59 10 1775 https://omeka.binghamton.edu/omeka/files/original/24e087b9ea87e1ceefe4491586af1883.pdf 4d4e1d594cdad0dec7031ae3b76298c5 PDF Text Text N TO M A H G IN B AT K OR Y W E N OF Y SIT ER IV STAT E UN HARP UR COLLEGE T H E DE PART M EN T OF M USIC T H E H AR P U R ORC H ESTRA wi th TH E HARP ER C HORA LE an d TH E MOTET SIN GE RS Solo ists : M ic ha el T ree Sa m C hi an is DA VID BUTTOLPH , Conductor Sunday , M ay 11, 1969, 8 :1 5 p . m. Th e Don A. Wa tte rs Th eat e r �PR O GR AM Walli ngf ord R iegge r New Danc e The Harpur Orchestra Zoltén K odaly Ha ry Jﬁnos Su ite Prelude Viennese M usical C loc k Sons The Battle and Defeat of Napolean Intermezzo Entrance of the E mperor and His Court Soloist : Sam Chianis, Cimbalom Interm iss ion Ralph Vaughan Williams Flos Campi Soloist : Michael Tree, Viola wi th The Motet Singers Canticle of Freedom The Harpur Chorale and Orchest ra Aaron Copland wi th The Motet Singers Ushe ring cou rtesy of A lpha P hi Omega and Gamma Sigma Sigma �PROGRAM NOTES ~ Wallingford R iegger NEW DANCE = Wallingford Riegger, one of the innovating forces in American music in the ﬁrst half of the twentieth century. has been unjustly neglected by many. His styles of writing can probably be grouped into three categories: 1) conservative academic style pieces, 2) pieces employing twe lvetone procedure, 3) pieces composed for modern dance groups. into which class New Dance falls. The orchestral setting of New Dance is taken f rom the ﬁnale of the dance score written in 1935 for the HumphryWeidman dance group and was originally for piano (four hands) and percussion. It is a study in rhythm based primarily on a recurring latin ﬁgure. most aptly described as being midway between a rhumba and a conga. The basic material goes through sundry timbre variations while at the same time exploiting the dynamic resources of the orchestra. HARY JANOS SUIT E Zoltan Kodély Hungarianborn Zoltan Kodaly might best be described as a “triple threat man” in the ﬁeld of music, having achieved International status as compose r. ethnomusicologist, and pedagogue. Along with Bela Bartok he explored and uncovered many areas of Hungarian folk music. This intimate acquaintance with the folk music of Hungary, Bukowina, and T ransylvania proved to be the prepon derant inﬂuence on his late r works. The Hdry Jdnos Suite is based on the opera of the same name. It describes the purported adventures of a reminiscing old veteran who somewhat resembles the legendary Baron von Munchausen in his fantastic deeds. Hary’s fanciful hallucinations are reﬂected in the various movements of the suite, The time of the story is the era of the Napoleonic wars, and the locale is imperial Vienna and the battlef ront. 1) Prelude — According to a Hungarian legend, a sneeze before a story begins attests to its veracity. Consequently the piece opens with a huge orchestral sneeze. The rest of the prelude serves to set the stage for Hary’s adventu res. 2) Viennese Musical Clock – This movement depicts the famous clock surrounded by a parade of miniature wooden soldiers. 3) song – Hiry and his sweetheart, who have come to Vienna, experience a longing for home. The music is lyrical and employs a Hungarian folk song. Kodaly introduces the cimbalom, an instrument common to central Europe in this movement. 4) The Battle and Defeat of Napoleon – In his description of Hary’s encounter with the French army, Kodaly makes interesting use of glissandi and tone clusters in the brass. 5) Intermezzo — This piece is a Czardis, a nineteenth centu ry revival of an old folk dance performed by soldiers in full unifor m. No new adventures are advanced in this section. 6) Entrance of the Em peror and His Court – The music conveys Hary’s exag gerated ideas concerning the pomp and splendor of the Viennese court. His meeting with the Emperor F ranz marks the zenith of his career. �FLOS CAMPI – Ralph Vaughan Williams Flos Campi (ﬂower of the ﬁeld), inspired by the Song of Solomon was composed in 1925 and dedicated to the great English violist, Lionel Tertis. This composi– tion is one of Vaughan Williams’ most sensuously beautiful works. The f ree rhapsodic ﬂow of the solo viola throughout evokes the voice of the ancient poet, chanting, meditative, and expostulatory. ina remarkable creation of modal poly phonic lines and harmonies often approaching polytonality Although the music is continuous in ﬂow and wordless, there are six divisions, and the composer has appended a quotation f rom the Song of Solomon over each. I. Lento – As the lily is among thorns so is my love among the daughters . . . stay me with ﬂagons, comfort me with apples, for I am sick of love. II. Andante con motto — (with viola cadenza as transition to the next section) For lo, the winter is past — the rain is over and gone — the ﬂowers appear on the earth, the time of the singing of birds is come, and the voice of the turtle is heard in our land. Ill. Lento Allegro moderato — I sought him whom my soul loveth, but I found him not . . . “I charge you, oh daughters of Jerusalem, if ye ﬁnd my beloved, tell him that I am sick of love” . . . Whither is thy beloved gone, O thou fairest among women? IV. Moderato atta marcia – Behold his bed which is Solomon’s: three score valiant men are about it . . . They all hold swords, being expert in war. V. Andante quasi lento (Largamento ) — (viola cadenza as transition to the next section) Return, return oh Shulamite! Return that we may look upon thee . . . How beautiful are thy feet with shoes, O prince’s daughter. VI. Moderato tranquito – Set me as a seal upon thine heart. CANTICLE OF FREEDOM Aaron Copland Canticle of Freedom was commissioned by the Massachusetts Institute of Technology for the dedication of its newly built (1955) Kresge Auditorium in Cambridge, Massachusetts. The composer began work on the Canticle in Decem ber, 1954, in Caracas, Venezuela, during a visit to that city, and completed the original version in March, 1955. It was ﬁrst performed at the dedication cere monies on May 8, 1955. As text, the composer chose an excerpt f rom a famous fourteenth century Scottish poem extolling the idea of freedom. John Barbour (132071395) wrote his “Bruce” around 1375, in the language of the Midde Scots. The words of the poem are here give in equivalent modern English as follows: Freedom is a noble thing! Freedom makes man to have liking ; Freedom all solace to man gives, He lives at ease that freely lives. �A noble heart may have no ease, Nor aught beside that may him please If Freedom fail. For f ree liking is yearned for over all other thing, Nor he that aye have lived f ree May know well the mise ry, The anger. and the wretched doom That is coupled to foul thralldom ; But if he have essayed it Then throughout al l he should it wit ; And should think f reedom more to prize Than all the gold in world that is. In 1967 the composer prepared for publication the present rev ised version. The Choral Finale of the Canticle was left untouched . but the orchestral introduc tion was somewhat shortened. This deﬁnitive version was ﬁrst given by the Atlanta Symphony Orchestra and Chorus conducted by Robert Shaw in Atlanta, Georgia, in October, 1967. HAR PUR C HOR A L E PERSONNEL SOP RANOS Audrey Adler Elvi ra Chiccarelli Nora Freeman Joann Grizzanto Bettsie Park Donna Ri bble Regina Sablauskas Nancy Simpkins Alida Stahl Ricky Stern Terry Tedesc hi Linda Traver Carol Tu bbs Kath y Ty rrell Linda Uh ly Nadene V redenburgh Jacobi Weste rhuis Virginia Weth erbe e Nancy Zucker ALTOS Gail Arnold Sally Baron Nancy Carlson Nanc y Conklin Helen