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                    <text>0

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State University of New York at Binghamton
HARPUR COLLEGE
THE

Departm_e nt of Music presents:
REPERTOIRE ORCHESTRA
directed by David Buttolph

PROGRAM

Thursday, June 9, 1966 - 8:15 - College Theater
The Harpur Repertoire Orchestra was formed
November 1, 1965 with the primary aim of providing
serious musicians with extensive reading experience and
exposure to many different musical styles.
Membership includes students and faculty of
Harpur College, music teachers from several schools in
Broome County, members of the Community Symphony,
the Tei-City Opera Orchestra and the Binghamton Youth
Symphony.

Music for the U. S. premiere of William Mathias'
" Dance Overture" through the courtesy of Oxford
University Press.

DIE MEISTERSINGER VON URNBERG
Introduction co Act III
Dance of the A pprentices
Procession of the Mastersingers

Rlchard Wagner

CLASSICAL SYMPHONY
Larghetto
Gavotte

Serge Prokofieff

SARABANDE
(orchescree par Maurice Ravel)

Claude Debussy

MA MERE L'OYE

Maurice Ravel

Pava.oe de la Belle au bois dormant
Petit Poucec
Laideronecte, lmpératrice des Pagodes
Les entretiens de la Belle et de la Bête
Le Jardin féerique

FUTURE CONCERTS:
June 10 - 12: 15 P .M. Rafuse Lounge
STUDENT RE CIT AL
June 11 - 8:15 P.M. College Theater
THE NEW PALTZ TRIO
June 12 - 8:15 P.M. College Theater
PAUL DIEKE, tenor, Senior Recital
June 14 - 8:15 P.M. College Theater
PAMELA STARR, mezzo-soprano
SUSAN PETERS, piano
Senior Recital

C over desigo by Jim Taft.

intermission

DANCE RHYTHMS

Wallingford Riegger

DANCE IN THREE-TIME

Quincy Porter

RUMANIAN FOLK DANCES
J oc cu Bâtá
Bràul
Pe Loe
Buciumeana
Poargá þÿ R o m â n e a s c
þÿ M r u n c e l

Béla Bartók

DANCE OVERTURE
(first performance in the United States)

William Mathias

�REPERTOIRE ORCHESTRA

Violins
Patricia Isham
David Einfeldt
Robert Giblin
David Rajnes
Kay C. Roberts
Doris Williams
Alan Sopper
William Bailey
Ruth Riley
Sally Shafer
Irene Wetzelberg
Kathy Cox
Ruth Kerker
Violas
Russell Colton
Valerie Garabedian
Martha Colton
Kenneth Hollister
Cellos
Ruth Brown
Christine Lir ingstone
Becky O'Connor
Diane Phelps
Basses
Donal O'Buckley
Gerald Bruce
Flutes
Esther Hall
Evalee Orr
Carol Krinitz
Oboes
Scott Eddy
Kenneth Anderson
Clarinets
Arthur Abrahams
Beverly Tomasosky
Stan Rosenberg

Contrabass Clarinet
Candace Duncan
Bassoons
Tom Arnold
Steve Walker
Horns
George Papastrat
Dale Whitman
David Banner
Sylvia Seehausen
Trumpets
Peter Boor
David Hurd
Craig Jacobson
Trombones
Allen Thompson
John Baldon
Roger Keagle
Tuba
Stevan Leiden
Harp
Katherine Elliott
Celeste
Cynthia Stone
Timpani
David Crowe
Percussion
Lanny Levine
John Simpson

Librarian: Cynthia Stone
Stage Manager: Sreve Walker

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                    <text>STATE UNIVERSITY OF NEW YORK AT BINGHAMTON
DEPARTMENT OF MUSIC

presents

THE HARPUR SYMPHONY ORCHESTRA

Alfred Clinton Morris, conductor
Seymour Fink, guest soloist

Friday, November 3, 1972
Don A. Watters Theater, 8:15 p.m.

