104
10
1775
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Reinhardt Promptbooks
Description
An account of the resource
<strong><em>Who is Max Reinhardt?</em></strong> <br />The celebrated <span>Austrian t</span>heater director <a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/">Max Reinhardt</a>, recognized in America primarily for his elaborate productions of Shakespeare’s A Midsummer Night’s Dream, Franz Werfel’s The Eternal Road, and Karl Vollmoeller’s The Miracle, was born in 1873 at Baden near Vienna, Austria and died in New York City in 1943. Reinhardt’s illustrious career takes on added significance because it coincides with a major shift in the evolution of the modern theater: the ascendancy of the director as the key figure in theatrical production. Reinhardt’s reputation in international theater history is secured by the leading role he played in this transformation, as well as by his innovative use of new theater technology and endless experimentation with theater spaces and locales, which together redefined traditional relationships between actor and audience toward a new participatory theater. <br /><br /><em><strong>What is a prompt book?</strong></em> <br />The prompt book is a master copy of the production script and contains a wealth of instructions and information alongside the basic text of the play. As well as the actors’ lines, you will often see cues for music, movement, light, and many other aspects of stage business. It may also contain sketches of how a piece of staging is supposed to look, or which costume a character should wear in a scene. <br /><br /><em><strong>Why are his important?</strong></em> <br />Reinhardt’s directorial prompt books reflect the ways in which he made plays by major playwrights, including Ibsen, Shakespeare and Wilder, his own. The prompt books contain notations denoting changes in the script, actor moves and technical cues, instructions on how sound, props and scenery were used, and stage drawings. They help us to reconstruct Reinhardt’s techniques and directions in productions. <br /><br /><em><strong>Acknowledgements</strong></em> <br />Thank you to the Gladys Kriebel Delmas Foundation who generously provided the funding to make this extraordinary project possible. Thank you also to the following individuals who helped make this project successful: Binghamton University Libraries’ Staff: Benjamin Coury, Nicholas Eggleston, Jean Green, Blythe Roveland-Brenton, Erin Rushton, David Schuster, Rachel Turner, Brandy Wrighter; Binghamton University Students: Madelynn Cullings, Kashawn Hernandez, Aanyah Jhonson-Whyte, Marisa Joseph, Bethany Maloney, Ashleigh Marie Sherman, Thomas Tegtmeier, Joseph Vitale.
Relation
A related resource
<p><a href="https://omeka.binghamton.edu/omeka/items/show/2877">Full Display and German Transcription of Max Reinhardt's</a><em><a href="https://omeka.binghamton.edu/omeka/items/show/2877"> Reigen Promptbook</a><br /></em><br /><a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/"><span>Max Reinhardt Archives and Library</span></a><br /><br /><a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,reinhardt&tab=DigitalCollections&search_scope=DigitalCollections&vid=01SUNY_BIN:01SUNY_BIN&offset=0">Max Reinhardt Collection Photographs</a></p>
<p></p>
<p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-timeline">The Life and Times of Theater Director Max Reinhardt</a></p>
<p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-theaters">The Theaters of Max Reinhardt</a></p>
Rights
Information about rights held in and over the resource
In copyright
Contributor
An entity responsible for making contributions to the resource
Jean Green, <br /><br />Binghamton University Students: <br />Madelynn Cullings<br />Kashawn Hernandez<br />Aanyah Jhonson-Whyte<br />Marisa Joseph<br />Bethany Maloney<br />Ashleigh Marie Sherman<br />Thomas Tegtmeier<br />Joseph Vitale
Promptbook
Collection
Miscellaneous Promptbooks
Description
List of dates given inside front cover. Markings in black pen, red pen, black pencil, blue pencil. Promptbook completely handwritten; copy. Page numbers handwritten in black pencil. Pasted page excerpts found on p. 146, 216, 219. Not many annotations throughout, presumably because all annotation of previous copy were written in in copying process. Annotations are found throughout however, in black pencil.Also found envelope with twelve pages of dialogue, presumably missing/accompanying the promptbook. No page numbers given. Dialogue between Richard and Elizabeth, 21cm x 16.5cm.
Dimensions
Physical dimensions of item
Pages 1-227; 23cm x 19.5cm
Production(s)
August 10, 1884-April 26, 1896 (Deutsches Theater zu Berlin).
Notes
Located in Binghamton University Special Collections
PT2635.E548 P752 v.9
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
König Richard der Dritte [promptbook]
Subject
The topic of the resource
Shakespeare, William, 1564-1616
Promptbook
Stage directions
Creator
An entity primarily responsible for making the resource
Shakespeare, William, 1564-1616
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
1900s
Rights
Information about rights held in and over the resource
Copyright undetermined. This image is provided for educational and research purposes only as is stipulated by U.S. and international copyright law. For more information, please contact speccoll@binghamton.edu.
Contributor
An entity responsible for making contributions to the resource
Unknown
Language
A language of the resource
German
Identifier
An unambiguous reference to the resource within a given context
3202
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Reinhardt Promptbooks
Description
An account of the resource
<strong><em>Who is Max Reinhardt?</em></strong> <br />The celebrated <span>Austrian t</span>heater director <a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/">Max Reinhardt</a>, recognized in America primarily for his elaborate productions of Shakespeare’s A Midsummer Night’s Dream, Franz Werfel’s The Eternal Road, and Karl Vollmoeller’s The Miracle, was born in 1873 at Baden near Vienna, Austria and died in New York City in 1943. Reinhardt’s illustrious career takes on added significance because it coincides with a major shift in the evolution of the modern theater: the ascendancy of the director as the key figure in theatrical production. Reinhardt’s reputation in international theater history is secured by the leading role he played in this transformation, as well as by his innovative use of new theater technology and endless experimentation with theater spaces and locales, which together redefined traditional relationships between actor and audience toward a new participatory theater. <br /><br /><em><strong>What is a prompt book?</strong></em> <br />The prompt book is a master copy of the production script and contains a wealth of instructions and information alongside the basic text of the play. As well as the actors’ lines, you will often see cues for music, movement, light, and many other aspects of stage business. It may also contain sketches of how a piece of staging is supposed to look, or which costume a character should wear in a scene. <br /><br /><em><strong>Why are his important?</strong></em> <br />Reinhardt’s directorial prompt books reflect the ways in which he made plays by major playwrights, including Ibsen, Shakespeare and Wilder, his own. The prompt books contain notations denoting changes in the script, actor moves and technical cues, instructions on how sound, props and scenery were used, and stage drawings. They help us to reconstruct Reinhardt’s techniques and directions in productions. <br /><br /><em><strong>Acknowledgements</strong></em> <br />Thank you to the Gladys Kriebel Delmas Foundation who generously provided the funding to make this extraordinary project possible. Thank you also to the following individuals who helped make this project successful: Binghamton University Libraries’ Staff: Benjamin Coury, Nicholas Eggleston, Jean Green, Blythe Roveland-Brenton, Erin Rushton, David Schuster, Rachel Turner, Brandy Wrighter; Binghamton University Students: Madelynn Cullings, Kashawn Hernandez, Aanyah Jhonson-Whyte, Marisa Joseph, Bethany Maloney, Ashleigh Marie Sherman, Thomas Tegtmeier, Joseph Vitale.
