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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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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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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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                    <text>B y Binghamton 
 
Symphonette
FRITZ WALLENBERG, Conductor

presents a

Concert
with

JEAN  CASADESUS, Guest Soloist

SUNDAY, J ANUARY 12th, 1969, 8 :15 P.M.
HARPUR  THEATER

�PROGRAM
Sinfonietta, Op. 1
Poco presto ed agitato
Variations : Andante lento
Tarantella: Presto vivace

B. Britten
(1913­ 

)

The Sinfonietta was written in 1932 and is the earliest  published composition
by England’s leading composer. It  is a rather complex wor  based on short the­
matic motives which are heard in  the olpening measures and then ref erred to i n
various contexts throughout the piece.  his resourceful manipulation of tiny me­
lodic cells continues in the slow movement, titled “Variations. '  A short viola pas­
sage leads into the fast Tarantella, a moto  perpetwo, in which the various mo­
tives of  the whole work are summarized.

Piano Concerto in C­ma jor K. 467 

Allegro maestoso

. W . A. Mozart
(nu­mu)

Andante
Allegro vivace assai

Finale; Presto

This symphony  is  one of  six  written  by  Hadyn  on  a  commission from  a
Parisian concert organization. It was nicknamed La Reine because Marie Antoi­
nette is said to have  ressed a special fondness for it. In its second movement
une Lisette.” The lym­
 
Haydn makes use of m a c h folk song, “La Gentille et Je
phon  is a cheerful  work  combining  references  to popular  styles, humor,  and
classical grace with the most sophisticated technical writing.

Program notes by Harry Lmeo’ la

MEMBERS  OF  THE  ORCHESTR A
Violins : 
Ralph Wade 

Marianne Wallenberg 

Mozart devoted much eﬀort to his twenty piano concerti and they represen
for many critics, the highest achievement amon  his instrumental works. Th e
Major Concerto was completed in March 1785. The structure of the work is quite
complex,  including  motivic  relations  between  the  movements.  The  ﬁrst  move­
ment  is introduced  by a  rather solemn, march­like  theme  in  the orchestra, a n
atmosphere which soon gives way to the prevailing brilliance of the piano solo. In
the slow movement, one of the most famous in the entire piano concert literature,
a beautiful and haunting melody is heard in  a wide range of  keys and colors. A
jovial mood returns in the ﬁnale, a rondo based on a chromatic theme.

IN TERMISSION
Capriccio for Piano and String Orchestra op. 49 .
Allegro con fuoco
Vivace scherzando
Adagio ; Allegro molto

. R. Casadesus

(1899­  ) 

In addition to a long and distinguished career as a pianist, Robert Casadesus
has composed a  number of  attractive  works  for  piano.  As its title implies, the
Cappriccio, although  for  piano and orchestra, is a  lighter. work  than a  formal
concerto. It was written in 1953 in Paris and ﬁrst  performed in New York in 1954.
The style has elements of  both  classic  and  modern and  in a sense is a  French
counterpart  of  the  neo­classic  piano  music  of  Prokoﬁef. .The. four  movements
have traditional  structures and display  a brilliant pianistic idiom.  The scherzo,
with  its  emphasis  on  high  register  writing  for  the  piano  and  eﬀective  cross
rh ythms between piano and orchestra, is especially interesting.

.. J. Haydn
(1732­1809)

Symphony No. 85  (La Reine)  .. 
Adagio; Vivace
Allegretto
Menuetto

Melba Sandberg 
Nancy Robbins 
Edward Pettenglll 
Judith Niles 
Betty Lou Agnrd 
Richard Leavitt 

Holes: 
R  ll Colto 
Martha Gotten 
Fritz Loewenstein 
Cellos: 
Ruth Brown 
Robert Knight 
David Howard 

Bass: 
Richard Thomas 

Flute: 

. 1
u. 
Georgetta Maiolo 
.
Obggt­t Ed d
“ W m ” J  u d i ”  
Clarinet: 
Vincent Smith 
Bassoons: 
Donald Robbins 
Edward Wadin 
war  oel 
French Home: 
Brian Sternberg 
George Papastrat 