Cooney Alona Cunningham Joyce Ellenson Laura Finkelstein Caro l Gil l Debo rah Kanter Barbara Maggs Penn Moulton Shir ley N ewbe rry Susan Paisley Simone P elzman Lynne Rudwick Reva Weiskopf TENORS Ken Davis Bill Hopson Donna Hallen Accompanist Michael Kass Bob Kendall Dick Mic halak Doug Steward Char les Seltze r Jim Vanhart Michael Weingarte n BARITON ES AND BASSES Max Cepero David Clark Doug las Dorph James D unn Jon Erlitz Jeﬀ Feinsilver Leon Fried David Fry Terry Howell Steve Kotrch David Marcus Ira M iller Steve Mi llheiser John Niessen Jim Osborne Alan Sanders Doug las Shadwick Dick Squ iers Ernie Tong Keith Wi llcox �HAR PUR ORC HEST RA PERSONN EL VIOLIN *Ralph Wade, Concertmaster *Mar ianne Wallenbe rg Phyllis Costanzo *John Mayorchak Danie l Mowrey Toby Har ris Martha St rassberger *Pamela Seversky *Edward Pettengill, Principal Virginia Pantalone Debby Davidson Karen Voight Sally Shaf er *Sophie Horowitz Douglas Diegert Jeﬀrey Feinsi lver VIOLA *Russell Colton, Principal Joyce Ste lzl *Kenneth Hollister *Ann Ziegler *Margaret Seward Ira M iller CEL LO *Rut h Brown, Principal *Joseph Brin *Jane Whitmo re *Thomas Riis CONTRABASS *James Hills *Donal O’Buck ley *Anthony P reus HARP Dulcie Barlow PICCOLO Marsha Kadleck FLUT E Marsha Kadleck Bruce Merley Caroline Glaiber OBOE Geoﬀrey Barron Francis Krauss ENGLISH HORN *Scott Eddy C LARINET David Marcus Jean Schab Eb CLARINET Danie l Birenbaum BASS CLARINET Ralph Daino CONTRAALTO C LARINET Susan Gregory ALTO SAXOP HON E Susan Eilenberg BASSOON Linda Crane Louise Belsky Douglas Epstein HORN Matthew Goldstein Stu Reeve Rosalind Powe ll Phil Salki n TRUMPET *John Wi lliams Tom Sigler Barbara Coye CORNET *Delbert Cobleigh Jack Senf t Peter Dodge TROMBONE *John Baldon Tom Demilio Grant Sul livan TUBA Robe rt Wilson TIMP AN I William Clark PERCUSSION Peter Buttolph Rick Com pton Tim Craig Ferris Lebous Robe rt M irsky PIANO Chai Kyou Kim CEL ESTA Donna Hallen PER SONN E L MAN AGER Edward Pettengill MOT ET SING ERS PERSONN EL SOPR ANOS Harriet Johnson Marian M itche ll Janic e Ulangca Phyllis LaBelle Janet Slec hta Judith Stickney Louise Ulrich CON TRA LTOS BASSES TENORS Mild red Bowman John Dav idge Philip Bailey Kathe rine Read Davis Fie lds Kenneth Hollister Ada Mae Saxton Thomas Nytch Fenwick Horn Alma Sternberg Edward Sc happert Ray Hull Beverly Wess Donald Weiskopﬀ Roge r Norton Jill Weston Blaine Stickney Abraham Ulangca * Bingham ton Symphony m embe rs � 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. 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. 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.) 35:29 23:36 19:27 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE60296 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE60296">Harpur College Orchestra Concert</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 Harpur College Orchestra Concert, May 11, 1969 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works of Riegger, Kodály, Copland. Held at 8:15 pm, May 11, 1969, Don A. Watters Theater. Creator An entity primarily responsible for making the resource Harpur College Orchestra Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1969-05-11 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Riegger, Wallingford, 1885-1961 Kodály, Zoltán, 1882-1967 Copland, Aaron, 1900-1990 State University of New York at Binghamton. Department of Music Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020095661 39091020095711 39091020095877 https://omeka.binghamton.edu/omeka/files/original/e770706969cc2a731f9f2ba6c4b37dea.pdf 3e91b147f4fefb6bf8e90b4da87cae07 PDF Text Text STATE UNI VERSITY OF NEW YORK AT BINGHA MTON HARPUR COLLEGE THE DEPARTMENT OF MUSIC VOICE STUDIO RECITAL by students of Roberta Schlosser and William Lewis 8 :15 p.m. May 14, 1969 Music Recital Hall PR OGRAM ALMA DEL CORE Marilyn Barringer SE TU M’AMI, SE SOSPIRI SPIRATE, PUR SPIRATE NUITS D’ETOILES LES PAPILLONS Elizabeth Lee Ricky Stern Audrey Adler I L’EST L’EXTASE Jayne Kaplan IL PLEURE DANS MONS COEUR Donna Ribble CHACUN LE SAIT (La Fille du Regiment) LES ROSES D’ISPAHAN Pergolesi Donaudy Debussy Chausson Debussy Debussy Donizetti Linda Uhl y Linda Driver ZIG EUN ERLIEDER, OP, 55 Rings ist der Wald Ei, wie mein Tr iangel Marcia Bernhardt WIE M ELODIEN ZIEHT ES WOHIN 7 Caldara James Osborne Faure Dvorak Brahms Schubert �DIT E A L LA GIOVIN E (LA T RA VIATA) Verdi Alida Stahl James Osborne Intermission PORGI A MOR (LE NOZ ZE DI FIGARO) Kathy Tyrrell Mozart O DON FATALE (DON CARLO) Nancy Carlson Verdi PRES DES RA MPARTS DE SEVILLES (CARM EN) Joy Edwardsen Bizet JE DIS QUE RIEN NE M’ EPOUVANTE (CARMEN) Bizet Grace Martin O MA LYRE IMMORTELLE (SAPHO) Linda Holgers CHERE NUIT I HEAR AN ARMY Phylis Costanzo Thomas Strain KHIVRIA’S SONG (THE FAIR OF SOROTCHINSK) Linda Traver Gounod Bachelet Samuel Barber Moussorgsky PORGY AND BESS George Gershwin Summertime . . . . . . . . . . . . . . . . . Regina Sablauskas My man’s gone now . . . . . . . .CarolynKimbleHill Bess, you is mywoman now. .Carol yn Kimble–Hill, Thomas Strain Barbara Garges, Donna Hallen, ChaiKyou Kim, accompanists A RECEPTION will be held immediately following the concertin the Green Room. The audience is cordially invited to attend. � 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. 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. 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.) 39:06 19:27 31:43 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59453 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59453"> Voice Studio 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 Voice Studio Recital, May 14, 1969 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works of Caldara, Pergolesi, Donaudy, Debussy, Donizetti. Held at 8:15 pm, May 14, 1969, Music Recital Hall. Creator An entity primarily responsible for making the resource Dept. of Music, State University of New York at Binghamton Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1969-05-14 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Caldara, Antonio, 1670-1736 Pergolesi, Giovanni Battista, 1710-1736 Donaudy, Stefano, 1879-1925 Debussy, Claude, 1862-1918 Donizetti, Gaetano, 1797-1848 State University of New York at Binghamton. Department of Music Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020095869 39091020095976 39091020095919 https://omeka.binghamton.edu/omeka/files/original/b4e1090cc3e5ba0b902d625987c7d5cd.pdf 0ecf873260bdfcc670983ce839e3f4da PDF Text Text STATE UNIVERSITY OF N E W YORK AT BINGHAMTON HARPUR COLLEGE T H E DEPARTMENT OF MUSIC EVENING OF GREEK FOLK SONGS AND DANCES Director: Sotirios Chianis Sam Ma y 16, 1969 8 :15 p.m. " , ~" Music Recital Hall PROGRAM OUZOOUZO ( Zeibekiko Dance) BALLOS ( Island Dance) Rowena Robertson . . . . . . . . . . . . Cimbalum Abraham Shophet . . . . . . . . . . . . . Dumbek NISIOTIKOS SYRTOS (Dance of Rhodes , Dodecanese) KERKYRAIKOS HOROS (Dance from Kerkyra [Corfuj) Stephanie Zunno . . . . . . . . . . . . . Cimbalum Rowena Robertson . . . . . . . . . . . . Dumbek TSAKONIKOS ( Dance from the C entral Peloponnesus) KA LA MATIANO ( PanHellenic Dance) L a r i saC l a r k...................Saz Stephanie Zunno . . . . . . . . . . . . . o C imbalum Mary Morrisson . . . . . . . . . . . . . Cimbalum Rowena Robertson . . . . . . . . . . . . . Dumbek DUMBEK SOLO KALAMATIANO KARAGOUNA Abraham Shophet (PanHellenic Dance) (Dance of Thessaly) TSA MIKOS ( Dance of Roumeli and the Peloponnesus) Bob Saunders . . . . . . . . . . . . Principal Dancer KLEPHTIKO ( Song of the Peloponnesus) �( Butcher ’s Dance) HASSAPIKO Sotirios Chianis . . . . . . . . . . . . . Cimbalum Abraham Shophet . . . . . . . . . . . . . . Dumbek POGONISSIO (Dance of Northern Greece) PENTOZALI (Dance of Crete) Jacoba Westerhuis Bob Saunders P AIDHIA TOU PEREOU (NEVER ON SUNDAY) Manos Hadjidakis Mikos Theodorakis DANCE FROM l‘ZORBA” Kathleen Tyrrell . . . . . . . . . . . . . Soprano A RECEPT ION will be held immediately af ter this evening’s perform ance in the Green Room. The audience is cordially invited to attend and meet the performers. DANCERS Larisa Clark Bunny Mednick Rowena Robertson Judy Sackser Bob Saunders Jacoba Westerhuis Stephanie Zunno EN T A LISTS INSTR UM Laouto Cimbalum Tom Ehring Mary Morrisson Sue Jones Rowena Robertson Stephanie Zunno C ontra Bass Sotirios Chianis Sue Jones Saz clarinet Larisa C lark Sotirios Chianis Deﬁ Sue Jones Guitar Dumbek Tom Ehring Abraham Shophet VOCALIST Kathleen T yrrell � 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. 