49
10
1775
-
https://omeka.binghamton.edu/omeka/files/original/3706516d0d029c76c93d4e95e745d917.pdf
6cff451854c6bf3b731183c2cc10aad6
PDF Text
Text
�PROGRAM
Sunday, August 14, 1966
8:15 p. m
College Theater
QUARTET in F MAJOR, K. 590
Allegro moderato
Allegretto
Menuetto, Allegretto
Allegro
W . A. MO ZART
CONCERTI NO for STRING QUARTET
(1920)
I. STRAVI NSKY
intermission
QUARTET Op. 130 in B FLAT
I Adagio, ma non troppo; Allegro
II Presto - L'istesso tempo
III Andante con moto, ma non troppo
IV Alla d anza tedesca. Allegro assai
V Cavatina. Adagio motto espressivo
VI Finale; Grand Fugue (Op. 133)
L. v . BEETHOVE N
A RECEPTION honoring the Quartet will be
held in the Faculty Lounge adjacent to the
theater following this evening's recital . The
audience is most cordially invited to attend.
�Notes
by William
Kl enz
ozart's last quartet, K. 590 in F Major, is the
third of the (proposed)
series of six (17B9-90)
for Frederick William II of Prussia. It is the
largest in scale and of brilliant, masterly effect,
relying upon no unusual forms or procedures.
The highly developed 'cello part is in recognition
of the patron's predilection for that instrument.
€ The Concertino
of Stravinsky 1s a concise, highly inte-
grated work relieved by some elements of virtuosity by the
first violin. Written in 1920, it reflects the reaction of the
period against "systematic" composition and traditional
forms and seeks to exploit and extend tonal resources, speci-
fically by de-emphasizing the classical consonant relationships of thirds, and supplanting them with fourths. The
unsentimental and even cynical aphorism that results is a
c l ear reflection of the post World War I era.
• The Quartet in B Flat, Op. 130 is one of the three works
undertaken fo r P rince Nicholas van Galitzin. The series
begins with op. 127 in 1823-24, followed by Op. 132 in 1825
and Op. 130 in 1826. (The seeming contradiction in order is
the result of the order of publication.) With an unusually
large number of movements, the work is complex, varied
and extensive. In the original version, performed this evening, the work ended with a iitanic fugue.
At the first performance, 1826, the second and fourth
movements had to be repeated whereas the final fugue, which
is of transcendent difficulty for both player and listener,
was felt to be without effect. For this,and practical reasons
suggested by the publisher (with an eye to sales I), Beethoven
supplied in November, 1826 a new finale which was his last
completed composition. The "Grand Fugue"was published,
and is often played, separately as Op. 133 with a dedication
to Archduke Rudolph.
The first movement is a sonata form which begins with a
slow introduction before its brilliant principal theme. The
movement is complicated by a number of reappearances of
the introductory material at crucial moments in the form,
e .g. the beginning of the development and of the coda. This
most unusual procedure may at first disturb the listener's
formal accounting, but in reality it is a powerful unifying
factor imposing both order and moments of respite-variety
upon the somewhat intractable materials of the sonata proper.
�The multipl icity of movements is occasi oned by Beethoven ' s use of two Scherzi, one in bina r y meter, one in
ternary meter, movements II and I V . T he i ncl usion of the
second may have been due to its pre-existence. Intended
originally for the A Minor quartet, Op. 127, where it was to
have been in A MaJor, it is labelled "Alla danza tedesca"
("like a German dance"). Its popular elements are welcome
in the rarefied, intense atmosphere of the rest of the work.
Another possible reason fo r its removal to this quartet where
it appea r s in the key of G 1s that this key per mits the use of
the hurdy-gurdy drone-like "open" D stringinthewaltz-like
passages of the first violin i n the trio.
T he third movement, Andante _ ts, in the classic Viennese
tradition, the result of the application of the pri nciples of
Sonata development an d variation to lyr ic {r ather than theatrical) materials. The resulting richness, variety and fantasy of design el ements and texture are nowhere surpassed
even by Beethoven himself. The Cavatina, V, is as its name
implies, a direct lyric utterance of s i mple form without
extensive deve lopment. It is of the exal ted, subllmeexpressio11 accessible only to the greatest maste r s.
The Fugue-finale 1s accordmg to Beethoven'sownsuperscription "now free, now st r ict,• and r esembles no other
then existing work. Its form:
I. Introduction ("Overtura")
a stark exposition of its "Euclidian" or perhaps better "Cartesian" kernel-theme,
which incidentally bears not a little resemblance to
the co r e-materials of both Op. 131 and 132. Also presented are fragments of a second fugue theme.
ll. First Fugue (strict, subject in wide, jagged intervals
accompanied by kernel-theme) followed by three variations or (free) developments.
a. Triplets.
b. Eighths and sixteenths .
c. Subject (wide intervals mod1f1ed by triplets).
III. Second Fugue (strict, subject flowing sixteenths with
kernel-theme) followed by the va r iations or (free)
devel opments.
a. Allegro, /(, kerne l -theme .
b. Kernel-theme augmented and subject inverted.
c. Subject diminished, modulation.
IV. Threefold deve lopment of the two fugues, reminiscences and development of preceding sections.
V. I. Repetition of first variation of the second fugue.
2. Further development of second fugue.
(Continued on back page)
�State University of New York at Binghamton
HARPUR COLLEGE
The Departm ent of Music presents
TH E GUARNERI STRING QUARTET (in residence)
Arnold Steinhardt
John Dalley
violin
violin
R EC I TALS
O
Michae l Tree
viola
SEASON 1966-67
SUMMER SERIES
WI NTER SER IES
Sunday,
Sunday,
Sunday.
Sunday ,
Sunday,
Sunday ,
Sunday, November 6
Tuesday, December 13
July 10
J uly 24
August 7
August 14
Septembe r 11
October 9
Dav id Soyer
cello
Wedne sday , January 4
Wednesday, January 11
Sunday , February 12
SPR ING SER IES
Sunday, March 12
Saturday, Ma r ch 18
Sunday , April 2
Sunday , April 30
Saturday, May 6
All performances at 8:15 p.m. in the Harpur College Theater.
Lafe comers will be seated after the first quartet.
Ushering courtesy of Alpha Phi Omega and Gamma Sigma Sigma.
OPEN REHEARS ALS
During the month o! August, the Guarneri Quartet
will be holding open rehearsals according to the following schedule:
Mondays . . . . . . . . . . . . . . . . . . . . . . . . . . August 15, 22
Wednesda ys . . . . . . . . . . . . . . . . . . . . . . August 10 , 17 , 24
Fridays . . . . . . . . . . . . . . . . . August 12 (at 3:00 p.m.), 19 , 26
All rehe arsals will be held in the Musi c Rehearsal Room (Classroom• Administrahon
Building-Room 183), and will begin at 11 :00 a.m., except for the August 12 rehearsal.
