,unit is speeded up t o bee ome a ve ry fas t triplet, while in t he se c ond it is s ubdivided int o a slowe r ' one -and - twoand-chre e -and ' bea t. The th ird movement provides unexpected accen t s in the form of a re c urr ing ' ONE -c wo- T HR EE - one -TWO- three ' pa t te rn. The harmonic s t yle of t he wor k is gently dissona nt , occas ionally reaching into po lytonal effects. JEAN Casadesus is the ideal artis t to i nt roduce t he music of Chabrie r t o Bingham t on s i nc e he has jus t c ompl e t ed a reco rd ing of all t he piano mu s ic of chis br il l iant F rench c ompose r. Al t hough Chab r ie r was a pass ionate adm ire r of Wagne r ( in it self a ra r i t y for mos t Fr en c h c cmpose rs) little evidence of this appears i n t he works on t onigh t' s prog ram. Ins tead o ne finds in this music a frequen t humor and a sure ligh t couch. An element of popula r sophis t ic a t io n app e a rs eve n in the early 'Impromptu ' a nd a s t rong lyr ic li ne in the loyely ' Squs - Bois ' . ' ldylle ' reveals a re markably de lie ace bu t comp lex musica I t ex t ure , while t he famous ' Boure e fantasqu e ' shows the composer at his mos t brilliant. The a t mosphe re of ne rvous exc icement prod uced by t he vivid rhy t hmic patte rn s dema nds e xc e ptiona l virtuosity from any pianis t . P r ogram Notes by P HILI P FR IED H E IM : 1 5 in the olleg T hea ter JA . 20- Thurs . CO LI ILSO , British Sci . Au d . philosopher, critic , an d novelist . L cture : 11 Beyond the Outsi der'' JA 2 1, 22 IBSE 1 s "ROSMERSHO L M 1 ' 23 - Fri. , Sat . , Colonial Players P r o duction Sun . directe d by Don atters . J A . 27 - Thurs . MERI CA U IVERS ITY CHOIR dire ct d by Geoffrey Simon , in a joint program with Harpur Choir . JA MUS IC FROM MAR L BORO, P ROGR T 0 Seldom -h ard chamber music p rformed by eight outstand i ng F stival artists . 28 - Fri. J A . 30-Sun . JOSE LI MO DA CE GROUP Twenty -two dancers in an unusual program with the College Choir FEB . 1-Tues. E UAL I TER ITZ , Curator, etropolitan Museum of Art in . Y . L ecture : '' L eonardo da Vinci as a Musician . " �STATE UNIVERSITY OF E Y ORK AT B GHAMTO DEPARTMEN T OF MUSIC presents JEAN CASADESUS Pianist in Residence COLLEGE THEATER 8:1 5 P.M. J a nuar y 16, 1966 � 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&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;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:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 4 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 32:03 12:54 9:36 21:45 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54356">Concert Reel</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover 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 Concert Reel Recital Tape 1966-1-16 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Jean Casadesus, piano. Works of Bach, Mozart, Beethoven, Casadesus, Chabrier. Creator An entity primarily responsible for making the resource Casadesus, Jean, 1927-1972 Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Bach, Johann Sebastian, 1685-1750 Mozart, Wolfgang Amadeus, 1756-1791 Beethoven, Ludwig van, 1770-1827 Casadesus, Jean, 1927-1972 Chabrier, Emmanuel, 1841-1894 Date A point or period of time associated with an event in the lifecycle of the resource 1966-01-16 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context Concert Reel Recital Tape 1966-1-16.pdf