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. 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.) 26:10 27:46 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59458 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59458"> Evening of Greek Folk Songs and Dances</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 Evening of Greek Folk Songs and Dances, May 16, 1969 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Held at 8:15 pm, May 16, 1969, Music Recital Hall. Creator An entity primarily responsible for making the resource Sotirios Chianis 1926- Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1969-05-16 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource State University of New York at Binghamton. Department of Music Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020095810 39091020095927 https://omeka.binghamton.edu/omeka/files/original/57a3d9ce8402a1105f5b30a376fe0a94.pdf 9a960a1a7cb837a9ba80f111f8b31fa2 PDF Text Text The Foundation of the State University of New York at Binghamton JI cScholarship Beneﬁt Concert BY THE GUA RNE RI STRING QUARTET Arnold Steinhardt, violin John Dalley, violin Michael Tree, viola David Soye r, cello SUNDA Y, MA Y 18, 1969, 8:15 P.M. DON A. WATTERS THEA TER HARPUR COLLEGE State Uni versity of New York at Bingha mton �u w Arnold Steinhardt David Soyer « w / john Dalley Michael Tree GUARNERI QUARTET PORTRAIT HEADS BY HOPE HOR N, SCULPTOR On v ie w in the Univer sity Ar t Galle ry unt il May 25, 1969 �Program Adagio and Fugue, K. 546 . . . . . . . . . . . . . . .MOZA RT Quartet in A” Major, Op. 105, No. 7 . . . . . . .DVORAK Adagio ma non troppo—Allegro appassionato Molto vivace Lento e molto cantabile Allegro, non tanto INTERMISSION Qu a r t e t i nFMa jo r.......................RAVEL Allegretto moderato—tres doux Assez vif—Trés rythmé Tres lent Vif et agité * Following the concert : CHAMPAGNE RECEPTION in the University Art Gallery * Ushering courtesy of the Harpur Chorale �THE GUARNERI QUARTET AND HARPUR I n t he ea rly winter of 1964 the Harpur faculty was made during the lege sough t to a ppoint a st ring qua r tet as artistsinresidence. A t the was presented here in the Don A. Watters Theater on the Harpur Campus on Tuesday evening, Au Music Department of Harpur Col suggestion of f riends of the College a t rip was made to t he Cu rtis Insti tute of Music in Philadelphia. Mr. Jascha Brodsky, the faculty member in charge of chamber music, noted that several recent Curtis graduates were considering forming a string quartet. “I f these four artists do de cide to come together to form a quartet,” Mr. Brodsky said, “they will becom e t h e grea test q ua rtet in the world.” He referred to a group of out standing artists who had been play ing chamber music together at the Marlboro Festival in Vermont and the Casals Festival in Puerto Rico. Arnold Steinhardt, a graduate of Curtis, had won several internation al competitions, had appeared as soloist with many of the major sym phony orchestras, and was currently assistant concertmaster in the Cleve land Orchestra. John Dalley, also a graduate of Curtis, was on the fac ulty of Oberlin College and a member of the Oberlin String Quar tet. Michael Tree, well known both as violist and violinist, had already established a career as a soloist. David Soyer, from Philadelphia but the only member of the group who did not study at Curtis, had esta b lished a reputation as one of Ameri ca’s leading cellists–bo th as a soloist and chamber music performer. Shortly af ter the meeting in Phil adelphia, Philip Nelson, a member of the Harpur Music Faculty, went to Cleveland and to New York to discuss the possibilities of a resi dency with this group. These con versations occurred in March, 1964— about the same time that the quartet formally decided to organize. Orig inally their name was to have been the “Marlboro Quartet ” but because of certain ambiguities with the,Mari~ boro Festival, the name of “Guar neri” was settled upon. Formal ap pointment of the quartet to the spring of 1964 a nd thei r ﬁrst recital gust 4, 1964. In the subsequent ﬁve years, the Guameri Quartet has presented over seventyﬁve public recitals in this theater and held more than one hundred open rehearsals on the Binghamton Campus–sometimes in the music recital hall and sometimes in the lounges of the residence halls. They have regularly oﬀered studio instruction to talented students and participated in a ll phases of the Mu sic Department’s instructional pro gram. World premieres of several string quartets by Harpur Music Faculty have been given on the campus—Karl Korte’s S tring Quartet N o. 2 in 1965, a nd William Klenz’s String Quartet 1967. Since 1966 the Guarneri has, each summer, held a monthlong Performance Seminar in Chamber Music on the Binghamton Campus which has attracted excep tionally talented string players from all parts of the United States. The Guarneri Quartet has not only given to Harpur College and to the community a sense of artistic excellence, but perhaps even more importantly, has furnished a rally ing point for students, faculty, and townspeople — a focus which has helped to provide style and a sense of direction. Pride in the success of the Quartet has been shared by all here, and nothing can quite match the excitement o f being associated with a winner, “ the world’s master of chamber music” (Time, April 4, 1969). The university has been proud too of its role as a leader in a commit ment to sponsorship of an artistic group in a way which gives real con temporary meaning to the phrase “patron of the arts.” By providing a ﬁnancial base and requiring a newly formed quartet to plunge into a vast amount o f repertory, the associa tion with the university has perhaps al �lowed the Guarneri Quarte t to assert its tremendous talen ts rather sooner than might have been the case had they been required to compete for rehearsal time and opportunities to learn repertory in a more conven tional way—with the attendant com mercial pressures. The last ﬁve years have been pe riods of exceptional growth and de velopment for the Guarneri Quartet, the Department of Music, and, in deed, the entire State University of New York at Binghamton. We re joice in our good fortune of these past years and ioin in wishing the Guarneri a lifetime of success and sa tisfaction in ma k ing m usic to gether. Bruce Dearing, President State University of New York at Binghamton PROGRAM NOTES Adagio and Fugue, K. 546 by Mozart On June 26, 1788 Mozart noted, “A short Adagio for 2 violins, viola and bass, to a fugue which I had long since written for two pianos.” A t the end of the autograph the bass part is