The public is cordially invited to attend. Persons may quietly enter and leave the
rehearsal a rea at anytime.
NOTES (Continued)
VI. Coda
l. Ke rnel•theme //, massive, unison.
2. Subject of second fugue, (transformation
by tr ill s) .
3. Recapitulation of first subject (wide mtervals v. 1) with kernel•theme
in augmentation (v . 2 , 'cello) and characte risti c rhythm (in viola).
4. Brilliant, r esonant statement of simplest e lements of the subject.
A towe r ing edifi ce indeed, nor is its access easy, o r gamed at the hrst attempt!
Program design by William Mihalko
�
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Coverage
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
Template: PDF / Rosetta
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Original Format
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3 sound tape reels
Duration
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31:27
09:57
37:21
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54650">Summer Series Recital Guarneri Quartet Recital</a>
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Title
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Summer Series Recital Guarneri Quartet, August 14, 1966
Recital Tape 1966-8-14
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Mozart, Stravinsky, and Beethoven.
Creator
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Guarneri Quartet
Publisher
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Binghamton University Libraries
Contributor
An entity responsible for making contributions to the resource
Mozart, Wolfgang Amadeus, 1756-1791
Stravinsky, Igor, 1882-1971
Beethoven, Ludwig van, 1770-1827
Date
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1966-8-14
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sound
Identifier
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Summer Series Recital Guarneri Quartet, August 14, 1966 Recital Tape 1966-8-14.pdf
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https://omeka.binghamton.edu/omeka/files/original/9b6a51e99b90c24e91090516995b0385.pdf
c75cc5e108f40a2da0d6abc2242353c4
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Text
STATE UNIVERSITY OF NE\V YORK AT BINGHAMTON
CONVOCATIONS COMMITTEE
presents
Shinichi and Yasuko Yuize
8:15
AUGUST 15, 1966
COLLEGE
THEATER
�PROGRAM
GODANGINUTA (Five Sections )
THIS EVENING 'S ARTISTS
Kengyo Mitsuzaku
(d. 1853)
(koto duet)
AKIKAZE ( The Autumn Wind )
Kengyo Mitsuzaki
(koto solo)
A THEME AND VARIATIONS
Shinichi Yuize
(1923-
)
(koto solo)
THREE STUDI ES
Yasuko Yuize
(1926-
)
(koto solo)
UMEGAE ( A Plum Tree)
(voice, koto and sangen)
MIDARE HI NZETSU (Disorder)
Jodan Yatsuhashi
(1614-1685)
(koto duet)
KlNUTA (The Sound of Billowing Cloth )
Michio Miyagi
(1894-1956)
(koto duet)
Kozaburo Hirai
( 1910)
ARABESQUES
Flowing, moderato ma
Shinichi Yuize, celebrated koto player and one of Japan's best-known
composers, has been in New York for the spring semester at Columbia
University on a Rockefeller Fund grant as artist-in-residence to train
Americans in koto playing and to lecture on Japanese music. Born in
Hokkaido, Japan, he began the study of koto at the age of 3, and to write
music at the age of 6. He first came to this country several years ago as
koto virtuoso soloistwith the Azuma Kabuki Company, touring with this
group al50in Britain, Italy, Holland, Germany, and France. lie ha, also
performed in Iran and Israel. l n Europe, he has appeared in joint concerts
with Yehudi Menuhin, David Oistrakh, and Ravi Shankar.Henry Cowell
for hlm which he performed last Spring ( 1965) at
wrote a koto concerto
Dartmouth College in premiere with Mr. Cowellpresent. For many seasons, Shinichi Yuize ha, also presented in the fall in Tokyo a concert of
his own compositions--works in large and smaller forms, and of various
combinations and solo instruments. He has been the
representative of his
country in international festivals abroad, and music congresses
at home.
Mrs. Yuize is a graduate of Peninsula College in California. Both
artists are members of families celebrated in Japan for musical heritage
Both also graduated from the Tokyo University of Arts, and have studied
koto with the late Michio Miyagi. The couple recently made their duo
recital debut in New York at Carnegie Recital Hall on May 24th. During
early June, Mr. Yuize was koto soloistwith the New York Philharmonic
Orchestra, Andre Kostelanetz conducting, at three Philharmonic Hall
Promenade Concerts, in a concerto by his teacher, Michio Miyagi, titled
"The Sea in Springtime."
Shinichi Yuize's solo records include one recently made for Nonesuch
also an earlier Cook album. With Tony Scott, clarinetist, Mr. Yuize has
recorded for Verve Records, and with his wife for B. A. M. of France.
con spirito
Contrast, Pocolento
Harmony,
Allegrocon l,rio
(koto duet)
Ushering courtest 01 Alpha Phi Omega and Gamma Sigma Sigma.
Masao Matsumoto
(1915l
WOOD AND STONE
Smoking is allowed in the lobby, but
not
in the theater.
A Scene,, Andante
A
A Struggle, vivace
In order to accomodate •• many people as possible for each of the
Convocations Committee events, the following system of seatpriorities has
been established.
Peace, Rondo
(koto duet)
A RECEPTION honoring the Yuizes will be held by the residents of Johnson I/all in the Lounge of their dormitory immediately following the performance.
The audience is cordially
invited to attend. Johnson Hall is situated
directly across
Center Drir,e from the Student Cente r Building.
Seat reservations will not be honored after 8:15 p. m. In case of a
sell-out seats not occupied at that time will be re-sold. Should a patron
arrive late and find that his seat has been resold, the purchase price of
his ticket will be refunded. No refunds will be made to persons not attending the concert.
This policy has beenadopted
so that while advance reservations may
be made, no one will be turned away from a program while there are
empty seats in the theater.
�EVENTS CALENDAR
t
All programs at 8: 15 p. m. in the College Theater
unless otherwise specified.
• A presentation of the Convocations Committee
Admission charge. Tickets available at College Box Office, 798-2165.
SEPT. 16, 17, 18
Friday, Saturday,
Sunday
þÿ'" " T HFIREBUGS"
E
An exciting new play by one of Germany's leading
playwrights, Max Frisch. Presented by the Theater
Department, and directed by Al Brooks.
SEPTEMBER 21
Wednesday
þÿ'" F I L
"HAND
M:
lN HAND"
"Hand in Hand" dramatizes with warmth and insight the friendship of a boy and a girl. Their
world is happy and serene until it is invaded by a
religious prejudice.