Relation
A related resource
<p><a href="https://omeka.binghamton.edu/omeka/items/show/2877">Full Display and German Transcription of Max Reinhardt's</a><em><a href="https://omeka.binghamton.edu/omeka/items/show/2877"> Reigen Promptbook</a><br /></em><br /><a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/"><span>Max Reinhardt Archives and Library</span></a><br /><br /><a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,reinhardt&tab=DigitalCollections&search_scope=DigitalCollections&vid=01SUNY_BIN:01SUNY_BIN&offset=0">Max Reinhardt Collection Photographs</a></p>
<p></p>
<p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-timeline">The Life and Times of Theater Director Max Reinhardt</a></p>
<p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-theaters">The Theaters of Max Reinhardt</a></p>
Rights
Information about rights held in and over the resource
In copyright
Contributor
An entity responsible for making contributions to the resource
Jean Green, <br /><br />Binghamton University Students: <br />Madelynn Cullings<br />Kashawn Hernandez<br />Aanyah Jhonson-Whyte<br />Marisa Joseph<br />Bethany Maloney<br />Ashleigh Marie Sherman<br />Thomas Tegtmeier<br />Joseph Vitale
Promptbook
Description
Markings throughout in black pencil. Extensive staging and casting directions found on cast list page. Throughout there is a heavy emphasis on stage/actor movements within this promptbook. Most markings are not written but rather movement sketches. Extensive written markings and stage drawings found usually at beginning of each act.
Collection
Max Reinhardt Promptbooks
Dimensions
Physical dimensions of item
21cm x 15.25cm
Earlier version
Earlier version (dcterms:isVersion Of)
Kräfte
Notes
Located in Binghamton University Libraries Special Collections
PT2635.E548P75 v.127
Production(s)
October 14, 1920, Berlin
-Supporting materials: Box 7 Folder 37: Photographs
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
Kräfte [promptbook]
Subject
The topic of the resource
Stramm, August, 1874-1915. Kräfte
Promptbooks
Stage directions
Creator
An entity primarily responsible for making the resource
Stramm, August, 1874-1915
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
1900s
Contributor
An entity responsible for making contributions to the resource
Reinhardt, Max, 1873-1943
Language
A language of the resource
German
Identifier
An unambiguous reference to the resource within a given context
R 3222
Rights
Information about rights held in and over the resource
Copyright undetermined. This image is provided for educational and research purposes only as is stipulated by U.S. and international copyright law. For more information, please contact speccoll@binghamton.edu.
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Reinhardt Promptbooks
Description
An account of the resource
<strong><em>Who is Max Reinhardt?</em></strong> <br />The celebrated <span>Austrian t</span>heater director <a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/">Max Reinhardt</a>, recognized in America primarily for his elaborate productions of Shakespeare’s A Midsummer Night’s Dream, Franz Werfel’s The Eternal Road, and Karl Vollmoeller’s The Miracle, was born in 1873 at Baden near Vienna, Austria and died in New York City in 1943. Reinhardt’s illustrious career takes on added significance because it coincides with a major shift in the evolution of the modern theater: the ascendancy of the director as the key figure in theatrical production. Reinhardt’s reputation in international theater history is secured by the leading role he played in this transformation, as well as by his innovative use of new theater technology and endless experimentation with theater spaces and locales, which together redefined traditional relationships between actor and audience toward a new participatory theater. <br /><br /><em><strong>What is a prompt book?</strong></em> <br />The prompt book is a master copy of the production script and contains a wealth of instructions and information alongside the basic text of the play. As well as the actors’ lines, you will often see cues for music, movement, light, and many other aspects of stage business. It may also contain sketches of how a piece of staging is supposed to look, or which costume a character should wear in a scene. <br /><br /><em><strong>Why are his important?</strong></em> <br />Reinhardt’s directorial prompt books reflect the ways in which he made plays by major playwrights, including Ibsen, Shakespeare and Wilder, his own. The prompt books contain notations denoting changes in the script, actor moves and technical cues, instructions on how sound, props and scenery were used, and stage drawings. They help us to reconstruct Reinhardt’s techniques and directions in productions. <br /><br /><em><strong>Acknowledgements</strong></em> <br />Thank you to the Gladys Kriebel Delmas Foundation who generously provided the funding to make this extraordinary project possible. Thank you also to the following individuals who helped make this project successful: Binghamton University Libraries’ Staff: Benjamin Coury, Nicholas Eggleston, Jean Green, Blythe Roveland-Brenton, Erin Rushton, David Schuster, Rachel Turner, Brandy Wrighter; Binghamton University Students: Madelynn Cullings, Kashawn Hernandez, Aanyah Jhonson-Whyte, Marisa Joseph, Bethany Maloney, Ashleigh Marie Sherman, Thomas Tegtmeier, Joseph Vitale.
Relation
A related resource
<p><a href="https://omeka.binghamton.edu/omeka/items/show/2877">Full Display and German Transcription of Max Reinhardt's</a><em><a href="https://omeka.binghamton.edu/omeka/items/show/2877"> Reigen Promptbook</a><br /></em><br /><a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/"><span>Max Reinhardt Archives and Library</span></a><br /><br /><a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,reinhardt&tab=DigitalCollections&search_scope=DigitalCollections&vid=01SUNY_BIN:01SUNY_BIN&offset=0">Max Reinhardt Collection Photographs</a></p>
<p></p>
<p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-timeline">The Life and Times of Theater Director Max Reinhardt</a></p>
<p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-theaters">The Theaters of Max Reinhardt</a></p>
Rights
Information about rights held in and over the resource
In copyright
Contributor
An entity responsible for making contributions to the resource
Jean Green, <br /><br />Binghamton University Students: <br />Madelynn Cullings<br />Kashawn Hernandez<br />Aanyah Jhonson-Whyte<br />Marisa Joseph<br />Bethany Maloney<br />Ashleigh Marie Sherman<br />Thomas Tegtmeier<br />Joseph Vitale
Promptbook
Description
All text in German. Red pencil markings; 10. March 1930 (found on last page of play); Purple pen markings: .... 1930, Berlin (found on last page of play). Star of David in red pencil found on p. 108. Includes stage sketches, music notes, added dialogue.
Supplement includes two copies of script for Scene 5. One copy has only blue pen marks, one has mostly red pencil marks but also pink, purple and blue pencil marks.