divided “violoncell and “contra basso,” which suggest that Mozart also had an orchestral per formance in mind. Beethoven was familiar with this work having cop ied the score. The fu gue is not idio matic keyboard music but is in the abstract “severe” st yle cultivated by the ltalians in church music with im plications of rigorous and learned development. i n this matter Mozart’s fugue is related to Beethoven’s own Great Fugue and i t i s interesting to gins and ends with a slow section, giving it a deﬁnite a rchitectonic form. The allegro section of the movement has two distinct themes, the ﬁrst being o f an appassionata character while the second sounds like a peasant hunting call. The sec ond movement is decidedly nation alistic in character; it is based on a Bohemian folk dance, the Furiant, in which a continual duple accentua tion pattern i s superimposed on a triple meter, creating a marvelously complex rhythmic pattern. The trio of this movement, in a completely contrasting vein, is a lyrical dialogue between the various instruments. i n the third movement Dvorak spins out a long melodic line, much like a folk song, to which the lush har monization and the variety o f ac speculate as to the possible impetus toward his work that this acquaint anceship may have been. William Klenz companimental ﬁgures add charm and interest, The work closes with a vivacious rondo based on a Bohe Patricia Isham mian folk tune. Quartet i n A Flat Ma jor, Op. 105 Quartet in F Major by Ravel The single quartet of Ravel, which No.7 by Dvorak Dvorak began the composition of his Quartet in A » Ma jor, Op. 105, in 1895 d u ring his last visit to A merica, and he ﬁnished it, with Op. 106, in 1896 in Prague. Al though a la rge portion of his chamber music, which incl udes 14 st ring q ua rtets, 5 t rios, and 5 quintets among other works, is not well known, Dvorak ’s excel lent craftsmanship, based on a care ful study of Beethoven, and his char acteristic style, permeated by assimi lated folk elements, give his works a charm and dignity worthy of wider recognition. The ﬁrst movement be dates from the year 1902, is one o f the masterpieces of French chamber music. Dedicated to Ravel’s teacher, Gabriel Fauré, it ex tends the idiom of that composer with Ravel’s unique ﬂair for color and eﬀect. Essentially classic in form—France remains the home of classicism–it exploits the f ull ra nge o f inst ru m en ta l vi rtuosi t y without any trace o f arrant display ; everything is subordinate to expres sive intention, marked by precision and reﬁnement and by an extraor dinarily beautiful aesthetic surface. William Klenz �RECORDINGS b y t he Gua rneri Quarte t, as o f M a y 18, 1969 All on RC A Red Seal Beethoven : Five Middle Quartets, ”The Rasumovsky,” Op. 59: uartet in E minor, No. 2 ; ., No. 1 ; Q Quartet in F Quartet in C, No. 3 ; Quartet in Eﬂat, Op. 74 (“Harp”); Qua rtet in F minor, Op. 95 VCS6415 Brahms: Quintet in F Minor, Op. 34 (wit h Artur Rubinstein) LSC2971 Dvorak: String Qua rtet inAﬂat, Op. 105 Smetana : String Quartet in E Minor (”From my Life”) LSC2887 Grieg : String Quartet in G Minor, Op. 27 Mendelssohn : String Qua rtet in A Minor, Op. 13 LSC2948 Mozart : String Qua rtet in Bﬂat, K. 589 String Qua rtet in F, K. 590 LSC2888 Tchaikovsky: Sextet, Op. 70 (with Boris Kroyt, violist ; Mischa Schneider, cellist) LSC2916 Brahms: Piano Quartets, Op. 25, 26, 60 Schumann: Piano Quintet in Eﬂat, Op. 44 (with A rtur Rubinstein) LSC6188 Philip Conole, Music Record Curator State University of New York at Binghamton �THE GUARNERI QUARTET on the Stage o f the Don A. W atters Theater of Harpur College During their ﬁveyear tenure as ArtistsinResidence, the mem bers o f the quartet hav e presented more than 75 formal recitals on this stage. The quartet o f music stands and chairs of rose wood and oak was especially commissioned by the University from Mr. Wendell Castle, eminent American furniture crafts man and a member of the faculty of Rochester Inst itute of Tech nology. �The Prepara tion and Production of this Souvenir Program was donated in full as a Contribution to the Foundation Scholarship Fund. Design : Norbert A dler Associates Printing : Niles & Phipps Lithogra phers Typeset ting donated in pa rt : Rochester T ypographic Service, Inc . �The Foundation of the State University of New York at Binghamton is honored to announce A Scholarship Beneﬁt Concert to be presented by the GUARNERI QUARTET on Sunday, M a y 18, 1969 With their concert on April 20, the Guarne ri String Quartet w ill have completed its ﬁveyear tenure as ArtistsinResidence at the State Universi ty of Ne w York at Binghamton. A s a gesture of their friendship and aﬀection for the University and the Community, the members of the quarte t will present a Special Farewell Concert for the beneﬁt of the Foundation Scholarshi p Fund on Sunday, Ma y 18, 1969, at 8 :1 5 p.m. at the Don A . Watters Theater. The net pro ceeds from this gala m usical evening will be used to help suppo rt qualiﬁed deserving undergrad uate stu dents. Immediately following the concert a Champagne Reception (black tie optional) will be held in the University Art Galle ry. Seat reservations will be ﬁlled in the order received, according to the follo wing scale : Donation o f $25.00 or more per seat : Rows F and G . Donation Of. $ 10 0 0 or more pe r seat : Orchestra Rows D’ E ’ H ’ a nd J and center Of {llSt three balcony ro w s. Donation o f $5.00 all remaining seats in the theater. Reservations will be accepted during intermission and after the concer t on April 20th, and by ma il thereafter, prior to May 5th. Please use application below. To G REG MA THEWS, Concert Manager, Dept. o f Music, SUNY, Binghamton, N. Y. 13901 Please mail Here is my donation o f $ . . . tickets to : . for the Guarneri Scholarship Beneﬁt Concert on May 18, 1969. (Mail before May 5, enclosing check payable to “Foundation SUNY Binghamton.”) Name .. ...... Address. City Y our contribution will hel p su pport qualiﬁed deserving underg raduate stu dents. . Zip . � 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. 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. 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 1 sound tape reel Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 31:20:00 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59462 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59462"> Guarneri Quartet Scholarship Benefit Concert </a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCoverContinuous 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 Guarneri Quartet Scholarship Benefit Concert, May 18, 1969 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works of Mozart, Dvorak, and Ravel. Held at 8:15 pm, May 18, 1969, Don A. Watters Theater. Creator An entity primarily responsible for making the resource Guarneri Quartet Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1969-05-18 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Mozart, Wolfgang Amadeus, 1756-1791 Dvorak, Antonin, 1841-1904 Ravel, Maurice, 1875-1937 State University of New York at Binghamton. Department of Music Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020095760 https://omeka.binghamton.edu/omeka/files/original/ea0bd3c26e2b1a48a9941da8267f184e.pdf 12ed9abec4860443658a96b7719e9dfe PDF Text Text STATE UNIVE RSITY OF NEW YORK AT BINGHAMTON HARPUR COLLEGE THE DEPAR TMENT OF MUSIC THE LENOX STRING QUARTET in residenc e Peter Marsh, violin Delmar Pettys, violin Paul Hersh, viola Donald McCall, cello The Don A. Watters Theater Sunday, J uly 13, 1969 8 : 15 p.m. �PROG RA M PROG RA M NOTES QUARTET IN F MAJOR, OP. 18– Beethoven Quarte t in F Ma jor, O p. 1 8, N o. l Allegro con brio Bee thoven just iﬁed a nd a p pro pria te in tha t i t sho ws the pu r por t a n d dire ctio n o f Bee thoven ’s q uar tet wri ting from the ﬁrs t. Based on the highly integra tive “essayist” me thod forged by his teacher, Ha ydn, it is a wo rk of far greate r Adagio aﬀe t tuoso ed appassiona to Sch erzo. Allegro molto den si ty a n d s pec iﬁc gra vi ty tha n i ts a t trac tive sur face alo ne m igh t lead on e Allegro Quarte t 0. 