AUGUST 16
Tuesday
!Oa.m.
C.A. 183
LECTU RE / DISCUSSION ON JAPANESE MUSIC
Shinichi and Yasuko Yuize in an informal discussion
of Japanese music. Mr. Yuize is one of Japan's foremost composers.
AUGUST 17
FILM: "THE CRANES ARE FLYING"
Cannes Grand Prize drama of two young lovers
caught up in the tragic eventsof World War II
which strikes a universal note and is revealing of
SEPTEMBER23
Friday
°FILM: "WHAT PRICE GLORY" (United States,
by Mikhail
Russian dialogue,
subtitles. Presented by the Student Center Board.
BEGIN SU!'.1\1 ER RECESS
SEPTEMBER 25
Sunday
°MARTHA FOUSE, SOPRANO
Youth Artists Series
SEPTEMBER 30
Friday
°FILM: "ANTIGONE" (Greece, 1961 )
T he problem of Sophocles play lies in the rival
claims of the state and the individual conscience:
on the one hand, the state's need to prosecute the
war on its enemies ruthlessly and, on the other
hand. the individual's need to honor his personal
sense of justice. Irene Pappas stars.
OCTOBER 2
Sunday
YATES, PIANIST
þÿ'"FRANCES
Young Artists Series
OCTOBER 5
Wednesday
°SEYMOUR LIPSET,LECTU RE
Internationally known for his studies of political
sociology in the United States and Europe and in
emerging nations.
Wednesday
attitudes
AUGUST 20
Kalatozov,
Directed
Saturday
AUGUST 28
Sunday
AUGUST 29
Monday
SEPTEMBER 2
Friday
SEPTEMBER4
Sunday
SEPTEMBER
9
Friday
SEPTEMBER 10
Saturday
7:00
Gymnasium
SEPTEMBER 11
Sunday
FILM: " MIDNIGHT LACE"
A spellbinding and starkly realistic mystery drama
with a shocking climax. Doris Day gives a fascinating and emotional performance. Presented by the
Student Center Board
CLASSES RESU!'.1E
°FILM: "THE GOOD SOLDIE R SCHWEIK"
(Germany, 1961 ) The Germans know all about
good soldiers. and this comedy ( from the novel by
Jaroslav Hasek) shows us some of what they have
learned. At least, the film is saying, somebody must
be crazy.
°AN EVENING OF FOLK SONG
English, Irish. Scottish and American songs and
ballads, sung by Hollis Rinehart. baritone, accompanying himself on the guitar. Young Artists Series
SUMMER WEEKEND FILM
(to be announced)
Presented by Student Center Board
þÿ'"
"THE CAMBRIDGE CIRCUS"
From five months at the West End in London , and
six months touring Australia and New Zealand, this
mirthful revue with music is directed by John
Cle,,;,, and produced by John II. Morris, Jr., producer of "THE ESTABLISHMENT••
GUARNERI STRING Q UART ET
Quarter in C Major, K. 387, Mozart; Quartet in F
Major, Op. 18 c'>o. I. Beethoven; Quartet in G
Minor, Grieg.
SEPTEMBER 22
Thursday
CHRISTINE LINDSAY, HARPSICHORDIST
Presented
by the Music Department.
1926)
w ay play, starring Victor Broadw
McLaglen, Edmund
EnglishLowe,
and Dolores Del Rio.
OCTOBER 6
Thursday
°FRANK PULLANO, BARITONE
Young Artists Series
OCTOBER 7
Friday
°FILMS: "THE RED BALLOON" AND "LORD
OF THE FLIES'"
Two films about what children are: one shows us
a child whose delight is the vulnerable and beautiful balloon that accompanies him through the
vaguely hostile streets of Paris; the other shows us
whose game is war and whose toys are
OCTOBER 8
Saturday
þÿ'" F I L"DOCTOR
M:
STRANGELOVE"
This film has been granted some sixty intcma·
tional awards. It is a brilliant example of screen
satire at its finest and funniest. Starring George C
Scott and Peter Sellers. Presented by the Student
Center Board.
children
weapons
�
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Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
Template: PDF / Rosetta
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Original Format
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3 sound tape reels
Duration
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33:54
26:04
22:06
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54655">Duo Concert of Japanese for Koto, Voice and Sangen Shinichi and Yasuko Yuize Recital</a>
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Dublin Core
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Title
A name given to the resource
Duo Concert of Japanese for Koto, Voice and Sangen Shinichi and Yasuko Yuize, August 15, 1966
Recital Tape 1966-8-15
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Mitsuzaki, Yuize, Yatsuhashi, Matsumoto.
Creator
An entity primarily responsible for making the resource
Yuize, Shin'ichi
Yuize, Yasuko
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Contributor
An entity responsible for making contributions to the resource
Mitsuzaki Kengyō, -1853?
Yuize, Shin'ichi
Yatsuhashi Kengyō, 1614-1685
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
1966-8-15
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
Duo Concert of Japanese for Koto, Voice and Sangen Shinichi and Yasuko Yuize Recital Tape 1966-8-15.pdf
-
https://omeka.binghamton.edu/omeka/files/original/e52c2a49b1bb63ee685596e8d610b0ac.pdf
0b901fb317b13fc38358b80729768f06
PDF Text
Text
The nextrecital in the Summer Recital Series wi
ill takeplace
on September 25 when Martha Fouse, soprano accompanied by
William Jones, Jr., will give a program of songs by Vivaldi,
Brahms, Obradors, Samuel Barber, and Benjamin Britten. The
recital will be at 8:15 p.m. in the Theater.
�State Universityof New York at
Harpur College
Binghamton
PIECES OE CLAVECIN EN CONCERT
þÿIII.I
Concert
La La Polinière
La Timide
þÿ 1 I ³ T a m b o u r i n
þÿ2.ITambourin en rondeau
The CONVOCATIONS COMMITTEE and the
DEPARTMENT of MUSIC present
CHRISTINE LINDSAY, harpsichord
JOHN HSU, viola da gamba
þÿv.I Concert
NANCY DALLEY, flute
AN EVENING OF FRENCH ANO GERMAN BAROQUE MUSIC
OF THE 18th CENTURY
Thursday, Sep. 22, 1966
8:15 P.M.
J.-Ph. Rameau
The
College
La Forqueray
La Cupis
La Marais
þÿIV.IConcert
La Pantomime
L'Indiscrète
La Rameau
Theater
A RECEPTION honoring Mrs. Lindsay, Mrs. Dalley and
Mr. Hsu w ill be held in the Faculty Lounge adjacentto the theater immediately following the recital. The audience is cordially invited to attend.