Trumpets:
Delbert Cobleigh

Richard Hamlen

Timpani
John Eng­tron

~
 
P a s iManager:
an  Burwasser
Concert Chairman '
Edward Pettenglll
g  .
Librarian:
Edward Pettengill
, ,
Pub’mﬂl‘
Lillian Burwasser

The Friends of  the Symphony cordially invite you for a reception to meet with
the artists in the Green  oom immediately following  the concert.
We wish to extend our thanks to the Harpur Colle  Music Dﬁgzartmentkto the
EveniniPress. the Sun Bulletin, to WINR, WNBF  ENE, W  M, WSKG­TV,
Studio  ook  Shop, Kent  Drug  Stores,  Marvin  Kelley, and  to all  other  f riends
whose support has made this concert possible.

BINGHAMTON  SYMPHONY
NEXT CONCERTS
Sunda  Feb. 23  7:30 2: m., Binﬁhamton West Junior High School. M o n ti ,  Feb.
ree Academy. Works by Barber, Lalo and Shostakovich.
.m., Owe 
24  8 
Soloist :  AKAKO  ISHIZAKI, violin.

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                    <text>STATE UNIVE RSITY  OF NEW YORK  AT BIN GH AMTON

HARPUR COLLEGE
TH E DEPA RTMEN T OF M USIC

VOICE STUDIO RECITAL
by students of  William  Lewis and Roberta Schlosser
Barbara Garges,  accompanist
January 1 5, 1969 

8 :15 p.m. 

Music Recital Hall

PR OGRA M

VOI,  CHE  SAPETE  (LE  NOZZE  DI  FIGARO) 
Joy Edwa rdsen
SENTO  NEL  CORE 

Linda Dri ver

SI  TRA  I  CEPPI  (BERENIC E) 
Jayne Kaplan
VAGHISSI MA  SE M BIAN ZA 
COME  L ’ALLODOLETTA 

Kathy Tyrell
Linda Uhl y

SPIRAT E,  PUR  SPIRAT E 

Elizabeth Lee

Mozart
Scarlatti
Handel
Donaudy
Donaudy
Donaudy

P ERDUTO  HO  LA  SP E RAN ZA 
Donna Ribble

Donaudy

FRESCHI  LUOGHI 

Donaudy

LOVELIEST  OF  TREES 

A LLERSE ELEN 

DU  BIST  DIE  RUH 
DIE  A LLMACH T 

Regina Sa blauskas

Audrey A dler

Linda Holgers
Thomas St rain
Carolyn K imble Hil l

Intermission

John Duke

Strauss

Schubert
Schubert

�SI, MI  CHIAMANO  MIMI  (LA  BOHEM E)
Phyllis Costanzo

Puccini

DOND E  LIETA  (LA  BOH E M E)
Alida Stahl

Puccini

UNA  FURTI VA  LAG RI MA  (L ’E LISIR  D’AMO RE)
Vartkes Baboghlian

AVE  MARIA  (OTEL LO)

Linda Trave r

THE  NUN  TAKES  THE  VEIL
SURE  ON  THIS  SHININ G  NIGHT
Nancy Carlson
ME  VOICI  DANS  SON  BOUDOIR  (MIGNON)
Marcia Bernhardt

AVANT  DE 

QUITTER 

CES  LIEUX  (FAUST)
Terry Howell

Donlzetti

Verdi

Samuel Barber
Thomas
Gounod

DEPUIS  LE  JOUR  (LOUISE)
Grace  Martin

Charpentier

HEAR  YE,  ISRAE L  (ELIJA H)
Betty H artman

Mendelssohn

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                    <text>ST ATE UNIVERSITY OF NEW YORK AT BINGHAMTON
HARPUR COLLEGE
THE DEPARTMENT OF MUSIC
with the support of the New York State Council on the Arts

presents

THE NEW YORK WOODWIND QUINTET
in residence
David Glazer, clarinet
Samuel Baroi;i, flute
Arthur Weisberg, bassoon
Ronald Roseman, oboe
Ralph Froelich, French horn