4 Bar tok Allegro Prestissimo. con sordino to expect. The organic them atic process—which resembles not hing so mu ch as t he uni ty of l iving o rga nisms, especial ly the trees of Bec thoven ’s beloved outofdoo rs—is eve rywhere ope rati ve if not at once appare nt. The wor k has bee n described as “seeming to have bee n cas t in a single pou ring,” so gre a t is i ts u ni ty. Ho wev e r the t ru th is tha t it cos t Bee tho ven m uc h eﬀo r t. The ope ning, acor nli ke them e— which con tains the great tree—a ppears in Bee thoven ’s notebooks ﬁrst in forms which are un believa bly clumsy a nd un gai nly. No fewer tha n ﬁve dis tinc t versions are visi ble wit h ﬁna lly onl y th e ini tial m o t ive ( 6 not es ) sho win g itse lf stro ng eno u gh to re tain i ts i den ti ty Non trop po len to und er the ham mer of Bee thoven ’s self crit icism. I ts i nne r premises a re de tectabl e in them atic ma terial of all the movem ents, Also, whi le the wor k was still in ma nuscript, Bee tho ven reca lled it and substit uted (Is t move men t ) an ent ire new developmen t section, saying “I have onl y just lear nt Allegre tto pizzicato Allegro molto h o w t o wri te q ua r te ts pro per ly.” In termissian Pia no Quarte t in C Min or, O p. 15 Allegro molto moderato Bee thoven ’s Quarte t in F ma jor ( publish ed in 1800 ) was not in fac t the ﬁrs t com posed of the six qua rtets of O p. 18. Ho wever its position is Fau ré Scherzo. Allegro vivo Adagio Allegro molto A rece ption will be held immedia tely fol lowing ton igh t’s performance. The audience is cordially invited to mee t the m embers of t he L enox Quar tet. The power an d beau ty of the Adagio struck Beethove n’s con tem poraries who ask ed wha t he ha d bee n thin king of. Beeth ove n the Sha kespearelover replied “the tomb scene in Rom eo and Jul iet.” We can do no bet ter. The Sch erzo an d F inale reco ver the youth ful “Sp ring mo rning” exu ber ance which illuminates the inn er com plexities of the ﬁrs t m ovemen t an d also com plet e the cycle of uni versals which com prise the design —o rga nism in cosmos. Q U A R T E T N O . 4 — Bar tok Bela Bar tok’s Fou rth Quarte t ( 1 928 ) rep rese nts a cen tral high poin t in h is six p ubl ished works fo r th is m edi um . I n th em he h as m ade the quarte t and its idiom his own to a n ext ent which is only equalled or possibly su r passed by Bee thoven . I n this quarte t the kind of organic uni ty which per vad es the ent ire gro up of six becom es appare nt, or bet ter, det ecta ble. Ele men ts and proced ures from oth er qua rtets, notabl y # 2 , ap pea r, The outandout sardonic expression ism of # 3 gives way to a kind of con structivism essayed earlier, triumphing here, The me thod is tha t of a cum ula tive developmen tal variation and recombina tion of small gnomic mo tives based on the sim plest ma terials. In their irreducible nature of design an d a bili ties to sur vive ma nip ula tion these resem ble not hing so mu ch as the sim ple basic ma terials of folk art, in which med ium ( wood car ving, text iles ) and sym bol (ma n, sun, mo on ) are uni ted in sim plicity and force of expression— the folk ar ts Barto k lo ved so mu ch and un derstood so well. �There are ﬁve movements in which the processes normal to sonata structures are visible. The ﬁrst is the combination of variation and develop ment described above—the technique invented by Haydn and given tran scendent form by Beethoven, The second is a Scherzo of a vertiginous dynamism ; the cumulative power of small particles in repe tition is, like rai n, hypnotic and “conscious nessreducing.” The use of mutes reduces the articulation and increases the kinetic sensation. An intense, episodic, slow movem ent leads to a second Scherzo, en tirely in pizzicat o. T h e al terna ting fo rm prope r t o this type of m ovem e n t is i n evidence. The extreme form of pizzicato is Bartok’s own contribution to the sonorities of the Quartet, The ﬁnale, Allegro molto, takes u p the stamping, driving dance rh ythms appropriate to a ﬁnal movement, another legacy from Haydn. The tech niques of recombination of design elements, alternating ma terials and refer ences t o preced ing movemen ts con tribu te t o the cen tri pe tal force which reveals the whole q ua r te t as a n in tegra ted conception. Copyright 1966, 1968, by William Klenz PIANO QUARTET IN C MINOR, OP. 15 – Fauré F a uré, like Mozart, felt no urge to improve upon classical form patte rns. T h e open ing t hem e of t h e ﬁrst movem en t p rese n tsa st rong rhythm ic mo tive (strings in unison) which permeates the entire movemen t and combines in the development very happily with the ﬂowing second subject. This ﬁrst appears ( to be played ‘trés également’ ) subtly divided between the strings, but giving the impression of a single strand of melody. The scherzo ope ns in a fairylike 6/ 8 movement, a page very much in the SaintSaens vein, and throws a beautif ul surprise when the strings reply by echoing the same ph rases in 2 / 4 . T h e t wo timesigna tures in terwea ve, eve n in the trio section where the thin piano texture gives a sudden glimpse of our own century’s music. The Adagio, perhaps the ﬁnest movement of the Quartct, builds an impressive ediﬁce on a simple rising scale, and a similar ﬁgure opens the vehemen t last movemen t. Here perhaps the inﬂuence of the Liszttype concerto is a t its strongest. —Hugh MacDonald FUTURE EVENTS SUNDAY, J U L Y 20, 8 : 1 5 p.m. Don A. Watters Theater, Admission Free ' Summer Chamber Music Series S U N D A Y , J U L Y 2 7, 8 : 1 5 p.m. Don A. Watters Theate r, Admission Free T H E L E N O X QUAR TET ‘ Summer Chamber Music Se ries SU NDAY, AU G UST 3, 8 : 1 5 p.m. Don A. Watters Theater, Admission Free COMBIN ED CONCE R T ' a e Quartet, New York Woodwind uintet T H E L E N O X QUAR TET � 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. 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. 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 4 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 25:35 34:29 09:38 28:26 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59489 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59489">Lenox String Quartet Recital</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lenox String Quartet Recital, July 13, 1969 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works of Beethoven, Bartok, and Fauré. Held at 8:15 pm, July 13, 1969, Don A. Watters Theater. Creator An entity primarily responsible for making the resource Lenox String Quartet Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1969-07-13 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Beethoven, Ludwig van, 1770-1827 Bartók, Béla, 1881-1945 Faure, Gabriel, 1845-1924 State University of New York at Binghamton. Department of Music Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020095968 39091019606858 39091019606908 39091019606957 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. 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. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 4 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 22:15 36:40 12:34 05:58 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59495 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IIE59495">Lenox String 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 Lenox String Quartet Recital Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works of Webern, Haydn and Beethoven. Held at 8:15 pm, July 20, 1969, Don A. Watters Theater. Creator An entity primarily responsible for making the resource Lenox String Quartet Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1969-07-20 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Webern, Anton, 1833-1945 Haydn, Joseph, 1732-1809 Beethoven, Ludwig van, 1770-1827 State University of New York at Binghamton. Department of Music Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091019607005 39091019606841 39091019607054 39091019606890 https://omeka.binghamton.edu/omeka/files/original/1709a70a257941e77c8634f507cd7596.pdf f1eccc1163d5ca43c9a414031e1c735c PDF Text Text STATE UNIVERSITY OF NEW YORK AT BINGHAMTON HARPUR COLLEGE THE DEPARTMENT OF MUSIC THE LENOX STRING QUARTET in residence Paul Hersh, viola, piano Donald McCall, cello Peter Marsh, violin Delmar Pettys, violin, viola Sunday, July 27, 1969 Don A. Watters Theater 8 : 1 5 p.m. ___.I=Iay’dn”" Quartet in E Flat Major, O p. 33, No. 2 A Allegro moderato, cantabile Scherzo, Allegro Largo sostenuto , 4 . J i Z 2, 4 A / ( / [ 3 / Presto Liberata 11 ( 1 9 6 ; % ﬂ f W / / % / Paul z o m Intermission Piano Quartet in G Minor, O p. 25 Brahms Allegro Intermezzo ( Allegro ma non tro ppo) Andante con moto Rondo alla Zingarese (Presto) Ice cold punch will be served outside near the main entrance to the Fine Arts Building. The audience is cordially invited to share in this free refreshment, The Art Gallery will be open during Intermission. �Th e Lenox Quar te t takes i ts name f rom the town in Massachusetts where it was founded in 1958 while its members were on the faculty of The Berkshire Center ( Tanglewood Summer Fest ival). During four summers, while on the staﬀ of the Composition Department, they were involved with the Fromm Foundation’s contempor ary music program. This Foundation was crucial in the su p por t of t h e Qua r te t i n i ts early years, includ ing con c e r ts f e a t u r i ng ﬁ rs t p e rf o r m a n c es o f n e w com posi t io ns a t the New School of New York and at the University of Chicago. The Fromm Foundation also supported the Quartet’s residencies a t the Princeton Seminars in Ad vanced Musical Studies, Among the hundreds of concerts of Lenox Quartet history were numerous New York appearances and recitals at the University of California and at the Spo leto, Aspen, Stanford, Ravinia. and Lincoln Center Festivals. I n 1962 the members of Lenox Quartet were ap pointed ArtistsinResidence a t Grinnell College, a posi tion they will hold until July, 1969 when they will become full time faculty members and Quartetin Residence a t Harpur College, State University of New York at Binghamton. Peter Marsh, violinist, studied with Hans Letz at The New York College of Music, Scott Willits at The American Conservatory ( Chicago ) and with Emanuel Zetlin at The University of Washington. While attending t h e la t ter insti tu tion, h e pl ayed in t h e f acul ty q ua r te t. Mr. Marsh has soloed with The Pittsburgh Symphony and other orchestras. He has also taped solo appear ances for educational television. Delmar Pe t tys, violinist and violist, began his early violin studies with Arturo Petrucci in Portland, Oregon. He received his Master’s Degree from the Juilliard School of Music where he studied with Joseph Fuchs and Oscar Shumsky, and also pursued extensive chamber music studies with Felix Galimir, Mr. Pettys was a member of The Casals Festival Orchestra. Paul Hersh, violist and pianist, attended Yale Uni versity and studied viola with William Primrose and piano with Edward Steuermann and Leonard Shure, He has concertized extensively as a soloist and has made numerous appearances on Educational Television. His New York debut as a pianist in 1964 was hailed by the HeraldTribune critic as “a pianistic, musical and per sonal triumph , , . Mr. Hersh is a pianist of exceptional stature and a musician of impeccable taste.” Donald McCall, cellist, of Kansas City, Missouri, is a graduate of the Curtis Institute of Music, Philadelphia, and studied with Leonard Rose, Winner of the Naum burg Award for 1956, he made his New York debut at Town Hall in the fall of 1956. � 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. 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. 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.) 28:46 34:00 09:47 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59501 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59501">Lenox String 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 Lenox String Quartet Recital, July 27, 1969 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works of Mozart, Zonn, and Brahms. Held at 8:15 pm, July 27, 1969, Don A. Watters Theater. Creator An entity primarily responsible for making the resource Lenox String Quartet Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1969-07-27 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Mozart, Wolfgang Amadeus, 1756-1791 Zonn, Paul, 1938-2000 Brahms, Johannes, 1833-1897 State University of New York at Binghamton. Department of Music Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020057810 39091020057869 39091020057919 https://omeka.binghamton.edu/omeka/files/original/0840b455d70b8e34a822cf67afa554ba.pdf 3a7f6a96cabce9517fad414f766803e0 PDF Text Text STATE UNIVERSITY OF NEW YORK AT BINGHAMTON HARPUR COLLEGE THE DEPARTMENT OF MUSIC with the su pport of the New York State Council on the Arts Presents THE LENOX STRING QUARTET in residence Peter Marsh, violin Delmar Pettys, violin, viola Paul Hersh, viola, piano Donald McCall, cello and THE NEW YORK WOODWIND QUINTET in residence Thomas Nyfenger, ﬂute David Glazier, clarinet Ronald Roseman, oboe Arthur Weisberg, bassoon Ralph Froelich, French horn The Don A. Watters Theater Sunday, August 3, 1969 8 : 15 p.m. �PROGR AM Quartet in E Flat Major, Op. 33, No. 2 Haydn Allegro moderato, cantabile Scherzo, Allegro Largo sostenuto Presto Studies. Debussy Quartet in G Minor, Op. 10 Animé et trés décidé Assez vif et bien rythmé Andantino, doucement expressif Tres modéré – Trés mo uvementé et avec passion Milhaud Cortége Aubade Jongleurs La Maousinglade Joutes sur L’arc Chasse a Valabre Madrigal — Nocturne Kleine Kamermusik, Op. 24, No. 2 Lustig Walzer. Durchweg leise Ruhig und einfach Schnelle Sehr lebhaft Among the hundreds of concerts of Lenox Qua rtet history were numerous New York appearances and recitals a t the University of California and at the Spoleto, Aspen, Stanford, Ravinia, and Lincoln Center Festivals. I n 1962 the members of Lenox Quartet were appointed Artistsin Residence at Grinnell College, a position they held until July, 1969 when they became full time facul ty members and QuartetinResidence a t Harpur C01 lege, State University of New York at Binghamton. Intermission La Cheminée du roi R ené The Lenox Quartet takes i ts name f rom the town in Massachuse t ts where it was founded in 1958 while its members were on the facul ty of The Berkshire Center (Tnnglewood Summer Festival). During four summers, while on the staﬀ of the Com position Department, they were involved with the Fromm Foundation’s contem porary music program. This Foundation