THIS EVENING'S ARTISTS
SONAT A IN A MINOR for viola da gamba and harpsichord
G.P. Telemann, 168 1-1767
Largo
Allegro
Soave
Allegro
SUITE IND MINOR for viola da gamba and harpsichord
M. Marais
1656-1728
Prelude
Couplets des Folies d'Espagne
P IECES FOR HARPSICHORD
J.-Ph. Rameau, 1683-1764
Les Tendres Plaintes
Les Niais de Sologne
SON ATA IN E FLAT MAJOR for flute and harpsichord
J.S. Bach, 1685-1750
Allegro moderato
Siciliano
Allegro
INTERMISSION
�
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
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Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
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In copyright.
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Original Format
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2 sound tape reels
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
39:34
28:56
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54660">Evening of French and German Baroque Music of the 18th Century - Christine Lindsey, Harpsichord; John Hsu, Viola De Gamba; Nancy Dalley, Flute Recital </a>
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Evening of French and German Baroque Music of the 18th Century, September 22, 1966
Recital Tape 1966-9-25
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Held at 8:15 pm, Sept. 22, 1966, Harpur College Theater. Works of Telemann, Marais, Rameau, Bach.
John Hsu, Viola De Gamba
Nancy Dalley, Flute
Creator
An entity primarily responsible for making the resource
Lindsey, Christine
Hsu, John
Dalley, Nancy
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Contributor
An entity responsible for making contributions to the resource
Telemann, Georg Philipp, 1681-1767
Marais, Marin, 1656-1728
Rameau, Jean-Philippe, 1683-1764
Bach, Johann Sebastian, 1685-1750
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
1966-9-22
Rights
Information about rights held in and over the resource
In copyright
Type
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sound
Identifier
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Evening of French and German Baroque Music of the 18th Century, September 22, 1966 Recital Tape 1966-9-25.pdf
-
https://omeka.binghamton.edu/omeka/files/original/0f57e22199fb619c088b7635b59a0c3b.pdf
94dedc272ca5062cfa5ce8b4662d058b
PDF Text
Text
�PROGRAM
SUnday, Oct obe r 9, 1966
8:1 5 p.m. College Theate r
Q UARTET No . 75 i n G MAJOR Op . 76, No . 1
All egro con spirito
Adagio sostenuto
M enuetto. Presto
Allegro ma non t r oppo
J.HAYDN
SIXTH QUARTET
I M es to, Pu i Masso, Vivace
II Mesto, Marcia
III Mesto, Bu rletta
IV M esta
B.BARTOK
intermi s sion
QUARTET i n G MAJOR Op . 18, No . 2
All egr o
Adagio Cantabil e
Sche rzo . Alleg r o
Alleg r o molto quasi Presto
L. v. BEETHOVEN
A RECE PTION honoring
the Quartet will be
held by the residents
of Johnson Hall in the
Lounge of their dormitory immediately following the performance.
The audience is
cordially invited lo attend. Johnson Hall is
situated directly across Center Drive from
the Student Center Building.
�Notes
by William
Klenz
osef Haydn's seventy-fifth quartet is the first
ol the set of six known as Op. 76 written in the
--:
mid 1790's and published in the last year of the
century. They are thus the products of Haydn's
period of transcendent mastery - the decade
which also produced the London symphonies.
The first movement opens with the briefestof fanfares
(three chords) and proceeds at once to the principal, generating theme which is tossed back and forth amongthe single
instruments before being heard in a massive presentation.
From •tus moment on there is a constant development and
intensification of both rhythm and tonal relationships. All
elements of design are extracted from the principal theme
whose apparent naiveté 1s really the cover for an ultimate
in sophistication and "know how.• Even the fresh-seeming,
innocent, wide-eyed tune which finishes off this exposition
1s really not new at all, but a reworking of its elements.
The development begins as a study in simple counterpoint,
gives way to schematic dynanusm . Emerging from this we
encounter a passage of really complex counterpoint winch
gradually simplifies
itself t o prepare for the masterly r eturn
of the 111it1al material and another,
this time definitive,
working-nut of its elements.
The fortll of the Adagio is oft he simp l est strophic order.
A sustained choral-like verse alternates with sections of
beautifully contrived textural writing, writing which certainly
did not go unnoticed by Beethoven.
T he Me 1111, /lo (once the symbol of courtly etiquette and
the long shadow of Louts X IV) 1s not sedate or courtly - 1t
is marked Presto and 1s a caricature o f the ancie 11 régime
The Revolution has taken place - and do we see Citizen
Capet, wig askew, trundling along a rough road in undignified haste 111 his carriage?
T he final movement begins in the minor key and its
materials have, as often with Haydn, a Central European
flavor.
These are subjected to a complex development
marked by subtle am\ remote modulations. These ultimately
re t urn us to the starting point and then to the major key for
a bnlliant ending.
€ The quartets of Béla Bartók have become recognized as
masterpieces lll our time.
It has been observed and with
c onsiderable justice that as a body they are th, o nly worthy
�successors to the quartets of Beethoven. They are based
on the same principle and mode by the same method, that of
integrative organic unity, closeness of derivation and the
stnrtest economy which saturates every detail, every
rhythm, every 111terval - 111 short the method createdbv
!laydn and followed by Mozart and Beethoven. The materials
a re the distinctiv
ve and extremely personal assimilation made
by Bartok of the basic materials of the racial and national
music ol Eastern Europe which he collected so faithfully and
studied with such love and care that it seems to have offered
hLm as a reward a flawless omnipotent language for the
expression of his intransigent originality. This process the forging of a "classical" language from basic materials
1s usually the product of centuries. To Bartok it was granted
to accomplish it in one hfetime. To those who realize the
achievements of Ins life work 1t seems that he deserved it.
The sixth quartet is Bartok's last and was completed in
Budapest late Ill 1939. Its movements are bound together
by a recurring "motto" theme, slow, Mesto, which embodies
the element of lassu,
brooding melancholy and concealed
fire, typical of Hungarian music. In contrasting rapid kinesthetic movements, friss,
the materials become incandescent and propose exhilarating experiences of muscles,
mind and spirit.
€ The quartet, Op. 18 No. 2 bears the nickname, "Compliment Quartet" because of the florid, elegant nature of its
opemng phrases which set thetonefortheenure first movement. However the rnatenal is not empty flattery, but rich
in patterns and motives which receive a searching analysis
and resynthesis lll the course of the movement. Juxtaposition, mutual modification, interaction are 1hr devices which
make the work a reflection of the natural world and the
Force behind it. These are carried out at obvious, overt
levels, and at recondite, arcane depths whence they operate
directly upon the subconscious which senststhe "rightness"
and precision of things for which the
"small-change counting"
consciousnesshas no recognition or epistemological terms.