�Trumpets
Brian King
Edward Helbein
Fred Back lund
Robert Lindstrom
Trombones

Michael Rosen
Danny Addison
Steve Howell
Tuba
Tom Wood
Timpani
Pat Hollenbeck
Joe Roma

Percussion
Michael Beebie
Dean Fidelman

Harp
Betsy Wagner

Orchestra Oﬀicers
President, Brian King
Vice President, Nancy Ranger
Secretary, Peggy Acker
Librarian and Personnel
Manager, Anna Hemmendinger

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                    <text>STATE UNIVERSITY OF NEW YORK AT BINGHAMTON
HARPUR COLLEGE
THE DEPARTMENT OF MUSIC

T H E HARPUR SYMPHONY

UNDER THE DIRECTION OF

Peyton Hibbit
WITH GUEST SOLOIST

David Tanenbaum
FRIDAY, MARCH 4, 1977
8:15 P. M.
DON A. WATTERS THEATER

�ORCHESTRA PERSONNEL
THE HARPUR SYMPHONY ORCHESTRA
Peyton Hi b bitt conductor
Geoﬀrey Brooks, personnel manager

PROGRAM
Suite Number 3 in D Major.....................J. S. dBEEL
Ouverture
Air
Gavotte
Bourree
Gigue
I

.

.

.

Antonio Vivaldi
Concerto En Re Majeur
Allegro
Largo
Allegro
David Tanenbaum, guitar

——
—i— — INTERMISSION — Symphony Number 100 in G Major..............Joseph Haydn
(Military)
Adagio – Allegro
Allegretto

Menuetto
Finale – Presto
Joaquin Rodrigo
Concierto Pe Aranjuez
Allegro con spirito
Adagio
Allegro gentile
David Tanenbaum, guitar

FIRST VIOLINS
George Myers,
Concertmaster
Joan Weitzman
Neil Blachman
Ross Levinson
Andy Stack
Evelina Chao
Nigel Allen
David Harrington
Mark Helm
Armen Boyagian
SECOND VIOLINS
Eric Sadowitz
Lee Ann Horbatuck
Susan Kindler
Andrea Andros
Lori Finkelman
Monica Pfeiﬀler
VIOLAS
Barbara Thompson
Laura Stein
Geoﬀrey Brooks
Barbara Gorin
Cheryl Bronson
Michael Jones
Fritz Loewenstein
CELLOS
Holly Wilson
David Hoppe
Claire Liva
Dan Politi
Caleb Davison
Walter Graves
Kelly Bado
BASSES
Neil Conaty
David Weinsoﬀ

FLUTES
Nancy Becker
Sue Passanante

PICCOLO
Liann Helfer
OBOES
Eliot Friedman
Janet Ziebur

ENGLISH HORN
Matthew Kuhn
CLARINETS
Chris Kielb
Debbie Neu
BASSOONS
Lois Chantry
Sue Lawson

FRENCH HORNS
Jay Hilﬁger
Bob Taylor
Ken Steiger
TRUMPETS
Al Szymaniak
Steve Winans
Dan Benscher
TIMPANT
Diane Dino
PERCUSSION
Joe Pazienza
Pete Lowenthal

�ORCHESTRA OFFICERS
Eric Sadowitz, President
Barbara Thompson, Vice President

This concert is sponsored in part by the Student
Association and the School of Arts and Sciences.

�</text>
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                    <text>State  University  of  New  York  at  Binghamton

Harpur  College
Department  of  Music

PRESENTS

The
Harpur  Symphony
Orchestra
UNDER  THE  DIRECTION  OF

Judith  Somogi
W I T  H 

 G
T U  E S T 

P E T  E R 

S 0  L 0 I  S T

M A R S  H

Monday,  November  8, 1976
8:15  P.  M.
Don  A.  Watters  Theater

�ORCHESTRA  PERSONNEL

THE  HARPUR  SYMPHONY  ORCHESTRA

Judith  Somogi,  conductor
Geoﬀrey  Brooks,  personnel  manager

PROGRAM
ék’bka­thhhhﬁ

Overture  to  the  Impresario, K.  486......

CELLOS
HORNS
David  Hoppe,
Ken  Steiger
Principal
Margie Topp
Bon  Taylor
Lydia  Werbizky,
Caleb  Davidson
AssistantConcertmaster Holly  Wilson
Barbara  Sasso
Daniel Politi
Lisa  Gutkin
Tamma  Mann
Howie  Cohen
Ross Levinsson
C.  T.  Shaw
Joan  Weitzman
Claire  Liva
David  Harrington
Walter  Graves
M.  R.  Smith
Jane  Whitmore
Denis  Cleveland
Kelly  Bado
Andy  Stack
Mark  Helm
Rosa  Campa
BASSES
Neil Conaty,
SECOND  VIOLINS
Principal
Paul Turco,
David  Weinsoﬀ
Principal
Richard  Thomas
Eilleen Pasternak
Nigel  Allen
FLUTES
Lee  Ann Horbatuck
Nancy  Becker
Eric  Sadowitz
Susan  Passanante
Janet  Brady
Tina  Fine
Susan  Kindler
Richard  Balkan
OBOES
Arlene  Pines
Eliot  Friedman
Lori  Finkelman
Matthew  Kuhn
Joel Robinson
Janet  Ziebur
Sophie Horowitz
CLARINETS
VIOLAS
Paul  Ketchoyian
Carol Isaacson,
Mark Zavatto
Principal
Cindy  Baldwin
Laura  Stein
Barbara  Thompson
BASSOONS
Barbara Gorin
Lois  Chantry
Ann  Ziegler
Louis  Papastrat
Adrienne  Bennett
Cheryl  Bronson
TRUMPETS
Michael Jones
Alfred  W.  Szymaniak
Steven  H.  Wimans