Sunday, February 9, 1969, 8:15 p.m.
The College Theater

�PROGRAM

Quintet in E Minor, Op. 67, No. 2

Franz Danzi

Allegro Vivo
Larghetto
Menuetto, Allegretto
Finale, Allegretto

Richard Rodney Bennett

Wind Quintet 1967-1968
Notturno 1
Molto Vivace
Notturno 2
Variations

Intermission

Variations in Bb Major, Op. 82, No. 2

Franz Schubert

Arranged by David Goldstein

Concerto for Wind Quintet

William Bergsma

Allegro
Andante
Allegro Assai

Ushering courtesy of Alpha Phi Omega and Gamma Sigma Sigma
A RECEPTION honoring the members of the New York Woodwind Quintet will be held in the Green Room Lounge immediately following the
concert. The audience is cordially invited to attend and to meet the
performers.

�PROGRAM NOTES

QUINTET IN E MINOR, OP. 67, NO. 2 - Franz Danzi
Danzi, a member of the third generation of Mannheim composers was
one of the first to write for solo clarinet. His interest in wind instruments culminated in compositio ns for woodwind ensemble, incorporat ing
a new style in ensemble technique. This quintet . is one of nine wind
quintets written by Franz Danzi. It shows an unusual understand ing of
the possibiliti es of the instrumen ts and has an interesting classic style
with a slight tinge of early romanticis m. It is worthwhile noting that
Danzi was a teacher of Carl Maria van Weber.
WIND QUINTET - Richard Rodney Bennett
Richard Rodney Bennett is a young British composer, whose works
are being heard more and more here in the United States. His Wind
Quintet was completed early in 1968, and was commissio ned by the
Serge Koussevits ky Foundation . It received its world premiere at the
Library of Congress in Washingto n, D.C., only last week, by the New
York Woodwind Quintet. Mr. Bennett's Quintet is written using twelve
tone serial technique, and it displays very colorful textures and effects.
VARIATIONS IN Bb MAJOR, OP . 82, NO. 2 - Franz Schubert
Franz Schubert is perhaps more widely celebrated as the composer
of some of the finest art songs ever written. He did, however, in addition to his Lieder, produce a large output of piano literature including
twenty-two sonatas (of which the famous Wanderer Sonata is the most
frequently played), and a multitude of short piano pieces for two and
four hands. It is from this last group that Mr. Goldstein has selected
and transcribe d the Variations , which was originally written as a piano
duet.
CONCERT O FOR WIND QUINTET - William Bergsma
William Bergsma is a professor of compositio n at the Juilliard
School of Music. His Concerto was commissio ned by the .Elizabeth
Sprague Coolidge Foundation and was premiered bytheNew York Woodwind Quintet at the Library of Congress in 1959.
The first movement of this Quintet is an excellent example of the
very rhythmic, sonorous, and lyric type of writing which gained somewhat "popular usage" of many composers during the 1940's and 50's.
What makes Mr. Bergsma's approach to this kind of writing for woodwind quintet superior, however, is a control of genuinely classical proportionme nt of structural melodic content. The arrangeme nt of thematic
material almost mirrors that of first movement sonata form, although

�the specific melodic vocabulary used is of a modal counterpoint derivation. Particular characteristics which are apparent upon first hearing
in this movement are the unison and octave doublings of fleeting melodic
lines that occur between flute, clarinet and bassoon, and the obvious
recurrence of returning to materials found in the introduction and the
first section of the movement.
The second movement brings us the most lyric quality of Mr. Bergsma's composition. A lovely melody derived from the first four tones
taken from the introduction of the first movement is played by the clarinet, accompanied by a counter melody played by the flute, both of which
are superimposed over an ostinato figure played by the horn and bassoon. A contrasting section which is partly polytonal is introduced, containing basically the same motivic materials, but with more rhythmic
activity combined with more dissonant sonorities. A quiet and literal
return to the first section is smoothly initiated, reestablishing a joyously
beautiful tranquility.
The last movement exemplifies the implications of the title in that
the term "concerto" is finally put into application. Four repetitions of
a dissonant chord introduces independently each of the five instruments,
starting with horn, and working up to bassoon, clarinet, oboe, and finally
flute. An alternation of phrasing and articulation subtleties of each solo
line heightens interest, along with a use of triadic materials reminiscent
of the early styles of Aaron Copland and Roy Haris, brings the composition to a driving and forceful close.