The quartet is all of a piece. The Adagio has many
thematic and motivic references to the first movement it also contains a surprise, a miniature Sonata Allegro
tucked between
its two broad statements which are themselves a Lied formand its variation. The Scherzo continues
th, atmosphere of elegance and wit while the very Haydnlike finale develops a motive first presented (f) at bar 20
of the firstmovement.
�State University of New York at Binghamton
HARPUR COLLEGE
The Department of Music presents
THE GUARNERI STRING QUARTET (in residence)
Arnold Steinhard t
violin
Michael Tree
viola
John Da lley
violin
RE C ITALS
O
David Sayer
cello
SEASO N 1966-67
SUMMER SERIES
WINTER SERIES
SPRING SERIES
Sunday, July 10
Sunday, July 24
Sunday , November 6
Tuesday , Decembe r 13
Wedne sday, J anuary 4
Wednesday , January 11
Sunday , Mar ch 12
Saturday, March 18
Sunday, August 7
Sunday , August 14
Sunday, September 11
Sunday, Octobe r 9
Sunday, February 12
Sunday , April 2
Sunday , April 30
Satu rday, May 6
All performances at 8:15 p.m. in the Harpur College Theater .
Late comers will be scaled after the first quartet.
Ushering cou rtesy of Alpha Phi Omega and Gamma Sigma Sigma.
OPEN REHEARSALS
The public is co rdially invited to attend the Quartet's
rehearsals, held the day prior to each recital, at 3 p.m. in the music room (C .A.-183)
near the theate r .
Program design
by William Mihalko
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF / Rosetta
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.)
19:44
29:26
22:25
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54664">Summer Series Recitals Guarneri Quartet Recital</a>
Accessibility
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Summer Series Recitals Guarneri Quartet, October 9, 1966
Recital Tape 1966-10-9
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Haydn, Bartók, 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
Haydn, Joseph, 1732-1809
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
1966-10-9
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 Recitals Guarneri Quartet Recital Tape 1966-10-9.pdf
-
https://omeka.binghamton.edu/omeka/files/original/a9f65a767a53c48c7fda43977c43c48f.pdf
5756cfb95195de143614c738de59e201
PDF Text
Text
BEETHOVEN IN 1811
After the bust by Klei n
Guarneri String
Quartet
Harpur - Season
66-67
cpf'rnta, ifew;,
�Sunday, Nove mbe r 6, 1966
8 : 15 p .m. College T heater
L. v.BEETHOVE N
QUARTET in E M I NOR, Op. 59 , No . 2
Al l egr o
Motto Adagi o
Alleg r etto
Fi nal e, Pr esto
QUART E T in D M A JOR, Op. 18, No .
A ll eg r o
Andante con moto
All eg r o
P r esto
int ermission
Q UARTE T in E- FLAT M A JOR, Op. 127
M aestoso: All egro
Adagi o m a non troppo e molto
cantabile
Scherzando V ivace
Fi nale
A REC EPTION honoring the Quartet will be
held in the Faculty Lounge adjacent to the
theater following this evening's rec ital . The
audience is most cordially invited lo attend.
�Notes
ET
by William Klenz
he three "Rasoumovsky" qua rt ets of Op. 59 date
from the year 1805-1 806. Count Rasoumovsky was
the Russi an Ambassador to t he Vi ennese cou r t.
Like Pri nce Galitzin, he also was a pract ical
m usic ian-•a good fiddler"--and
maintained his own string
qua r tet under the guidance of Beethoven's f riend t he vio-
li nist, Schuppanzigh.
These wo rk s belong lo the so called "middle
period"
of Beethoven's devel opment . The apprenticeship and mast er 's exa mination are over. T he musica l language changes
fro m t he t hea tr e - (opera) -de ri ved instrume ntal diction of
ea rl y Classi cism to the directl y observed and transcribed
senti ment of ea r l y (possibl y the onl y true) Romanticism .
In t his stylistic change, Beethoven must be regarded as the
l eade r. He manages the transition without losmg the force
of for mal clarity: the tru th of t hi s is shown by the fact
that three of t he four movements are In Sonata form. T he
first, nonethel ess, re fl ects a sensitivit y and febrile quality
which is to be fu r t her expl or ed by Schumann .
The Molto Adagio begins with a chorale- like the me and
p roceeds as a l a r ge expansion of it. T he subscription- "Thls
piece is to be treatedwith the greatest f eeling- ("molto di
sentimento")" al so bear s out the l eani ng toward Romantic i s m. The Allegretto(the onl y move ment not in Sonata form)
is a sche r zo- threef old like t hat of the Ninth Symphony . It
appropri atel y incl udes a Ru ssian tune In its alte r nate section
(M aggiore) - the sa me as used by M oussourgsk y in Boris
Goudonow. The l a.st move ment is an expanded co mbination
Rondo- Sonata in which development takes the place of recurring repe tition.
T he quartet was p r obabl y originally intended as the first
of the six quartets of Opus 18. Schuppanzigh wisely advised
agai nst its publication in this pl ace now illustriously occupied by the eminentl y .suitable Quartet 1n F M ajor.
A mong the ori ginal j udgements, the Allge meineMusikalische Zeitung, August 1801, said: •outstandi ng works". ..
"complete evidence of his art; but they must be played
often and very well since they are difficult to perform and
by no means 'popular.'• The most striking movement of
Opus 18 no. 3 is the finalein which basic rhythn11c materials
of a dance-game are rende r ed incandescent by a headlong
tempo and the lightest, most unconstrained possible movement, an exhilarating, effortless escape from time.
�The Qu artet i n E - Flat , Opus 127 appear s 10 have been
begun {sketches f or t he fir st movement) in ea rl y 1822. In
No vembe r , we hea r of i nquiries by Prince NicholasGalitzin
as to whether Beet hoven would undertake the composition
of two o r three new quartets to be dedi cated ("avec reconnaissance") to him. This se t in motion the effo rts which
l ed to the composition of the quartets Opp . 127, 130, 132.
The work on the earlier materials of Opus 127 p r oceeded
In 1823 after an interruption caused by the Ninth Symphony.
embodies the circu ms tances
The f i gu r e of Price Galitzin
and conditions III whi ch the chamber music of the Cl assic
Viennese Period reac hed Its acknowledged pinnacl e to such
a degree th at it may be useful to exam ine in the sixth decade
o r a se lf-congratulator y centu r y (in which the do-it-yourself
p r incipl e however appears not to go beyond attracti ve pe r iphe r al s). Not s i mply the Maecenas-he was a good 'cellist
and hi s wi fe a good pi anist . Lik e many of Beethoven's patrons, including Archduke Rudo l ph of Hapsburg, they were
able to perform and often did perform in domestic circumstances the works they had commissioned and we r e eminentl y
able to judge directly without cri t ical or journalistic "assistance" of its worth and qual ity.