FIRST  VIOLINS
George Myers,
Concertmaster

c

s s 

A.  Mozart

s 0 

(1756–1791)

Concerto for  Violin im  D  major, Opus 77....Johannes  Brahms
(1835–1897)
Allegro  non troppo
Adagio
Allegro  Giocoso,  ma  non troppo  vivace
Peter  March  violi–
e

y

* 4 * Intermission  * * *

Symphony  No.  8  in 2  Major, Opus  55...Ludwig  van Beethoven
(1770–1827)
Allegro  con  brio
Marcia  Funebre  ­ Adagio  assat

Scherzo  – Allegro  vivace
Finale  ­ Allegro  molto

TIMPANI
Geoﬀrey  Brooks

�ORCHESTRA  OFFICERS
Paul  Turco, President
Lisa  Gutkin,  Vice  President

This  concert  is  presented  free  thanks
to  the  Student  Association  and  the

School  of  Arts  and  Sciences.

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                    <text>WP-112&#13;
&#13;
About the Harpur Trio:&#13;
As members of the Harpur College Music Department, each&#13;
artist brings to the trio a unique training and background.&#13;
&#13;
Patricia Isham, who holds degrees from Pomona College and&#13;
Columbia University, studied with William Kroll and Alexander&#13;
Schneider.&#13;
&#13;
Myron Fink, well known as both composer and pianist, studied&#13;
at the University of Illinois with Burrill Phillips in Composition and&#13;
Stanley Fletcher in Piano.&#13;
&#13;
Equally proficient as performer and musicologist, Dr. Harry&#13;
Lincoln holds degrees from Macalester College and Northwestern&#13;
University.&#13;
&#13;
_________________________________&#13;
&#13;
Announcements:&#13;
&#13;
Friday, Nov. 20&#13;
Krainis Baroque Trio&#13;
&#13;
Sunday, Nov. 29&#13;
Quarneri String Quartet&#13;
&#13;
Sunday, Dec. 6&#13;
Quarneri String Quartet&#13;
&#13;
Monday, Dec . 14&#13;
Christmas Program&#13;
(College Choir and Men's Glee Club)&#13;
&#13;
__________________________________________&#13;
&#13;
A reception for the Harpur Trio will be held immediately&#13;
following the concert in the Faculty Lounge, adjacent to&#13;
the Theater. Everyone is cordially invited.&#13;
&#13;
THE HARPUR TRIO&#13;
Patricia Isham, Violin&#13;
Harry Lincoln, Flute&#13;
Myron Fink, Piano&#13;
&#13;
November 7, 1964&#13;
8:15 P. M.&#13;
Harpur Theater&#13;
&#13;
�&#13;
PROGRAM&#13;
&#13;
Trio Sonata in C minor -------------------------J.J. Quantz &#13;
                                                                                            (1697-1773)&#13;
Andante moderato&#13;
Allegro&#13;
Larghetto&#13;
Vivace&#13;
&#13;
Sonata in A, Op. 47 (Kreutzer ) for piano and violin--------Beethoven&#13;
                                                                                                                           (1770-1827)&#13;
Adagio sostenuto - Presto&#13;
Andante con Variazioni&#13;
Finale.     Presto&#13;
&#13;
****Intermission****&#13;
&#13;
Jeux. Sonatina for flute and piano --------------J. Ibert&#13;
                                                                                                 (b. 1890)&#13;
Animé&#13;
Tendre&#13;
&#13;
Trio in Bb- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -C. P. E. Bach&#13;
                                                                                                                     (1714-1788)&#13;
Allegro&#13;
Adagio, ma non troppo&#13;
Allegretto&#13;
&#13;
&#13;
PROGRAM NOTES&#13;
The two trios by J. J. Quantz and C. P. E. Bach represent different &#13;
characteristic aspects of pre-classic music. Both men were employed&#13;
by Frederick the Great at Potsdam and Berlin, Quantz from&#13;
1728-177 3, and Bach from 1738-1767. They were composing during a&#13;
time of transition, when the "learned" and polyphonic style of the Baroque&#13;
was giving way to the new formal and expressive devices, ushering in the&#13;
Classical period. The trio sonata is a characteristic Baroque form in&#13;
which two treble instruments, either alike or of differing timbres, are&#13;
supported by a continuo, consisting of harpsichord and cello. The two&#13;
works on tonight's program may be played on two violins, two flutes or two&#13;
oboes, or any combination of these instruments. In Charles Burney's&#13;
account of his visit to Potsdam, he describes Quantz's music as "simple&#13;
and natural" but of a style that was in vogue forty years earlier. Bach,&#13;
according to Burney's description, is "rich in invention, taste, and learning,"&#13;