FUTURE EVENTS
SUNDAY, FEBRUARY 16, 8:15 p.m.
The College Theater, Admission Fee

THE GUARNERI QUARTET
Spring Chamber Music Series

SUNDAY, FEBRUARY 23, 2:30 p.m.
Recital Hall, No Charge

MARIA CISYK
Pianist

SUNDAY, MARCH 2, 4:30 p.m.
The College Theater, No Charge

S.U.N.Y. AT BUFFALO ORCHESTRA
Alida Stahl, Soloist

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                    <text>STATE U NIVERSITY OF NEW YORK A T BINGH AMTON

HARPUR  COLLEGE
THE DEPARTMENT OF  MUSIC

THE  GUARNERI  STRING  QUARTET
in residence
A rnold Steinha rdt, violin 
John Dalley,  violin 
February  16, 1969 

Michael Tree ,  viola
David Soyer, cello

8 :15 p.m. 

The College Theater

PROGRAM

Quartet in F  Ma jor, K 590 

W. A . Mozart

Allegro moderato
Allegretto
Menuetto

Allegro

Quartet, Op. 22 

Paul Hindem ith

Fugato
Schnelle Achtel
Ruhige Viertel
Maessig schnelle Viertel

Rondo

Intermission
Quartet in A  Ma jor, Op. 41, N o. 3 
Andante espr essivo ­ allegro  molto, moderato
Assai agitato
Adagio molto
Finale ­ allegro molto vivace

Robert Schumann

A  RECEPTION  honoring  the  members  of  the Guarneri String Quartet
will  be  held  in the Green Room Lounge immediate ly f ollowing the con­
cert.  The  audience  is  cordially  invited to attend and to meet the per­
f ormers.
Ushering cou rtesy of  Alpha Phi Omega and Gamma Sigma Sigma.
F UTURE  EVENTS
SUNDAY,  F E BRUARY  23,  2 :30 p.m. 
Recital Hall, No Charge 

MARIE  CISYK
Pianist

SUNDAY,  MARCH  9,  8:15 p.m. 
The College Theater, No Charge 

THE  HARPUR  COLLEGE  WIND  ENSEMBLE
Albert Hamme,  Conductor

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                    <text>STATE  UNIVERSITY OF N E W YOR K  AT BIN GHAMTON

HARPUR COLLEGE
TH E DEPA RTMEN T OF  MUSIC

MARIA  CISYK,  Pianist
February  23, 1969 

2 :30 p.m. 

Recital Hall

PR OGR A M
Toccata in E Minor 
Moderato
Un poco allegro
Adagio
Allegro

J. S. Bach

Capriccio. Op. 76, No. 2 
Intermezzo, Op. 117, No. 2
Intermezzo, Op. 11 9, No. 3

Brahms

Ballade in F Minor 

Chopin
Intermiss ion

“Au bord d ’une sourc e ” 

Liszt

Suite, Op.  14 
Allegretto

Bartok

Scherzo
Allegro Molto
Sostenuto

E tude pour les Arpeges composés 
Etude pou r les  “cinq doigts ”

Debussy

FUTURE  EVENTS
SUNDAY,  MARCH  9,  8:15 p.m. 
The College Theater, No Charge 

THE  HARPUR  COLLEGE  WIND  ENSE MBLE
Albert Hamme, Conductor

SUNDAY,  MARCH  16,  8 :15 p. m. 
Recital Hall, No Charge 

ST UDENT  COMPOSERS  CONCERT
Students of  Karl Korte

PLEASE  NOTE :  The  New  York Woodwind  Quintet  concert sc heduled
for April 7, has bee n rescheduled for APR IL 8, 8 :15 p.m.,  i n The  Col­
lege Theater.