Collection
Max Reinhardt Promptbooks
Dimensions
Physical dimensions of item
20cm x 18cm
Earlier version
Earlier version (dcterms:isVersion Of)
Die Kreatur
Notes
Located in Binghamton University Libraries Special Collections
PT2635.E548P75 v.9
Production(s)
March 10, 1930 (likely Berlin, Komödie)
-Supporting materials: Box 16 Folders 51-52: Programs; plays; plays directed by others
1930, Berlin (likely Komödie)
-Supporting materials: Box 1 Folder 15: Photographs
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
Kreatur : Schauspiel in drei Akten [promptbook]
Subject
The topic of the resource
Bruckner, Ferdinand, 1891-1958. Kreatur : Schauspiel in drei Akten
Promptbooks
Stage directions
Creator
An entity primarily responsible for making the resource
Bruckner, Ferdinand, 1891-1958
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
1930
Contributor
An entity responsible for making contributions to the resource
Reinhardt, Max, 1873-1943
Language
A language of the resource
German
Identifier
An unambiguous reference to the resource within a given context
R 3109
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Komödie
Rights
Information about rights held in and over the resource
Copyright undetermined. This image is provided for educational and research purposes only as is stipulated by U.S. and international copyright law. For more information, please contact speccoll@binghamton.edu.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Reinhardt Promptbooks
Description
An account of the resource
<strong><em>Who is Max Reinhardt?</em></strong> <br />The celebrated <span>Austrian t</span>heater director <a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/">Max Reinhardt</a>, recognized in America primarily for his elaborate productions of Shakespeare’s A Midsummer Night’s Dream, Franz Werfel’s The Eternal Road, and Karl Vollmoeller’s The Miracle, was born in 1873 at Baden near Vienna, Austria and died in New York City in 1943. Reinhardt’s illustrious career takes on added significance because it coincides with a major shift in the evolution of the modern theater: the ascendancy of the director as the key figure in theatrical production. Reinhardt’s reputation in international theater history is secured by the leading role he played in this transformation, as well as by his innovative use of new theater technology and endless experimentation with theater spaces and locales, which together redefined traditional relationships between actor and audience toward a new participatory theater. <br /><br /><em><strong>What is a prompt book?</strong></em> <br />The prompt book is a master copy of the production script and contains a wealth of instructions and information alongside the basic text of the play. As well as the actors’ lines, you will often see cues for music, movement, light, and many other aspects of stage business. It may also contain sketches of how a piece of staging is supposed to look, or which costume a character should wear in a scene. <br /><br /><em><strong>Why are his important?</strong></em> <br />Reinhardt’s directorial prompt books reflect the ways in which he made plays by major playwrights, including Ibsen, Shakespeare and Wilder, his own. The prompt books contain notations denoting changes in the script, actor moves and technical cues, instructions on how sound, props and scenery were used, and stage drawings. They help us to reconstruct Reinhardt’s techniques and directions in productions. <br /><br /><em><strong>Acknowledgements</strong></em> <br />Thank you to the Gladys Kriebel Delmas Foundation who generously provided the funding to make this extraordinary project possible. Thank you also to the following individuals who helped make this project successful: Binghamton University Libraries’ Staff: Benjamin Coury, Nicholas Eggleston, Jean Green, Blythe Roveland-Brenton, Erin Rushton, David Schuster, Rachel Turner, Brandy Wrighter; Binghamton University Students: Madelynn Cullings, Kashawn Hernandez, Aanyah Jhonson-Whyte, Marisa Joseph, Bethany Maloney, Ashleigh Marie Sherman, Thomas Tegtmeier, Joseph Vitale.
Relation
A related resource
<p><a href="https://omeka.binghamton.edu/omeka/items/show/2877">Full Display and German Transcription of Max Reinhardt's</a><em><a href="https://omeka.binghamton.edu/omeka/items/show/2877"> Reigen Promptbook</a><br /></em><br /><a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/"><span>Max Reinhardt Archives and Library</span></a><br /><br /><a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,reinhardt&tab=DigitalCollections&search_scope=DigitalCollections&vid=01SUNY_BIN:01SUNY_BIN&offset=0">Max Reinhardt Collection Photographs</a></p>
<p></p>
<p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-timeline">The Life and Times of Theater Director Max Reinhardt</a></p>
<p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-theaters">The Theaters of Max Reinhardt</a></p>
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In copyright
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Jean Green, <br /><br />Binghamton University Students: <br />Madelynn Cullings<br />Kashawn Hernandez<br />Aanyah Jhonson-Whyte<br />Marisa Joseph<br />Bethany Maloney<br />Ashleigh Marie Sherman<br />Thomas Tegtmeier<br />Joseph Vitale
Promptbook
Description
Extensive notations throughout. Markings in purple pen, orange pencil, black pencil, and blue pencil. Most dialogue notes are numbered in purple pen. Treble clef, fermatas, and other music symbols found throughout in various colors. Interesting black pencil circle-and-figure sketches and face sketches. Includes stage directions, sketches, and movements.
Collection
Max Reinhardt Promptbooks
Dimensions
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21.5cm x 17.5cm
Earlier version
Earlier version (dcterms:isVersion Of)
Der Kreidekreis
Notes
Located in Binghamton University Libraries Special Collections
PT2635.E548P75 v.65
Production(s)
September 17, 1925, Berlin
-Supporting materials: Box 2 Folder 37: Photographs
Box 16 Folder 42: Programs; multiple plays
October 20, 1925; "Am 20 Jahr. Eroffnung des D.Th." (For the 20th anniversary of the opening of the Deutsches Theater)
-Supporting materials: Box 2 Folder 37: Photographs
Box 16 Folder 42: Programs; multiple plays
"18. / 9. F__" (marking illegible)
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Title
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Kreidekreis : Spiel in 5 Akten [promptbook]
Subject
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Klabund, 1890-1928. Kreidekreis : Spiel in 5 Akten
Promptbooks
Stage directions
Deutsches Theater -- Germany
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Klabund, 1890-1928
Publisher
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Binghamton University Libraries
Date
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1900s
Contributor
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Reinhardt, Max, 1873-1943
Language
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German
Identifier
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R 3160
Coverage
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Deutsches Theater zu Berlin
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Copyright undetermined. This image is provided for educational and research purposes only as is stipulated by U.S. and international copyright law. For more information, please contact speccoll@binghamton.edu.
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https://omeka.binghamton.edu/omeka/files/original/c8f87d46d524e684a44e807c6d6c1098.pdf
c787e28bab583601d747950acc8cef25
PDF Text
Text
BINGHAMTON
o N 1 V E R oS] T ¥
State University of New York
Depart ment of Mus ic
La Femme!