but richest in "expression." Quantz's Trio-Sonata represents the Baroque&#13;
tradition of the "church sonata" with its four movements alternating between&#13;
slow and fast tempi and its highly imitative interplay between the two solo&#13;
voices. Bach's three-movement trio lays a greater stress on "Empfindsamkeit"--&#13;
in which expression and sensitivity play the primary role.&#13;
&#13;
The "Kreutzer" Sonata of Beethoven was first performed in 1803 by&#13;
the English violinist George Bridgetower with Beethoven at the piano. The&#13;
first two movements had evidently been sketched earlier in the year. At&#13;
the first performance the violinist was obliged to play from Beethoven's&#13;
own manuscript while the piano part was non-existent except for an occasional&#13;
jotting. The third movement had been composed the previous year for an&#13;
earlier sonata, Op. 31, No. 1, but had been laid aside as being too imposing&#13;
a movement for that work. When the sonata was published in 1805, Beethoven&#13;
dedicated it to Rudolph Kreutzer, with the remark that since the "sonata&#13;
was written for a thoroughly capable violinist, the dedication to him (Kreutzer)&#13;
is all the more appropriate." The sonata begins with an adagio introduction&#13;
stated by the unaccompanied violin---a unique device among Beethoven's&#13;
violin sonatas. The first movement in sonata-form is punctuated with&#13;
cadences extended by cadenza-like elaborations. In the second movement&#13;
both instruments play an equal role in spinning out the variations. Although&#13;
the first movement with the exception of the introduction is in A minor, the&#13;
third movement returns to the key of A major, as in the introduction, and&#13;
the work closes in brilliance and gaiety.&#13;
&#13;
Early twentieth-century French composers have contributed greatly&#13;
to the flute repertoire. Ibert's Jeux, in spite of the subtitle Sonatina, is&#13;
rhapsodic in character . The first movement is characterized by a lively,&#13;
disjunct theme in 5/8 meter. The opening lyrical material of the second&#13;
movement is built to a climax by means of a canon between the two instruments.</text>
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                  <text>&lt;p&gt;&lt;a href="https://omeka.binghamton.edu/omeka/items/show/2877"&gt;Full Display and German Transcription of Max Reinhardt's&lt;/a&gt;&lt;em&gt;&lt;a href="https://omeka.binghamton.edu/omeka/items/show/2877"&gt; Reigen Promptbook&lt;/a&gt;&lt;br /&gt;&lt;/em&gt;&lt;br /&gt;&lt;a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/"&gt;&lt;span&gt;Max Reinhardt Archives and Library&lt;/span&gt;&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,reinhardt&amp;amp;tab=DigitalCollections&amp;amp;search_scope=DigitalCollections&amp;amp;vid=01SUNY_BIN:01SUNY_BIN&amp;amp;offset=0"&gt;Max Reinhardt Collection Photographs&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="https://omeka.binghamton.edu/omeka/max-reinhardt-timeline"&gt;The Life and Times of Theater Director Max Reinhardt&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="https://omeka.binghamton.edu/omeka/max-reinhardt-theaters"&gt;The Theaters of Max Reinhardt&lt;/a&gt;&lt;/p&gt;</text>
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                <text>Haus der Temperamente : Posse mit Gesang in zwei Akten [promptbook]</text>
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                <text>Binghamton University Libraries</text>
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                <text>Reinhardt, Max, 1873-1943</text>
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                <text>Copyright undetermined. This image is provided for educational and research purposes only as is stipulated by U.S. and international copyright law. For more information, please contact speccoll@binghamton.edu. </text>