T he first movement opens with a formal fanfare, a very
compressed version of an invocatio11-1nt r oductlonwhlch also
serves to ma r k off the principal subdi visions of the movem ent - a sonat a for m in which the princ ipal deve lopment
of the materials is reserved for the closing section after
obligations of exposition devel opment and
the "contractual"
recapitu l ation have been tersely but unanswerabl y complied
with.
T he Adagio is highly regarded. It is, lik e many such
move ments, a theme and (five) variations whi ch brings to
mind t he Benedictus of the Missa Solemnis, (compl eted in
the same year), here possibl y in an even mo r e exalted,
because 111ore disembodied, medium. The textural comp l exity of the central va r iations are not merel y "devices•
but bear the stamp of organic growth, evol ution and regeneration-the theme of life itself-which begins, proceeds
from and returns to an elemental state. The analogy to the
world of Nature, (with which we must always be prepared
to deal In Beethoven's work) 1s intens1hed by a generic resemblance to the slow movement of the Pastoral Symphony,
"The Scene by the Brook,• in which the "blessing" of the
worship of the Earth is overtly acknow ledged.
The Scherzo is a kaleidoscopic t r eatment of a variety
of compressed aphorisuc el ements all of which ultimately
derive f rom the satiric, dynamic increment upon Menuet
types whose traditions also dictate t he (alternating) form.
T he Finale again emphasizes the re l ationship to the
(Continued on back page)
�State Unjversity of New York at Binghamton
HARPUR COLLEGE
The Department of Mus ic presents
THE GUARNE RI STRING QUARTET (in residence)
Arnold Stei nha rdt
violin
John Dalley
violin
Michae l T ree
viola
David Soyc r
ce llo
R EC IT ALS Q SEASON 1966 - 6 7
SUMMER SERI ES
WINTER SE RI ES
SPRING SERIES
Sunday,
Sunday,
Sunday,
Sunday,
Sunday,
Sunday ,
Sunday, November 6
Tuesday, December 13
Wedne sday, January 4
Wednesday , January 11
Sunday , February 12
Sunday , Marc h 12
Saturday, March 18
July 10
July 24
August 7
August 14
Septembe r 11
October 9
Sunday , Ap r il 2
Sunday , April 30
Saturday, May 6
All performances at 8:1 5 p.m . in the Harpur College Theater.
Late comers will be seated after the first quartet.
Ushering courtesy of Alpha Phi Omega and Gamma Sigma Sigma.
NOTES (continued)
natural, pastoral wo rl d-always close at hand when Beethoven writes in his be loved
key of E- !lat. The Dionysian principle of transfo r mation is the key to the final
pages; bread and wi ne , leaf and flower and seed are transcended in a new vitality,
s m all in dimension but of infinite im pli cation-t he re turn .
Programdesign by William
Mihalko
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF / Rosetta
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.)
38:21
24:44
37:27
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54669">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>.
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, November 6, 1966
Recital Tape 1966-11-6
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of 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
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
1966-11-6
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 1966-11-6.pdf
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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42:01
22:20
15:21
27:50
31:15
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54674">Christmas Concert Harpur College Choir Rectial</a>
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Christmas Concert Harpur College Choir
Recital Tape 1966-12-4
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works by Antonio Vivaldi, Andrea Gabrieli, David L. Buttolph, Randall Thompson, Richard Kountz, Johann Sebastian Bach, Alan Hovhaness. Held Dec. 4, 1966, Harpur College Theater.
Creator
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Harpur College Choir
Publisher
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Binghamton University Libraries
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1966-12-4
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sound
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39091020058990
39091020059048
39091019619679
39091019619729
39091019619778
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https://omeka.binghamton.edu/omeka/files/original/630506ff37bfc059caa765acffd467f4.pdf
d7669006e68591f3cda67925561d8ceb
PDF Text
Text
Tape Cue Sh ee t
Program
the Campus
Music from
11, 1966
December
Date
9:00-9:30 PM
Airtime
Starts
7 1/2
speed
7
size
number 1 of 1
equalize
_
_
C O MPLETE ON T AP E
Cold
on tape
on tape
o n t ape
Attention Eng ineer: _ _ _ _ _ _ _ __
_
to be done live,
AV's
_ __
_
between music
c e r :
tape
n
l eader
Attention A n n o u
MMuHA.
n umber
reel
(at
BEGINS
ENDS:
UA;{
1 of 1
(at marker)
1
.......the Ave Maria.........
Music
marker)
leadertape
segue
h v e ax
number
reel
E NOS:
1 of 1
Cut 2
(at marker)
BEGINS:
(at marker)
leader tape
(at marker)
B E GINS:
E NOS:
timing
Selections from "Aspects o
live ax _ _ _ segue
nus Dei
of A
us Dei
Agn
Benedictions
(at marker)
marker
___ .. ,ue
paper live ax
Producer
E. Zore
engineer
Total timing
rec. date
�
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Coverage
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1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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26:41:00
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54681">Music From Campus</a>
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Title
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Music From Campus, December 11, 1966
Recital Tape 1966-12-11
Subject
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Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Ave Maria, Benedictus, Agnus Dei. Held Dec. 11, 1966?
Publisher
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Binghamton University Libraries
Date
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1966-12-11
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sound
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Music From Campus Recital Tape 1966-12-11.pdf
-
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Coverage
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1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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32:26
19:31
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54684">Harpur College Choir Recital</a>
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Title
A name given to the resource
Harpur College Choir
Recital Tape 1966-12-11
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Held at Christ Church, Binghamton, NY
Creator
An entity primarily responsible for making the resource
Harpur College Choir
Publisher
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Binghamton University Libraries
Date
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1966-12-11
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In copyright
Type
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sound
Identifier
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39091020059097
39091020059147
-
https://omeka.binghamton.edu/omeka/files/original/6acdcefd96de033bc2608d118f6d7c1b.pdf
a578831026ab82cca4c1ac04ffbc4ee8
PDF Text
Text
Beethoven nach
(1819)
chim on
Guar
String ne
Quart
Harpur
Season - 66-67
Winter Series
�Tue sd ay, Dece mb e r 13, 1966
8 : 15 p.m. Coll ege The ater
L.v. BEETHOVEN
QUARTET in C MAJOR, Op. 59,
o. 3
Introduzione, Andante con mot o:
Allegr o vivace
Andante co n moto quasi All egr etto
Me nue tto : Gr az ioso
Allegr o Molto
QUARTET in A MAJOR, Op. 18,
o. 5
Allegr o
Me nu etto
Andant e Cant abil e
Allegr o
int e rmissi on
QUARTET in B FLAT, Op . 130
I
II
III
IV
V
VI
Adagi o, ma no n troppo ; All egr o
Pre sto - L'iste ss o te mpo
Anda nt e con mot o, m a non troppo
All a danz a tede s ca. All egro assai
Cavatin a . Adagio molto exp r e ssi vo
Finale; Grand Fugue ( Op. 133)
A RECEPTION honoring the Quar tet will b
held in th e Fa culty L ounge adjacent to the
theater fo ll owing this ev ening 's r ecital . T he
audience is most cordially invited to att end .