�</text>
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                    <text>N
TO
M
A
H
G
IN
 B
AT
K 
R
YO
 
W
NE
F 
 O
TY
SI
ST AT E  UN IV ER

HARPUR  COLLEGE
T H E  D EP AR TM ENT O F  M USIC

E
L
B
M
SE
N
E
 
D
IN
W
E 
EG
L
L
O
C
 
’R
PI
R
T H E  H A
Al be rt  Ha mm e,   Co nd uc tor

Su nda y,  Ma rc h 9, 1 96 9,  8 :15  p. m.
Ha rpur  Coll ege T he ate r

�PROGRAM
lmpro mptus  for Six Woodwinds 
P restissimo
Adagio
Andante

Vaclav Nelh ybel

ite
Gothic  Su 

Leon Boellman
Chorale
Priere a Notre­Dame

Toccata

Presto

Harpur Clarinet Choir

Allegro
Dale Kleps, Clarinet
Marsha  Kadleck,  Piccolo 
Caroline Glaiber, Flute
Geoﬀrey  Barron,  Oboe 

Linda  Crane,  Bassoon 

Choric  Quintet  (1963) 

John Chapman, Cla rinet

Bewegte Vie rtel
Schnell

Hans  Ulrich Staeps

Collegium M usicum  — Wi lburn Newcomb, directo r

Trio  for Brass 

Leggiero
Andante

Interm ission

Vaclav Nelh ybel

Band
Three Pieces  for  Partial  sonata
 for Brass
Allegro
Andante
Rondo

Jerry ll. Bi lik

Contrasts f or Percussion
Overture for Woodwinds

Them e and Varia tions

Tom Sigler, Trum pet 

Grant Sullivan, Trombone

Bettsie Par k, Ma tthew Goldstein, F rench horn

Quartet for  Saxophones 

Poco Adagio

Largo
Vivace
Minuetto

Divertimento for  Alto  Saxophone
Soloist:  Robert Pomlﬂ
Bass  Tim Craig, Drums
John  Chapman, P iano  Lynn Blanton,

Robert Linn

George Panuthos, Tenor
Sue Eilenberg, Soprano 
Charl es Ste inman, Baritone
Martha Schad, Alto 

Sonata   A  Quattro 

Jack L . Martin

George  Washington  Bridge

William Schuman

Johann Wilhelm H ertel

Stuart  Reev e, Ma tthew Goldstein, F rench horns
Louise Belsky, Douglas Epstein, Bassoons

ga  and  Gamma  Sigma Sigma.
Ushering  courtesy  of  Alpha  Phi  Ome

�PR OGRAM  NOTES
Tonight ’s  program  inc ludes  wind  and  pe rcussion  literatu re w
ritten
for  small  as well as la rge ensembles.  Tw o of the selections a
re tran ­
sc riptions.  Gothic Suite  was  or iginally  wr itten to be played by
 or
ga
n,
piano  quartet  or  cello  ensemble  and has been transcribed for cl
ar
ine
t
choir  by  Dale  O.  Casteel.  Jack  Martin’s  jazz­styled compositi
on for
alto  saxophone  and  orchestra was transc ribed for band shortl
y a
fte
r i
t
was p re miered by the  Bi ngha mton Symphony in 196 5.

Contemporar y  Chambe r  Music  for  wind  instruments is repres
en
ted
by two com posit ions of Vac lav N elh ybel, Im prom ptus  for Six  Wo
odwinds
and  Trio  fo r  Bras s,  together   wi th  Quartet fo r  Saxo ph on es
  by Robe rt
Li nn  and  Charts  Quintet  by  Hans  Ul rich  Staeps.  The latter
 presents
contemporar y music written for wind inst ruments of the antique
 va riety.
Mr.  Staeps,  one  of  the  leading  composers  of  recorder music,
 w
rites
lyrical melodies, harmonized in the tertial  idiom.

The  quartet  for  two  horns  and  two  bassoons  was w ritten in
and was designed to be played at banquets in the court of Schwerin 17 54
.