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                  <text>&lt;strong&gt;&lt;em&gt;Who is Max Reinhardt?&lt;/em&gt;&lt;/strong&gt; &lt;br /&gt;The celebrated &lt;span&gt;Austrian t&lt;/span&gt;heater director &lt;a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/"&gt;Max Reinhardt&lt;/a&gt;, recognized in America primarily for his elaborate productions of Shakespeare’s A Midsummer Night’s Dream, Franz Werfel’s The Eternal Road, and Karl Vollmoeller’s The Miracle, was born in 1873 at Baden near Vienna, Austria and died in New York City in 1943. Reinhardt’s illustrious career takes on added significance because it coincides with a major shift in the evolution of the modern theater: the ascendancy of the director as the key figure in theatrical production. Reinhardt’s reputation in international theater history is secured by the leading role he played in this transformation, as well as by his innovative use of new theater technology and endless experimentation with theater spaces and locales, which together redefined traditional relationships between actor and audience toward a new participatory theater. &lt;br /&gt;&lt;br /&gt;&lt;em&gt;&lt;strong&gt;What is a prompt book?&lt;/strong&gt;&lt;/em&gt; &lt;br /&gt;The prompt book is a master copy of the production script and contains a wealth of instructions and information alongside the basic text of the play. As well as the actors’ lines, you will often see cues for music, movement, light, and many other aspects of stage business. It may also contain sketches of how a piece of staging is supposed to look, or which costume a character should wear in a scene. &lt;br /&gt;&lt;br /&gt;&lt;em&gt;&lt;strong&gt;Why are his important?&lt;/strong&gt;&lt;/em&gt; &lt;br /&gt;Reinhardt’s directorial prompt books reflect the ways in which he made plays by major playwrights, including Ibsen, Shakespeare and Wilder, his own. The prompt books contain notations denoting changes in the script, actor moves and technical cues, instructions on how sound, props and scenery were used, and stage drawings. They help us to reconstruct Reinhardt’s techniques and directions in productions. &lt;br /&gt;&lt;br /&gt;&lt;em&gt;&lt;strong&gt;Acknowledgements&lt;/strong&gt;&lt;/em&gt; &lt;br /&gt;Thank you to the Gladys Kriebel Delmas Foundation who generously provided the funding to make this extraordinary project possible. Thank you also to the following individuals who helped make this project successful: Binghamton University Libraries’ Staff: Benjamin Coury, Nicholas Eggleston, Jean Green, Blythe Roveland-Brenton, Erin Rushton, David Schuster, Rachel Turner, Brandy Wrighter; Binghamton University Students: Madelynn Cullings, Kashawn Hernandez, Aanyah Jhonson-Whyte, Marisa Joseph, Bethany Maloney, Ashleigh Marie Sherman, Thomas Tegtmeier, Joseph Vitale.</text>
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                  <text>&lt;p&gt;&lt;a href="https://omeka.binghamton.edu/omeka/items/show/2877"&gt;Full Display and German Transcription of Max Reinhardt's&lt;/a&gt;&lt;em&gt;&lt;a href="https://omeka.binghamton.edu/omeka/items/show/2877"&gt; Reigen Promptbook&lt;/a&gt;&lt;br /&gt;&lt;/em&gt;&lt;br /&gt;&lt;a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/"&gt;&lt;span&gt;Max Reinhardt Archives and Library&lt;/span&gt;&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,reinhardt&amp;amp;tab=DigitalCollections&amp;amp;search_scope=DigitalCollections&amp;amp;vid=01SUNY_BIN:01SUNY_BIN&amp;amp;offset=0"&gt;Max Reinhardt Collection Photographs&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="https://omeka.binghamton.edu/omeka/max-reinhardt-timeline"&gt;The Life and Times of Theater Director Max Reinhardt&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="https://omeka.binghamton.edu/omeka/max-reinhardt-theaters"&gt;The Theaters of Max Reinhardt&lt;/a&gt;&lt;/p&gt;</text>
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                  <text>Jean Green,&amp;nbsp;&lt;br /&gt;&lt;br /&gt;Binghamton University Students: &lt;br /&gt;Madelynn Cullings&lt;br /&gt;Kashawn Hernandez&lt;br /&gt;Aanyah Jhonson-Whyte&lt;br /&gt;Marisa Joseph&lt;br /&gt;Bethany Maloney&lt;br /&gt;Ashleigh Marie Sherman&lt;br /&gt;Thomas Tegtmeier&lt;br /&gt;Joseph Vitale</text>
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              <text>Few found throughout book. No performances given. Nazi stamp found back of cast list page. </text>
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              <text>Das Haus der Temperamente</text>
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              <text> PT2635.E548P75 v.90</text>
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at &lt;a href="mailto:orb@binghamton.edu"&gt;orb@binghamton.edu&lt;/a&gt;.</description>
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