�by William Klenz
he third of the three quart ets dedi cated t o Count Rasou m osk y and first perfor med in his home was, l ike the
others, written in 1806 . It was from the first considered
t he m ost acce ssi bl e of the t hree . T he Allgemeine
mus tka l i che
Zeitung of 27 F ebru ar y 1807 repo rts: "Three new ve r y l ong and
difficult Bee thov en qu artets . . . attract the attention of all connois seurs . They ar e profound and spl endidl y m ade, but not generall y
com prehensibl e - w i t h t he exception of the third whi ch, f or its
o r i gmality, m el ody, and harmonic fo r ce cannot fail t o impress
eve r y cultivat ed am ateu r of musi c ."
The opening i s yet another cl assi c i ntroducti on - "invocation"
of a num inous or der which galvanizes the audi t o r ' s attention and
l eads him into the r i tu all y designated t i m e space wher em the subs equent act i on is t o unfol d. Th e first movem ent pr oper is a sonat a
m ove ment of the breadth and i nt ensit y we expect of Be ethoven at
t hi s period . Likewise pres ent, i f not obvi ous, is the cha r act en sh c
fastidiousness and economy . The compl etel y m co nspi cuous initial
as cend m g half step of the Allegro becomes a ubiquitous gener atmg
p rincipl e (bars 40-41 ; 5f; 65ff; 70-74 ; 86 - 87; 90 - 92 ; 104 - 109)(both
endings - et pas i 11,) and fin all y gene r at es an entire chro mati c half st ep - s cale in the coda (bar 259-261).
The Andante is a Lied for m devel ope d into a sonata b y the
p r inciple of devel opm ent and r eturn . T he Menuetto ls at once
" gr aci ous" (Grazioso) and smcere, even mten se . I t is, like the
l ate M ozart quartet minuets , deepened by co nt r apuntal writing beneath the polish the r e li es a co mpl et el y devel oped stru ct ure.
Also, the rh yt hmi c dyna mism transcend s t hat of the simpl y schem ati c dance fo rm .
The l ast movem ent, Allegro molto, is a sonat a f orm 111 whi ch
the m at er ial is initiall y presented in a regul ar and ext ensive fugal
exposition . Like t he Final e of M oz art' s Jupiter Sym phony and
other f ugal final es, this mo ve m ent i s to be tr aced to the bri lli ant
Amen" chor uses of l ate Baroque chur ch music as given
"Alleluia
their final dynami c for ce by t he earl y 18th century eapolit an s .
Thi s is clea r from the natu r e of the subject (conjunct motion) and
t he •squ ar e" counter subje cts (e .g . ba r 210) and confirm ed in the
coda by the appear ance of the typi cal four note motivv e (c .f. "Jupiter") in bar 391 , V .2 .
In t hi s wo r k we see Beethoven carefull y studying hi s pr ede ce ssor s . We know t hat Bee thoven copi ed out the Finale of M ozart' s
Quartet in A Major K . 464, obviousl y fo r stud y and B eethoven' s
qu artet also contains, like Mozar t's, a set of variati ons as i ts
s l ow movem ent. I t is probably the fi nest movement of the qu artet
and is the first of the variation works found i n the quartets - the
va n ah on fo rm 111 whi ch so much of t he weightiest wr i ting of the
l at er quar t ets wil l be cast.
The Quartet in B Fla t , Op. 130 is on e of t he t hre e works under t aken fo r Prince i chol as von Galitzin . The series begins with
�127 in 1823-24, followed by Op. 132 in 1825 and Op. 130 in
1826. (The see ming cont r adiction in order is the result of the
o rd er of publication.) With an unusually l arge nu mb er of movem ents, the work is co mplex, varied and extensive. In the original
version, performed this evening, the work ended with a titanic
fugue.
At the first performance, 1826, the second and fourth movements
had to be repeated whereas t he final fugue, which is of transcendent
difficulty for both player and listener, was felt to be without effect.
F or this, and practical r easons suggested by the publisher (with an
eye to sales!), Beethoven supplied in November, 1826 a new finale
which was his last completed co mposition. The "Grand Fugue"
was published, and is often played, separately as Op. 133 with a
dedication to Ar chduke Rud olph.
The first movement is a sonata form which begins with a s low
introduction before its brilliant principal theme. The movement is
co m plicated by a number of reappearances of the introductory material at crucial moments in the form, e.g. the beginning of th e
development and of the coda . This most unusual procedure may at
first disturb the listener's formal accounting, but in r eality it is a
powerful unifying factor imposing both order and moments of respite-variety upon the somewhat intractable materials of the s onata
proper.
The multipl icity of movements is occasioned by Beethoven's use
of two Sch rzi, one in binary meter, one in ternary meter, movements 11 and IV . The inclusion of the second may have been due to
its pre-existence . Intended originally for the A Minor quartet,
Op. 127, wher e it was to have been in A Major, it is labelled "Alla
danza ledesca" ("like a German dance"). Its popular el ements ar e
we l come in the rarefied, intense atmosphere of the rest of the
work. Another possible reason for its removal to this quartet
where it appea rs in the key of G is that this key permits the us e
of the hurdy - gurdy drone-like "open" D string in the waltz -like
passages of the first violin in the trio .
The third movement, Andante, is, in the classic Viennese traditi on, the r esult of the appli cation of the principles of Sonata
deve lopment and variation to lyri c (rather than theat ri cal) ma
terials. The r esulting ri chness, variety and fantasy of design
e lements and texture are nowhere surpassed even by Beethoven
himself. The Cavatina, V, is as its name implies, a direct l yric
utterance of simple form without extensive development. It is of
t he exalted , sublime exp ressi on accessible only to the greatest
masters .