was crucial i n th e su pport of th e Qua rte t in its early years, including concerts featuring ﬁrst performances of new com positions at the New School of New York and at the University of Chicago. The Fromm Founda tion also supported the Quartet’s residencies at the Princeton Seminars in Advanced Musical The New York Woodwind Quintet. Since 1952 the New York Woodwind Quintet has maintained its position of preeminence in the ﬁeld of chamber music through its numerous concerts in the United States and abroad, its radio and television appearances, and its highly praised recordings. The New York Woodwind Quintet is an ensemble of established solo artists well known to the musical world. The collaboration of these artists has resulted in an ensemble which has prompted many critics to classify the Quintet in the highest category of chamber music performance together with the Budapest and Juilliard String Quartets. They have recently returned from their second State Department tour of South America. The New York Woodwind Quintet has been in residence a t Harpur College since 1967 and each member is on the faculty of the Music Department. Hindemith Ice cold punch will be served outside near the main entrance to the Fine Arts Building. The audience is cordially invited to share in this f ree refreshment. The Art Gallery will be open during 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 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. 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. 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.) 20:39 26:38 20:49 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59515 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59515">Lenox String Quartet Recital</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lenox String Quartet and New York Woodwind Quartet Recital, August 3, 1969 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works of Haydn, Debussy, Milhaud, and Hindemith. eld at 8:15 pm, August 3, 1969, Don A. Watters Theater. Creator An entity primarily responsible for making the resource Lenox String Quartet Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1969-08-03 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Haydn, Joseph, 1732-1809 Debussy, Claude, 1862-1918 Milhaud, Darius, 1892-1974 Hindemith, Paul, 1895-1963 State University of New York at Binghamton. Department of Music Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020057968 39091020058016 39091020058065 https://omeka.binghamton.edu/omeka/files/original/0342d91a949e97e63358d53e9356b29b.pdf e09ad1e70a5e7db01f4870cd7f2b09dc PDF Text Text STATE UNIVERSITY OF NEW YORK AT BINGHAMTON HARPUR COLLEGE THE DEPARTMENT OF MUSIC with the support of the New York State Council on the A rts Presents THE NEW YORK WOODWIND QUINTET in residence Thomas Nyfenger, ﬂute David Glazer, clarinet Ronald Roseman, oboe Arthur Weisberg, b assoon Ralph Froelich, French h o rn with guest artists THE CAMERATA WOODWIND QUINTET of Western Illinois University Gerald Carey, ﬂute George Townsend, clarinet Roy Lawre nce, oboe Robert Koper, bassoon Roger Collins, French horn The Don A . Watters Theater Sunday, August 24, 1969 8:15 p.m. �PROGRAM Suite of I nstrumen tal Pieces of the Re nnaissance Ronald Roseman, Arranger Donna di dentro ( Issac ) J’ai pris amours ( Issac ) Il est bel e t bon (Passereau) Ricercar bello (Cavazzoni) (Canzon sopra Il est bel et bon ) In meinen Sinn ( Issac ) Carl Nielsen Kvintet O p. 43 Allegro ben moderato Menuet Praeludium (adagio) Praeludium (adagio — Theme and Variations) INTERM ISSION Wolfgang Amadeus Mozart Sernade, K.388 No. 12 Allegro Andante Menuct to. ( I n Canone ) Trio Allegro Jacques Ibert Trois Pieces Breves Allegro Andante Assez lent : allegro scherzando FUTURE EV ENTS SUNDAY, SEPTEMBER 14, 8 : 15 p.m. Don A. Watters Theater Admission free PAUL HERSH, P IANIST Works by : Beethoven, Bach � 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. 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. 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.) 37:59 36:25 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59520 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59520">New York Woodwind Quintet 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 New York Woodwind Quintet with Camerata Woodwind Quintet, August 3, 1969 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works of Nielsen, Mozart, Ibert. Held at 8:15 pm, Sunday, August 24, 1969, Don A. Watters Theater. Creator An entity primarily responsible for making the resource New York Woodwind Quintet | Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1969-08-24 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Nielsen, Carl, 1865-1931 Mozart, Wolfgang Amadeus, 1756-1791 Ibert, Jacques, 1890-1962 State University of New York at Binghamton. Department of Music Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020058115 39091020058164 https://omeka.binghamton.edu/omeka/files/original/45f60538ba63948a8c4e80d1ec00f049.pdf 3da9f6bb66a703dbf1b7adab00d64d6e PDF Text Text STATE UNIVERSITY OF NEW YORK AT BINGHAMTON HARPUR COLLEGE THE DEPARTMENT OF MUSIC Presents PAUL HERSH -- Pianist Sunday, September 14, 1969 8:45 p.m. The Don A. Watters Theater �PROGRAM Ludwig Van Beethoven Sonata in C minor, Op. 111 Maestoso, Allegro con brio ed appassionato Arietta. Adagio molto semplice e çantabile I NTER M ISSI ON The Goldberg Variations Johann Sebastian Bach A RIA Variatio Variatio Variatio Variatio Variatio Variatio Variatio Variatio Variatio Variatio Variatio Variatio Variatio Variatio Variatio Variatio Variatio Variatio Variatio Variatio V ariatio Variatio Variatio Variatio Variatio Variatio Variatio Variatio Variatio V ariatio 1. a 1 Clav. 2. a 1 Clav. 3. Canone ALL ' UNISONO, a 1 Clav. 4. a 1 Clav. 5. a 1 overo 2 Clav. 6. CANONE ALLA SECONDA, a 1 Clav. 7. a 1 overo 2 Glav. 8. a 1 Clav. 9. CANONE ALLA TERZA, a 1 Clav. 10. Fughetta, a 1 Clav. 11. a 2 Clav. 12. CANONE ALLA QuARTA 13. a 2 Clav. 14. a 2 Clav . 15. CANONE ALLA QUINTA, a 1 Clav. 16. O uverture, a 1 Clav. 17. a 2 Clav . 18. CANONE ALLA SESTA, a 1 Clav. 19. a 1 Clav. 20. a 2 Clav. 21. CANONE ALLA SETTIMA 22 . a 1 Clav. Alla breve 23. a 2 Clav. 24. CANONE ALL 'OTTAVA, a 1 Clav. 25. a 2 Olav. 26. a 2 Clav. 27. CANONE ALLA NONA, a 2 Clav. 28. a 2 Clav. 29. a 1 overo 2 Clav. 30. a 1 Clav. Quodlibet ARIA DA CAPO �PROGRAM NOTES It was in the light of what he had said, he went on, that the work he was speaking of in particular, Sonata Op. 111, was to be regarded. And then he sat down at the cottage piano and played us the whole composition out of his head, the first and the incredible second movement, shouting his comments into the midst of his playing and in order to make us conscious of the treatment demonstrating here and there in his enthusiasm by singing as well; altogether it made a spectacle partly entrancing, partly funny; and repeatedly greeted with merriment by his little audience. For as he had a very powerful attack and exaggerated the forte, he had to shriek extra loud to make what he said halfway intelligible and to sing with all the strength of his lungs to emphasize vocally what he played. With his lips he imitated what the hands played. "Tumtum, tum-tum, tum-tr-r!" he went, as he played the grim and startling first notes of the first movement; he sang in a high falsetto the passages of melodic loveliness by which the ravaged and tempestuous skies of the composition are at intervals brightened as though by faint glimpses of light. At last he laid his hands in his lap, was quiet a moment, and then