Th ree  Pi ec es for Par tia l Band is designedto  demonst rate the te
and tonal capacities of the three instrumental families that a re cochnic al
mbined
to  produce the  organization  that  is  commonly refer red to as t
he Wind
Ensemble.  Of  the three pieces, the Ove rtu re f or Woodwinds is t
int riguing.  The  thematic  material f or this work is derived f rohe most
m three
distinct  motives  that  are  presented one at a time in the ear ly 
sections
of  this  composition.  However,  what  creates  the  int rigue  me
ntioned
ea rlier  is  the  wa y  Mr.  Bi lik  has  used  the woodwind fami ly.
 
No
t o
nly
does  this  family  have its own soprano, alto, tenor and bass vo
ices, but
each

  subdivision  (with  the  exception  of  ﬂutes  in  this particular cas
e)
has  the  same quality.  Bi lik has taken advantage of this situatio
n in the
early development of  his composition,  and  has purposely avoid
ed
 th
is
sa me  si
tuation i n the later stages .

The  ﬁnal e for  this conce rt is an Impression f or Band that was
 co m­
missioned by the Michigan School Band and Orc hest ra Associa
tion c irca
1950.  This work is an  outstanding landmar kof w ind ensemble 
literature

i  es  a c ha lle nge to t he pe rfo r me rs by co mb ini ng lytonal sec­
and  provid
 po!
tio ns  with  exposed  rh yth mical “tutti” se ctions.  M r. Sc huma
n has  des­
cr ibed George  Wash ington B ridge  in the  fo llowi ng manne r :
“T he re ar e f ew da ys in the yea r w hen I do not see G eo rge W
as h­
ington   Br idge.  I  pass  it on my way to  wor k a s I dr ive al on
g t he
Henr y H udson P ar kway on New Yor ksho re.  Ever si nce m y s tud
ent
da ys w hen I watc hed the prog ress of  its construction, t his br
idge
ha s had  fo r me an a lmost h uman pe rsonal ity. and t his  pe rson
ali ty
is  astonishing ly  va ried,  assuming  diﬀ er ent moods  depe nding
 on
the  tim e  of  da y  or night, the wea the r, traﬀi c, and my own m
ood
as I pass b y.
“l  ha ve  walked  ac ross  it  late  at  night  when it was shroud
ed in
fog  and  du ring  the  br ill iant sunshine  hours  of  midday.  [
ha v e
dr ive n  over  it  countless  tim es  and  passed  unde r  it on bo
ats .
Coming  to  New  York  City  by  air,  sometimes 1 have been luck
enough  to  ﬂy   right  over  it.  It  is  diﬀicult to imagine a No y
re
gracious  welcome  or  dramatic  entry  to  the  great m et ropolis
.

WI ND  ENSE M BL E  PE RSON NE L
PI CC OLO 
Kadleck, Mar sha 

FL UT E 
Kadleck, Marsha 
Merle y, Bruce 
Glai be r, Ca roline 
Ki lthau, Bar ba ra 
Ce rr ino, Carol 
Forman, Nanci 
Fi nkelstei n, La ura 
Taft.  Claudia 
OBOE5 
Barron, Geoﬀrey 
Krauss, F rancis 
Anke r, Stephen 
ENGLISH  HO RN 
Ba tton, Geoﬀre y 
BASSOON  Louise
a m i l y  
Epste in, Douglas 

CL A RI NE T
Keap
lpsma
, Dn, 
aleJohn
Ch

Schab, Jean
Ma rcus, David
Birenbaum, Daniel
Sophrin, D iane
Joﬀee, Monte
Bier man, Joseph
Pu rnhage n, Ja nice
Ludovico, Clai re
Freedman, Joseph

Eb CLA RINET
Birenbaum, Daniel

AL TO  CL ARIN ET

Limbache r, Ronda
Coots, J ulia
BASS  CL ARIN ET
Da ino, Ralph
Pe rnick . Ralph
CONT RA ­A LT O  CL ARIN ET
Gregor y, Susa n