The Fugu e -finale is according to Beethoven's own superscription "now free, now strict," and resembles no other then existing
work. Its form:
I. Introduction ("Overtura") a stark exposition of its "Euclidian" or perhaps better "Cartesian" kernel-theme, whi ch
incidentall y bears not a little resemblance to the corematerials of both Op. 131 and 132 . Also presented ar e
fragments of a second fugu e theme.
TI. First Fugue (st ri ct , subject in wide, jagged inte rvals ac companied by kerne l-theme) followed by three variations or (free)
Op.
(Continued on back page)
�State University of New York at Binghamton
HARPUR COLLEGE
The Department of Music presents
THE GUARNERI STRING QUARTET (in residence)
Arnold Steinhardt
vio lin
John Dalley
vio lin
Michael Tree
iola
Dav id So er
ce llo
RECITALS O SEASO N 1 966-67
SUMMER SE RIES
Sunday,
Sunday,
Sunday,
Sunday ,
Sunday,
Sunday,
W INTER SERIE S
S PRIN G SERIES
July 10
Sunday, November 6
Sunday , Ma r ch 12
July 24
Tuesday, December 13
Saturday, March 18
August 7
Wednesday, January 4
Sunday, Apr il 2
August 14
Wednesday , January 11
Sunday , April 30
September 11
Sunday, February 12
Sa turday , May 6
October 9
All performances at 8:15 p.m. in the Harpur College Theater.
r_
Late com ers will be s eated after the firs t quarte t .
Ushering courtesy of Alpha Phi Omega a nd Gamma Sigma Sigma .
T he Quartet wi ll hold an open rehearsal tomorrow , Dec. 14th at 12:00 noon
NOTES (continu ed)
deve lopments: a. Triplets; b. Eighths and sixteenths; c . Subj ect (wide intervals modifi ed by triplets).
Ill. Second Fugue (st ri ct, subject fl owing sixteenths with kerne l-the me) fo llowed by the
va ri ations or (f r ee) de velopments: a. Al leg r o, ff, kernel-the me; b. Ke rnel-the me
augmented and subject inve rt ed; c . Subject diminished, mod ulation.
IV . Threefold development of the tw o fugues, r e minis cences and development of preceding
sections.
V. 1. Repetition of first vari ation of the se cond fugu e.
2. Furthe r development of second fugue.
VI. Coda
1. Kernel-the me ff, massi ve, unison.
2. Subject of second fugue, (transformation by trills) .
3. Recapitul ation of first subject (wide inte r vals v . 1} with ke rn el -the me in aug me nta ti on (v. 2, 'cello) and cha r acte risti c rh ythm (in vi ola) .
4. Brilliant, r esonant statement of simple st ele me nts of the subje ct.
A tow ering edifi ce indeed, nor is its access easy, or gained at the first attempt!
Program design by William Mihalko
Copyright 1966.
by William
Klenz
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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4 sound tape reels
Duration
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22:46
33:47
23:29
30:38
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54688">Winter Series Recital Guarneri Quartet Recital</a>
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Title
A name given to the resource
Winter Series Recital Guarneri Quartet, December 13, 1966
Recital Tape 1966-12-13
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of 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
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
1966-12-13
Rights
Information about rights held in and over the resource
In copyright
Type
The nature or genre of the resource
sound
Identifier
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Winter Series Recital Guarneri Quartet Recital Tape 1966-12-13.pdf
-
https://omeka.binghamton.edu/omeka/files/original/84467708433254f0961c1feb2c6b7a2c.pdf
8f93827dea55702f1128ebdf7b5dfe43
PDF Text
Text
00
D
HARP UR COLLEGE
Department of Musi c presents:
I
A
N
A
State University of New York at Binghamton
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DIA NA
TAKY
DEEN
pia nis t
Tuesday, January 3 '
8: 15 p. m.
1967
Ha rpur Theater
PROGRAM
BACH - BUSON I
Chaconne
BEETHOVEN
Sonata , Opus 110 in A Flat Major
Modera to cantabille,
molto espressivo
A llegromolto
Adagio ma non troppo
Fuga
lntermission
BOGHOS - GELAL!AN
Sonata f or Pianoforte
Allegro
Andantino
Allegro
DEBU SSY
Prel udes
Dan s euses de De lphes
Bruyères
La Fi lle aux Cheveux de
Lin
CHO PIN
Ba ll ade #4,
i n F Mi nor , Opus 52
A RECEPT1 ON honoring
will
be held in the
Miss
Faculty
adjacent
to the theater
following
the recital.
is
cordially
invited
Taky Deen
Lounge
immediately
The audience
to
attend.
�T HI S EVEN I NG'S ART I S T
Miss
Diana Taky Deen
was born in
1933
in the
Philippines ,
and later
became
a citizen
of Lebanon,
where
she
has become
one of
the nation's
leading pianists.
the
Her
musical education
began in
Philippines
where she graduated
from
the
Lobregat
Academy
of Music
at
Manila.
In
1957, she received
her
Diploma
from
the National Conservatory
of Music
in Beirut, and a
B.A. in Philosophy
from the American
University of
Beirut.
She pursued
advanced
studies in Paris, Rome, and
Siena, and
is
currently
a Lecturer
in
Fine
Arts
at
the
American
Univer-
sity.
Miss Taky Deen
has given concerts
in
Egypt,
France,
Great
Britain,
Italy ,
Jordan,
the
Soviet
Union,
Spain,
West
Germany and Yugoslavia .
In
Beirut,
she
served from 1957
to 1963 as a piano
professor
at the
National
Conservatory
of Music, and
became Dean
of the
Piano Department
in 1963.
She
has received
numerous
scholarships,dist i nctions
and awards
for her pianistic abilities .
Iler
visit
to
the
United States
is the result
of her
efforts in behalf
of music in Lebanon .
Under the
auspices of a State Depa r tment Leader
Grant,
she has
the opport u nity
to
meet American musicians and
students
and
observe
how
they
prepare
for
the i r careers .
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF / Rosetta
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.)
31:30
28:46
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE54694">Piano Recital Diana Taky Deen</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
Piano Recital Diana Taky Deen, January 3, 1967
Recital Tape 1967-1-3
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works by Bach-Busoni, Beethoven, Boghos-Gelalian, Debussy.
Creator
An entity primarily responsible for making the resource
Deen, Diana Taky
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Contributor
An entity responsible for making contributions to the resource
Busoni, Ferruccio, 1866-1924
Beethoven, Ludwig van, 1770-1827
Gelalian, Boghos
Debussy, Claude, 1862-1918
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
1967-1-3
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
Piano Recital Diana Taky Deen Recital Tape 1967-1-3.pdf