said: "Here it comes!" and began the variations movement, the "adagio m.olto semplice e cantabile ." The arietta theme, destined to vicissitudes for which in its idyllic innocence it would seem not to be born, is presented at once, and announced in sixteen bars, reducible to a motif which appears at the end of its first half, like a brief soul-cry-only three notes, a quaver, a semiquaver, and a dotted crotchet to be scanned as, say: "heav-en's blue, lov-ers' pain, fare-thee well, on a-time, mead-ow-land"-and that is all. What now happens to this mild utterance, rhythmically, harmonically, contrapuntally, to this pensive, subdued formulation, with what its master blesses and to what condemns it, into what black nights and dazzling flashes, crystal spheres wherein coldness and heat, repose and ecstasy are one and the same, he flings it down and lifts it up, all that one may well call vast, strange, extravagantly magnificent, without thereby giving it a name, because it is quite truly nameless; and with labouring hands Kretschmar played us all those enormous transformations, singing at the same time with the greatest violence: "Dim-dada!" and mingling his singing with shouts. "These chains of trills!" he yelled. " These flourishes and cadenzas! Do you hear the conventions that are left in? Herethe language- is no longer- purified of the flourishes-but the flourishes-of the appearance-of their subjective-domination-th e appearance-of art is thrown off-at last-art always throws off the appearance of art. Dim-dada! Do listen, how herethe melody is dragged down by the centrifugal weight of chords! It becomes static, monotonous-twice D , three times D , one after the other- the chords do it-dim-dada! Now notice what happens here- " It was extraordinarily difficult to listen to his shouts and to the highly complicated music both at once. We all tried. We strained, leaning forward, hands between knees, looking by turn at his hands an d his mouth. The characteristic of the movement of course is the wide gap between bass and treble, between the right and the left hand, and a moment comes, an utterly extreme situation, when the poor little motif seems to hover alone and forsaken above a giddy yawning abyss-a procedure of awe-inspiring unearthliness, to which then succeeds a distressful making-of-itself-small, a start of fear as it were, that such a thing could happen. Much else happens before the end. But when it ends and while it ends, something comes, after so much rage, persistence, obstinacy, extravagance: something entirely unexpected and touching in its mildness and goodness. With the motif passed through m any vicissitudes, which takes leave and so doing becomes itself entirely leave-taking, a parting wave and call, with this D G G occurs a slight change, it experiences a small melodic expansion. After an introductory C, it puts a C sharp before the D , so that it no longer scans "heav-en's blue," "mead-owland," but "0-thou heaven's blue," "Green-est meadowland," "Fare-thee well for aye," and this added C sharp is the most moving, consolatory, pathetically reconciling thing in the world. It is like having one's hair or cheek stroked, lovingly, understandingly, like a deep and silent farewell look. It blesses the object, the frightfully harried formulation, with overpowering humanity, lies in parting so gently on the hearer's heart in eternal farewell that the eyes run over. "Now for-get the pain," it says. "Great was-God in us." " 'Twas all- but a dream," " Friendly-be to me." Then it breaks off. Quick, hard triplets hasten to a conclusion with which any other piece might have ended. Thomas M ann-Dr. Faustus �The Goldberg Variations were first published in 1742 by Balthasar Schmid in N urnberg under the modest title: "Keyboard-practice, consisting of an Aria with different variations for the harpsichord with two manuals. Prepared for the enjoyment of music lovers by Johann Sebastion Bach, Polish Royal and Saxon electoral court-composer, director and choir master in Leipzig." The Aria appears as a Sarabande in Anna Magdalena Bach's notebook of the year 1725. About the composition of these variations, Forkel tells the following story, which, for all its doubtful character, has permanently attached to them the name of Bach's pupil, Johann Gottleib Goldberg. "For this model, upon which all sets of variations should be formed (although for comprehensible reasons not a single set has yet been thus made), we have to thank the instigation of the former Russian ambassador to the electoral court of Saxony, Count Kaiserling, who often stopped in Leipzig and brought there with him the aforementioned Goldberg, in order to have him given musical instruction by Bach. The Count was often ill and had sleepless nights. At such times, Goldberg, who lived in his house, had to spend the night in an antechamber, so as to play for him during his insomnia. Once the Count mentioned in Bach's presence that he would like to have some clavier pieces for Goldberg, which should be of such a smooth and somewhat lively character that he might be a little cheered up by them in his sleepless nights. Bach thought himself best able to fulfill this wish by means of Variations, the writing of which he had until then considered an ungrateful task on account of the repeatedly similar harmonic foundation. But since at this time all his works were already models of art, such also these variations became under his hand. Yet he produced only a single work of this kind. Thereafter the Count always called them his variations. He never tired of them, and for a long time sleepless nights meant: 'Dear Goldberg, do play me one of my variations.' Bach was perhaps never so rewarded for one of his works as for this. The Count presented him with a golden goblet filled with 100 louis-d'or. Nevertheless, even had the gift been a thousand times larger, their artistic value would not yet have been paid for." - Ralph Kirkpatrick Paul Hersh attended Yale University and studied piano with Eduard Steuermann and Leonard Shure. As violist of the Lenox String Quartet, he has concertized extensively in the United States, Canada, and Europe. He has been artist-in-residence and a member of the faculty of the Berkshire Music Center, the Aspen Music Festival, the Spoleto Festival, Lecturer in Music at Grinnell College, and is at present artist-in-residence and a member of the faculty at Harpur College, SUNY Binghamton. FUTURE EVENTS Sunday, September 28, 1969-8: 15 p.m. Don A. Watters Theater, Admission Charge Lenox Quartet, New York Woodwind Quintet-Combined Concert FALL CHAMBER MUSIC SERIES � 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. 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. 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.) 27:24 39:12 04:20 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59819 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59819">  Paul Hersh 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 Recital, Paul Hersh, September 14, 1969 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works of Beethoven and Bach. Held at 8:45 pm, September 14, 1969, Don A. Watters Theater. Creator An entity primarily responsible for making the resource Hersh, Paul Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1969-09-14 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Beethoven, Ludwig van, 1770-1827 Bach, Johann Sebastian, 1685-1750 State University of New York at Binghamton. Department of Music Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020057620 39091020057679 39091020057729