A Celebration of Women
Gig i M itchellVelas co,
mezzosoprano
'
F rank Corliss, piano
Sunday, October 3, 2004
3:00 p.m.
Casadesus Recital Hall
�Program
La Femme!
A Celebration of Women
:
Intermission
Impetuous Youth
. Zwei Lieder aus Goethe’s Egmont, Op. 84..
Freudvoll und Leidvoll
Die Trommel geriihret
Ludwig van Beethoven
(17701827)
Pride, Defiance and Bravery
La Mort de Cleopatre.................................................................Hector Berlioz
(18031869)
Courtship, Marriage and Fidelity
Frauenliebe undLeben, Op. 42 n
Seit ich ihn gesehen
Er, der Herrlichste von Allen
Ich kann’s nicht fassen
Du Ring an meinem Finger
Helft mir, ihr Schwestern
Susser Freund, du blickest
An meinem Herzen
Nun hast du mir den ersten Schmerz getan
o Schumann
(18101856)
Coquette and Longing
Mein Liebster hat zum Tische mich geladen..................cc.c.c............... Wolf
18601903)
Miihvoll komm’ ich und beladen
Verschwiegene Liebe
In dem Schatten meiner Locken
Ich hab’ in Penna einen Liebsten
Today ’s Woman Speaks
o
No Ordinary W
Bones Be Good
Turning
Homage to my Hips
Homage to my Hair
My ThirtyEighth Year
m
a
n
’ Gwyneth Walker
(b. 1947)
�PROGRAM NOTES
Dear Friends:
Welcome to another afternoon of song. For those of you who have never
attended one of my programs, you are in for a l o t German Lieder
perhaps more than most people ever hear at one sitting. My teacher and
mentor was one of the greatest German Lieder singers and it seems only
natural that since I have an affinity with her voice and technique, so
should I also have affinity with the Lieder. Today’s program, however,
offers a bit of a departure from my normal recital style, as I have added
two relatively unfamiliar works in other languages. The first half offers a
steady diet of Lieder, and the second half has two different t hings on the
menu: the rarely performed Death of Cleopatra of Berlioz in French and
the whimsical jazzy cycle No Ordinary Woman! of Gwyneth Walker in
English.
In planning this program, I was offered a date in October and decided that,
since October is National Breast Cancer Awareness Month, I would love
to do a tribute to women. Each set offers a different look into the varied
personalities of women and how they deal with their lives. Each shows us
a different strength and vulnerability. Presumably, no woman is alike, but
I am conspiring to prove today that there are things we all share and have
in common, whether it is a desire we have had in our deepest fantasies or
something that we have stood for outwardly in how we live our lives.
There is a common thread of sisterhood, which crosses all boundaries of
race, color, social status or religious belief. No more is that apparent than
in the poetry of Lucille Clifton, a distinctively “Black voice” which
speaks clearly of Black issues, emotions and values, and yet s p e a k s all
of us with such ease and familiarity that we see a part of ourselves in her
writing.
Be active and become involved either by donation to the charity of your
choice or by moral support of someone you know who needs you. We all
depend on women for their nurturing, their encouragement and their
female intuition that make our earth a gentler, more beautiful place to live
in. We are all a community of souls that can combine our small lights
into one larger one that can light the world. You can make a difference in
someone’s life. I’m sure you already have! It is my sincere hope that
today I will make a difference in yours, so please pass it on!
Love and Light to you all and do continue reading to enjoy some personal
and occasionally irreverent program notes!
The two Kliirchen Lieder that open the program are from incidental
music that Beethoven wrote for the Goethe play Egmont (like a modern
film score of sorts) in 1809. The idea of a hero in Beethoven’s mind was
in fact inseparable from that of working for a liberated humanity. The
beliefs of Egmont, Goethe and Beethoven were similar in many ways,
and it has been said that Beethoven was so impressed with Goethe’s play
that he refused to take any payment from the theater for writing the
music. Egmont is a stirring dramatization of a quintessentially romantic
subject: a heroic individual’s fatal struggle against injustice. His beloved
and devoted Klarchen was a Burgher’s daughter who plots to free
Egmont from imprisonment and, having failed in that attempt, poisons
herself. In these particular music selections, Klirchen shows her young
and rambunctious side as well as her sentimental side. Freudvoll und
Lcidvoll seems to be a lyric hymn to emotions themselves, emotions that
seem to be marked typically by ardent youth. In Die Trommel geriihret,
one can hear the drums rolling in the lower piano and the fife tweeting up
high getting ready for battle. One can hear the middle chords played in
offbeats, imitating the shooting guns of battle. These songs are popular
with voice and piano in any range, but were originally written for
soprano with orchestral accompaniment. One is reminded of
Beethoven’s opera Fidelio, which also portrays a heroine disguised as a
man who infiltrates a camp to save her imprisoned husband.
The beautiful song cycle of Schumann to the poetry of Chamisso
has aroused disdain every time I discuss it with a German speaker. Many
native German speakers (mainly men), while acknowledging the beauty
and importance of this cycle, have almost unanimously decided that
these texts are insipid and sexist. 1 find that terribly amusing, as i t is a
product of the time in which they were written. Indeed, there are
moments that speak of obeisance and blind adoration. What I think so
interesting, period notwithstanding, is that almost every person who has
been in love in the delicate flower of their youth has had just these
feelings! I have planned for many years to sing these songs and I have
always felt that they say how I feel about my husband. Finally I have
programmed them, and you know what? I still feel that way about him!
There are eight bricf songs woven together with such stunning simplicity
that it makes one marvel at the honesty of emotion they portray.
Following her li fe from the first time she lays eyes on “him,” Seit ich ihn
gave/ion opens with a gentle theme as she recounts how she fell in love at
first sight. In E r, der Herrlichste von Allen, she “shouts from the
�r
rooftops,” so to speak, his praises and how grand he is in every way. Ieh
kann ”s nicht fassen finds her bewilderment as she realizes that he too feels the
same way and has professed to “always be hers.” Du Ring am meinem Finger
shows her gazing at her wedding ring, singing of the promises she will fulfill
and the responsibility and honor of becoming the wife of the man she adores.
In Helft mir, ihn Schwestern, she asks her sisters to adorn her and make her
ready for her wedding day. One clearly hears the theme of this song
transformed into a wedding march in the piano ending. Siisser Freund, du
blickest finds tenderness and intimacy as they consummate their marriage and
as she tells him that she hides a beautiful secret; one day his beloved image
will gaze back at him. The following An meinem Herzen, the happiest of all of
these in many ways, is a playful session with their beautiful child as she nurses
him and tickles him, making him laugh. What a shame it is, she says, that a
man can never experience this level of joy! At the end of this song we hear
clearly the three notes that she has sung at the end of the previous one, ‘dein
Bildniss’ (your image). It is in this three note porten t that we next hear, in the
final song, Nun hast du mir den ersten Schmerz get an, the death knell in a
single minor chord. Here she curses him for her deep sadness caused by his
death, leaving her all alone. She withdraws into herself, a nd there she will find
her lost happiness and her w orld. A fter these words, the theme w e heard at the
beginning of the cycle returns. It is up to you whether or not to believe it is an
actual physical death for her, but most definitely i t i s the death o f the woman
she was, and this opening the me poignantly cradles this de ep and sad passing.