�ALTO  SA XOPHONE
Eilenberger, Sue
Schad, Martha

BARITONE
Goldenberg, Harry
TROMBONES
Baldon, John
Demilio, Tom
Sullivan, G rant

TENOR  SA XOPHONE
Panuthos, George
BARITONE  SA XOPHONE
Steinman, Char les

TUBA
Prensky, Steve
Wilson, Robert

CORNETS
Williams, John
Sigler, Tom
Coye, Judy

STRING  BASS
Blanton, Lynn

TRUMPETS
King, Jean
Senft, Jack

PERCUSSION
Craig, G. Tim
Mirsky, Robert
Block, Richard
Compton, Rick

FRENCH  HORN
Salkin, Philip
Reeve, Stuart
Park, Bettsie
Edleson, Rosalind
Goldstein, Matthew
Cepero, Max
Kroll, Marvin

Clark, Bill

LeBous, Ferris

COL L EGIU M  MUSICUM  P ERSONN E L

Joseph  Reale,  Soprano  Recorder 
Barbara Hull, A lto Recorder
Susan Cooper, A lto Recorder 
Donald Robbins, Tenor Recorder
Wilburn Newcomb, Bass Recorder

FUTURE  EVENTS
SUNDAY, MARCH  16, 8:15 p.m.
Recital Hall, No Charge

STUDENT  COMPOSERS CONCERT
Students of Karl Korte

WEDNESDAY, MARCH  26, 8:15 p.m. 
The College Theater, Admission Charge 

THE  GUARNERl STRING  QUARTET
Spring Chamber Music Series

TUESDAY, APRIL  8, 8:15 p.m.
The College Theater, Admission Charge 

NEW  YORK  WOODWIND  QUINTET
Spring Chamber Music Series

PLEASE  NOTE:  The  New  York Woodwind  Quintet concert scheduled
for April 7, has been rescheduled for APRIL 8, 8:15 p.m.,  in The  Col­
lege Theater.

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                    <text>STATE UNIVERSITY OF N E W YORK  AT BING HAMTON

HARPUR COLLEGE
TH E DEPARTMENT OF MUSIC
PRESENTS

COMPOSER’S CONCERT
ST UDENTS  OF  KA R L  KORTE

Sunday, March 16,  8:15 p. m. 

Recital Hall
P ROGRA M

Introduction  for  Piano  ­  (1968) 
Pe rfor med by the com pose r

Opus 1 7 /8 ­  (1968) 

Chai­K you Kim

Monte Joﬀee

Monte Joﬀee
Clarinet ­ Dale Kleps

The  Dark  Hills  ­  (1966) 
Terry Howell, Tenor
Donna Hallen, Piano
P relude  for Piano ­  (1967) 
Barbara Garges, Piano

Loren Broc

Christian G ranger

Every  Day I Will P raise Thee,  (Psalm 145)  ­  (1968) 
Soprano  Ca rol yn Kimble Hill
Al ida Stahl
Alto  Phylis Costanzo
Elizabeth Lee

Barry Liesch

Tenor  Greg Mathews
Bar ry Liesch
Bass  James Dunn
Terry Howell
Barbara Garges, Piano
Dust  ­  (1964) 

Nancy Carlson, Mezzo Soprano
Donna Hallen, Piano

T rio  f or  Recorders ~
 ­ (1968) 
Alto, Tenor Recorder, Susan Cooper
Alto Recorder, Barbara Hull
Bass Recorder, Wilburn Newcomb

G reg Mathews

James Dunn

�</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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              <text>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;.</text>
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                <text>Composer's Concert, March 16, 1969</text>
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                <text>Held at 8:15 pm, March 16, 1969, Recital Hall. Student composers: Chai-Kyou Kim, Monte Joffee, Loren Broc, Christian Granger, Greg Mathews, James Dunn.</text>
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                <text>Students of Karl Korte</text>
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                <text>Binghamton University Libraries</text>
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                <text>1969-03-16</text>
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                <text>Kim, Chai-Kyou </text>
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                <text> State University of New York at Binghamton. Department of Music.</text>
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                <text>3.9091E+13</text>
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