H ugo Wolf’s first i m portant works, the songs of 18778, arose from the
effec ts o f h is sexual initiation and first romantic attachment. Some are bright,
others agonized, reflecting his depression and illness from a syphilitic
infection. Physical exhaustion and depressive phases stemmed the flow of
original music. He wrote his last songs in 1897, then had the mental
breakdown that led to his terminal illness. Wol f’s strength was the
compression of largescale forms and ideas the essences of grand opera, tone
poem and dramatic symphony into song, combining the Lieder traditions of
Schubert and Schumann. It is rare to hear the songs of Wolf programmed
within a song recital. First of all because they require a monster pianist playing
on a monster piano, and almost all o f his songs demand flawless technique and
musical intellect from both s inger and pianist. However, all o f that without a
capricious virtuosity means nothing. Simple, yet someti mes strange melodies
set against complex rhythms and harmonies make for a powerful musical
journey. Three of these songs tonight are of the comic and light nature, and
two are heavyladen with stunning cf fcct. Mein Liebster hat zum Tische mich
geladen, from an original Italian text, is a romp with pianist and singer recling
o ff s eemingly predictable notes that, i f heard attentively, arc really odd leaps.
/
]
skips and strange intervals echoing the text vividly. Miihvoll komm’ ich
und beladen is from the Spiritual Songs of the Spanish Songbook. A
woman sings in great pain and shame; she begs God to take her and wash
her clean of her sins. Here you hear the full splendor of Wolf‘s complex
harmonies. Verschwiegene Liebe was written by Eichendorff, a favorite
poet of Wolf’s. A serene and quiet mood is set from the very beginning.
In the undulating piano chords, one can hear and experience being alone
in nature, watching clouds go by across the dark sky, and thoughts of
love permeate the air and become almost tangible. There is a rhythmic
disconnectedness between piano and voice that demonstrates this
solitude. The quietness and gentleness that each use to weave these lines
together despite the disconnect is a marvel, creating a calm stillness. It is
as if each is resigned in its separateness, yet woven together. In dem
Schatten meiner Locken is taken from an original Spanish text. A
coquette lets us in on an intimate scene where her lover has fallen asleep.
She knows she has him just where she wants him. In the meantime she is
terribly preoccupied with her hair and every other little thing. Both
pianist and singer must play back and forth with pianist playing the
spoken words and thought processes. Ich hab ’ in Penna einen Liebsten
is the “Catalogue Aria” for a woman. Like the aria in Mozart ’s opera
Don Giovanni that tells how many lovers he has had in which countries,
this young lady proceeds to give us the lowdown on her paramours! The
bopping chords in the piano in the beginning give the feeli ng of her brain
ticking and counting each boy and his whereabouts, ending with a
fabulous flourish worthy of such propitious luck in love.
L a Mort de Cléopétre, a marvelous “little opera” as I am wont to call it,
is a marvel of writing and a real hard sing! Written by Berlioz as an
entry to a competition, the te xt was provided and strict rul es given. With
orchestral accompaniment he gives the orchestra flashes of color,
painting broad strokes to highlight a very dramatic personality and
historic account of this glorious and proud woman as she recounts her
risc and fall and ultimately screws her courage up to take her own life
with a poisonous asp’s fatal fangs. It is hard to believe that this entry did
not win. He was a second prize winner the year before and was favored
to win. It was the amazing chances he took in this composition and the
individualistic complexities that obviously baffled the judging panel that
caused his demise and stood in the way of his claiming first prize. The
following year, he entered again and conformed strictly to the
compositional rules and at long last, won fiv e years ’ financial support,
with an obligatory period of residence in Italy. What remains from that
�fourth entry is an extraordinary piece of music that is rarely performed but
always well received.
There are a select few who hold this piece in their repertoire, and one
might say it is written for a certain type of singer, since it has a considerabl e
range and resides a great deal in the soprano territory. lt has been sung by
sopranos and mezzosopranos alike and, despite its considerable vocal
demands, concerns itself more with an attitude and d ramatic portrayal than
vocal category. This scéne lyrique or operatic scene as Berlioz calls it, is
divided into sections and opens with an overturelike introduction. A
»
recitative, C ‘en est donc fait!, follows as Cleopatra recounts her story in
narrative style, which eventually gives way to a simple song, Ah! Qu ’ils sont
loin ces jours, when she recalls her past glory. Another narra tive follows – Au
comble des revers – on how quickly fate can turn giving way to misery and
disaster. Where w ill she flee with no place to go, no parents, no country? Here
she decides that nothing is left to her but death – “eternal night.” The second
hal f, Méditation, is inscribed with Juliet ’s words from Shakespeare : “ I f when
in the tomb 1 am laid...” A somewhat ritualistic dirge begins in the orchestra’s
depths, a droning yet jerky rhythm from the strings accompanied by muddy
dull brass chords seemingly invoking the underworld. Cleopatra intones a
prayer, Grands Pharaons, to the gods and pharaohs of old to accept her into the
poetry, the words of not only a Black woman but of “Every Woman,”
“Today’s Woman,” as she speaks with clarity and honesty about her
shortcomings, her disappointments, expectations, and the inevitable
loneliness that comes with the wisdom o f “coming of age.” The music,
itself sometimes in a throughcomposed jazz, is, just as the poetry,
alternating between lyricism and percussive humor. Generic but also
ethnic in nature, it encompasses a wide range of emotion which is
intensified by the use of humor in describing potentially touchy subjects:
round hips, nappy hair and of course the big “40.” It recounts crossing
A fterlife. A defiant sect ion follows – Non, j’ai d ’un époux déshonoré la vie –
where she proclaims that she w ill take control o f her destiny and decides to k ill
herself by a poisonous asp. She cries out to Osiris and then says, “To Typhon,
l deliver all m y days.” It is here that she takes up the vile reptile, and one hears
clearly in the accompaniment the very moment when she is bitten. Here the
frenzied accompaniment winds down to two low notes undulating an
unmistakable heartbeat, in itially quickpaced, then accelerating as the poison
takes affect. A ll the while she tells that she w ill leave this li fe, even as the
the threshold from Maidenhood to Womanhood and from Womanhood
to the Wise Crone, a passage all we women make sometimes
humorously, sometimes painfully, but in this lady’s case always with her
eyes wide open for the journey!
Emperor Octavius awaits her on his chariot, and through her courage to take
her own li fe, she is at la st worthy o f Cacsar. As she says these her final words,
we hear her heartbeat slowing down and missing beats, stopping, restarting,
then fast again as if she is revived, and then it halts to only an occasional beat,
Finally, we hear nothing, as the chords swell to bring down the curtain on one
of history ’s most glorious and proud women.
I can thank my soprano friend, Maria Ferrantc, for introducing me to the
wonderful song cycle No Ordinary Woman! which was commissioned by
soprano Denise Walker and pianist Estrid Eklo f for its premiere at Brown
University in December 1997. 1 am compelled to write about the composer,
Dr. Gwyneth Walker, since she is the only woman composer, the only
A merican, as w ell as the most contemporary one (b. 194 7) in today ’s program.
She is a graduate o f Brown Univ ersit y and the Hartt School o f Music, and
holds B.A., M.M. and D.M.A degrees in composition. A former faculty
member of the Oberlin College Conservatory, she resigned from
academia in 1 982 to compose music fulltime. She now lives on a dairy
farm in Braintree, Vermont, and is a recipient of the 2000 Lifetime
Achievement Award from the Vermont Arts Council.
The cycle’s rich text was written by the A froAmerican poet laureate
Lucille Clifton. Clifton, Maryland’s poet laureate from 1979 to 1985,
has led anything but an abstract life. She grew up poor in Buffalo and
was abused by her father, something she will not let get in the way of
seeing him as an individual, a flawed but whole person. “I identify
myself in many ways,” she told Jean Marbella of The Baltimore Sun in
1996. “Victim is not one of them. One goes on i f one can.”: Her words
are strong like a tasty heavy meal peppered with piquant words that
trickle over the tongue. Clifton’s humor is wonderfully bold, even as her
writing itself is subtle; this is one strong woman who has lived a full and
thorough life and celebrates her femaleness. This is strong beautiful
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�ABOUT THE PERFORMERS
MitchellVelasco has also performed in recitals extensively in Russia,
Switzerland, Singapore, Manila, New York, Boston, Seattle, Honolulu,
Fort Worth and Providence. Her repertoire includes Berlioz’ Les Nuits
d ‘Eté and La Mort de Cléopdtre, Ravel ’s Chansons Madécasses, Falla’s
Siete canciones populares espariolas, Fine’s Childhood Fables for
Grownups, Walker’s No Ordinary Woman!, Beethoven ’s Kldrchen
Lieder from Egmont, Schumann’s Frauenliebe undLeben, Wolf’s
Mignon Lieder, and many other Lieder of Brahms, Mahler, Schubert and
Strauss. She has taught privately with her husband, tenor Noel Espiritu
Velasco, privately and also in masterclasses in Manila at the University
of the Philippines College of Music and in Little Rock, Arkansas at the
Rob Taylor Choral Festival. She was invited to adjudicate in the 2004
Canadian Music Competitions in Toronto. She recorded Korngold’s
Einfachelieder and Abschiedslieder with Bruckner Orchester for ASV
which received rave reviews.
GIGI MITCHELLVELASCO is among emerging artists of the world’s
opera and concert stages. With a voice ideally suited to the German romantic
repertoire, she has been praised by the critics and public alike for her
interpretations of Mahler, Strauss and Wagner. She was personally invited by
her mentor, Christa Ludwig, to sing in the Carnegie Hall Mahler & Brahms
Song Workshop/Recital. Of her Mahler Kindertotenlieder, New York Times’
Anthony Tommasini wrote that she sang with a “darkhued sound and
elegance,” and the Wall Street Journal called her “the most finished artist,
sensitive to every nuance of the text.” Of her Brangaene at Florentine Opera
last February, Erik Eriksson wrote: “Gigi MitchellVelasco is worldclass in
every aspect. Slim, even willowy, she creates a devoted companion who seeks
to do right, but sets loose forces beyond her comprehension. MitchellVelasco’s
mezzo is beautiful, compact and supple, offering an unbroken legato
unmatched since her mentor, the great Christa Ludwig, commanded the role.
To hear her pour forth measure after measure of inexhaustible tone carries one
back to the era when Wagnerian titans regularly trod the world stages.
Her extensive concert engagements include Mahler’s Das Lied von der
Erde with Ural State Philharmonic (Sarah Caldwell), Oak Ridge Symphony
(John Welsh), and Sacramento Chamber Symphony (Nov. 2004), Second
Symphony in Calgary (Hans Graf) and Pioneer Valley (Paul Phillips), Third
Symphony in Santa Barbara (BenDor) and West Virginia (2005) and Eighth
Symphony in New York, Philadelphia (Robert Page) and Boston (Zander);
Verdi’s Requiem in Avery Fisher Hall, New Philharmonia, Ural State,
Charleston (David Stahl) and Florida (Jahja Ling); Bach’s Weihnactsoratorium
in Saint Paul and Matthduspassion in Milwaukee (Andreas Delfs); Dvorak ’s
Requiem (Prague Autumn Festival) and Stabat Mater; Beethoven’s Ninth
Symphony in Minnesota (Eiji Oue), Houston (Graf) and San Francisco (Tilson
Thomas, 2005); Berlioz’ Romeo et Juliette in San Antonio, Berlioz’ L ’Enfance
du Christ in Boston (Jeffrey Rink), Ravel ’s Shéhérazade and Falla’s El Amor
Brujo.
In opera, she portrayed Brangaene (Tristan und Isolde) also with Opera
Orchestra of New York (Queler) and Charleston, Octavian (Der Rosenkavalier,
Minnesota), Carmen (Prague State Opera), Maddalena (Rigoletto,
Braunschweig Stadtstheater), Dorabella (Cosi fan tutte, Toledo), Composer
(Ariadne auf Naxos) and Fricka (Rheingold) with New York Opera Project,
Orlovsky (Fledermaus), Federica (Luisa Miller, Opera Boston, Spring 2004)
and Elizabeth Proctor (Crucible, Opera Boston, 2005).
An accomplished recitalist, Summer 2003 saw her debut at Newport Music
Festival in Mahler’s Lieder eines fahrenden Gesellen, Mozart ’s Ch ’ia mi
scordi di te, and 13 other concerts of various works, mostly by Poulenc. Ms.
T
FRANK CORLISS is the rehearsal pianist for the Boston
Symphony Orchestra and the Tanglewood Festival Chorus, and is the
Director of Music at the Walnut Hill School. A frequent performer on
the Boston Symphony Prelude Concert Series, he also performs
throughout the United States as a chamber musician and collaborative
pianist. Corliss also works as a musical assistant for YoYo Ma. He has
assisted Ma in the musical preparation of many new works for
performance and recording, including concertos by Elliot Carter, Richard
Danielpour, Tan Dun, John Harbison, Leon Kirchner, Peter Lieberson,
Christopher Rouse and John Williams.
A graduate of the Oberlin Conservatory of Music, he received his
Master of Music from SUNY at Stony Brook where he studied with
Gilbert Kalish. While at Oberlin, he received the Rudolf Serkin Award
for Outstanding Pianist and was a member of the Music from Oberlin
Ensemble, which toured throughout the U.S. He has also studied at the
Mozarteum in Salzburg, Austria, and the Cracow Academy of Music in
Cracow, Poland. Corliss has participated in several summer festivals,
including the Tanglewood Music Festival and the Taos Chamber Music
Festival. He was appointed as an Artistic Ambassador for the United
States Information Agency and in that capacity went on a threeweek
concert tour of Eastern Europe. He can be heard on YoYo Ma’s
Grammywinning SONY disc Soul of the Tango as well as a Koch
International disc of music by Elliot Carter for chorus and piano with the
John Oliver Chorale.
�Coming Events
Thursday, October 7 – MidDay Concert with Master of Music in Opera
Program student performers – 1 :20 p.m. – Casadesus Recital Hall – free
Saturday, October 9 – An Evening of Jazz : Houston Person Q uartet –
Houston Person, tenor saxophone; Stan Hope, piano; Perola Gadd, bass; and
Chip White, drums – 8:00 p.m. Anderson Center Osterhout Concert Theater
– $20 general public; $15 faculty/staff/alumni/seniors; $8 students
Thursday, October 14 – MidDay Concert featuring faculty performers – 1:20
p.m. – Casadesus Recital Hall – free
Friday, October 1 5 – Children ’s Concert – Carnival of the Animals –
University Symphony Orchestra an introduction to the orchestra, Saint
Saens’ Carnival of the Animals with piano soloists, art and poetry – 9:30 a.m.
Anderson Center Osterhout Concert Theater – all tickets $4 (Cosponsored
by Press and SunBulletin). This performance is for school groups.
Saturday, October 1 6 – Children ’s Concert : Carnival of the Animals –
University Symphony Orchestra – an introduction to the orchestra, Saint
Saens’ Carnival of the Animals with piano soloists, art and poetry and a visit
from the Ross Park Zoo mobile 3:00 p.m. – Anderson Center Osterhout
Concert Theater – all tickets $5 (Cosponsored by the Press and Sun Bulletin)
Thursday, October 21 MidDay Concert with faculty and student performers
– 1 :20 p.m. – Casadesus Recital Hall – free
Thursday, October 21 – Czech Mates Chamber music by Czech composers
Martinu, Dvorak, Husa and Janacek performed by music faculty, in
association with the exhibit “The Prague Project” – 8:00 p.m. – Roberson
Museum and Science Center $15 general public; $13 faculty/staff/seniors; $7
students
Saturday, October 23 – Family Weekend Concert : Harpur Chorale, Women’s
Chorus, University Wind Ensemble – 4:00 p.m. Anderson Center Osterhout
Concert Theater – free
Thursday, October 28 – MidDay Concert with faculty and student
performers – 1 :20 p.m. – Casadesus Recital Hall
�
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
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Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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1 audio disc
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1:19:58
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE252003&change_lng=en&select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE252003&change_lng=en&select_viewer=metsViewer</a>
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La Femme!: a celebration of women, October 3, 2004
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Recital Tape 2004-10-3
Description
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Works of Beethoven, Schumann, Wolf, Berlioz, Walker. Held at 3:00 p.m., October 3, 2004, Casadesus Recital Hall.
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Mitchell-Velasco, Gigi
Corliss, Frank
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Binghamton University Libraries
Date
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10/3/2004
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In copyright
-
https://omeka.binghamton.edu/omeka/files/original/adeeb40ba71379a511bd9611545e7680.pdf
785fd8678148ed6b28fa9e333eda0e7a
PDF Text
Text
BINGHAMTON
U N I V E R S I T Y
itate University of New York
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‘ , L A SAXOPHONE
Family and F riends
F eatu ri ng
Bruce Borton a n d M a ry Burgess
Along with
Georgetta Maiolo, A pril Lucas, Timothy P e rry,
Ben Aldridge, Ha kan H rom e k and Daniel Fabricius
The E mpire Saxophone Quartet
A pri l Lucas, Teno r
Steven M a u k , So p rano
Anthon y Alduino, Baritone
Dan Miller, Alto
With
Gordon Stout, Marim ba
Also Perform ing
Timothy Le Febvre
Ma rga ret Reitz, an d Robert Smith
Saturday, February I 7, 2007
8:00 p.m.
The Anderson Center Chamber Hall
e– n— — – –
a
–—–
�PROGRAM
l
F a cade: An Entertainment
with Poems by Edith Sitwell (18871964 and
Music by William Walton (19021983)
Fanfare
1. Hornpipe
5. Through Gilded Trellises
6. TangoPasodoble
7. Lullaby for Jumbo
9. Tarantella
12. Country Dance
13. Polka
15. Something Lies Beyond the Scene
16. Valse
17. Jodelling Song
18. Scotch Raphsody
19. Popular Song
20. FoxTrot “old Sir Faulk”
21. Sir Beelzebub
i:
Bruce Borton, conductor
Ma ry Burgess, reciter
Georgetta Maiolo, flute/piccolo
Timothy Perry, Clarinet/Bass Clarinet
April Lucas, Alto Saxophone
Ben Aldridge, trum pet
Hakan Hromek, cello
Daniel Fabricius, percussion
Thanks to William James Lawson, English diction instructor, for
his invaluable help in the research and preparation of this piece.
WINTERMISSION®3
�Concerto in C Min or for Oboe and Strings ...... .Alessand ro Marcel lo
(16691747)
Allegro Moderato
Transcription by Jamal Rossi
Adagio
Allegro
The Emp ire Saxop hone Qua rtet
April Lucas, Soprano Saxo phone
Saxsounds III (Diminishing Returns)........................ Steve n Galante
(b. 1953)
April Lu cas and Steven Ma u k, Alto Sa xophones
David Kechley
Valencia: Iberian Muszngs
(b. 1947)
...on the edge
Prayer and Lament with Interjections
Please refrain. . ..
The Emp ire Saxop hone Qua rtet with Gordon Stout
George Hamilton Green
arr. B. Goodman
(189319 70)
The Emp ire Saxop hone Qua rtet with Gordon Stout
The Ragtime Robin
Richard Rogers
(19021972)
It Might As Well Be Spring
arr. Keith Young
The Emp ire Saxop hone Qua rtet
Daniel F a bricius, D rums
ive Up The Saxophone.......................George Hamilton Green
I fG
and William Raskin
Will You Come Back to Me?
April Lu cas, Saxo phone
Timothy Lefebvre, Bariton e
Margare t Reitz, P iano
Robert S mith, Tu ba
Ce
—–—— –—––—
arr. George Wolfe
�ABOUT T H E PE R FO R M ER S
1
;
A rts and Master of Music at
of
!1
lor
he
ac
a B
th
bo
ed
arn
S e
CA
AP RI L LU
!
aculties of Binghamton
e f
th
on
tly
en
urr
s c
d i
an
ity
ers
niv
U
on
mt
ha
ng
Bi
ollege and a forme r m em ber o f
y C
nit
mu
om
C
me
oo
Br
d
an
ty
Un iversi
s is a founding m em ber
ca
Lu
s.
M
y.
ult
fac
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us
e m
eg
oll
the Hartwi ck C
has recorded with the Hudson
d
an
et
art
Qu
e
on
ph
xo
Sa
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pir
Em
of the
nfonia, t he New Sousa
Si
e
on
ph
xo
Sa
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th
et,
art
Qu
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on
Valley Saxoph
tor
uartet. A former regional direc
Q
ne
ho
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he
d t
an
Band
, Ms. Lucas has served as a
ce
an
lli
A
ne
ho
op
ax
S
an
ric
me
h A
of the Nort
k State. She is a full
or
Y
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t N
ou
gh
ou
thr
tor
uc
nd
co
clinician and guest
Susq uehanna Valley School
e
th
for
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he
ac
te
sic
mu
l
nta
me
time instru
hamton Philharmonic
ng
Bi
e
th
of
er
mb
me
a
is
s
ca
District. Ms. Lu
chestra, and the Southern Tier
Or
era
Op
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iti
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Tr
the
ra,
Orchest
ew Sousa Band under the
N
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f t
r o
be
em
m
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ha
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Concert Band a
April Lucas has been soloist with
9.
98
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inc
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ha
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the Southern
and t he New Sousa Band.
of choral activities at
tor
rec
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be
s
ha
ON
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BR UC E BO
He was di rector of the Binghamton
8.
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the
performances for
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niversity voice faculty
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�Facade : An Entertain ment
With Poems by Edith Sitwell (18871964) and
Music by William Walton (19021983)
1. Hornpipe
Sailor come
To the drum
Out of Babylon;
Hobbyhorses
Foam, the dumb
Sky rhinoceros glum
Watched the courses of the breakers ’ rockinghorses and with Glaucis,
Lady Venus on the settee of the horsehair sea!
Where Lord Tennyson in laurels wore a gloria free,
ln a borealic iceberg came Victoria; she
Knew Prince Albert’s tall memorial took the colours of the floreal
And the borealic iceberg: floating on they see
Newarisen Madam Venus for whose sake from far
Came the fat and zebra’d em peror from Zanzibar
Where like golden bouquets lay far Asia, Africa, Cathay,
All laid before that shady lady by the fibroid Shah.
Captain Fracasse stout as an y waterbutt came, stood
With Sir Bacchus both adrinking the black tarr’d grapes’ blood
Pl ucked among the tartan leafage
By the furry wind whose grief age
Could not wither — like a squirrel with a gold starnut.
Queen Victoria sitting shocked upon the rocking horse
Of a wave said to the Laureate, “This minx of course
ls as sharp as any lynx and blackerdeeper than the drinks and quite as
Hot as any hottentot, without remose!
For the minx ’, Said she,
‘And the drinks, You can see
Are hot as any hottentot and not the goods for me! ’
i
�5. Through Gilded Trellises
‘Through gilded trellises
Of the heat, Dolores,
Inez, Manuccia,
Isabel, Lucia,
Mock Time that flies.
“Lovely bird, will you stay and sing,
Flirting your sheened wing, —
Peck with your beak, and cling
To our balconies?”
They flirt their fans, flaunting —
“O silence, enchanting
As music!” then slanting
Their eyes,
Like gilded or emerald grapes,
They take mantillas, capes,
Hiding their simian shapes.
Sighs
Each lady, “Our spadille
ls done. ”... ”Dance the quadri lle
From Hell ’s towers to Seville;
Surprise
Their siesta,” Dolores
Said. Through gilded trellises
Of the heat, spangles
Pelt down through the tangles
Of bellflowers; each dangles
Her castanets. shutters
Fall while the heat mutters.
With sounds like a mandoline
Or tinkled tambourine.
Ladies, Time dies!’
e
e
�6. TangoPasodoble
When – Don
Pasquito arrived at the seaside
Where the donkey ‘s hide tide brayed. he
Saw the banditto Jo in a black cape
Whose slack shape waved like the sea —
Thetis wrote a treatise noting wheat is silver like the sea;
The lovely chat is sweet as foam; Erotis notices that she
Will – Steal – the
Wheatking’s luggage, like Babel
Before the League of Nations grew —
So Jo put the luggage and the label
In the pocket of Flo the Kangaroo.
Through trees like rich hotels that bode
Of dreamless ease fled she,
Carrying the load and goading the road
Through the marine scene to the sea.
‘Don Pasquito, the road is eloping
With your luggage, though heavy and large;
You must follow and leave your moping
Bride to my guidance and charge!’
When Don
Pasquito returned from the road’s end,
Where vanillacoloured ladies ride
From Sevilla, his mantilla’d bride and young friend
Were forgetting their mentor and guide.
For the lady and her friend from Le Touquet
In the very shady trees upon the sand
Were plucking a white satin bouquet
Of foam, while the sand’s brassy band
Blared in the wind. Don Pasquito
Hid where the leaves drip with sweet...
But a word stung him like a mosquito...
For what they hear, they repeat!
�7. Lullaby for Jumbo
Jumbo asleep!
Grey leaves thickfurred
As his ears, keep
Conversations blurred.
Thicker than hide
Is the trumpeting water;
Don Pasquito’s bride
And his youngest daughter
Watch the leaves
Elephantine grey:
What is it grieves
In the torrid day?
And why should the spined flowers
Red as a soldier
Make Don Pasquito
Seem still mouldier?
�9. Tarantella
Where the satyrs are chattering, nymphs with their flattering
glimpse of the forest enhance
All the beauty of marrow and cucum ber narrow and
Ceres will join in the dance.
Where the satyrs can flatter the flatl eaved fruit
and the gherkin green and the marrow,
Said Queen Venus, ‘Silenus, we ’ll settle between us
the gourd and the cucumber narrow. ’
See, like palaces hid in the lake, they shake —
those greenhouses shot by her arrow narrow!
The gardener seizes the pieces, like Croesus,
for gilding the pottingshed barrow.
There the radish roots and the straw berry fruits
feel the nymphs’ high boots in the glade.
Trampling and sampling mazurkas, cachucas and turkas,
Cracoviaks hid in the shade.
Where. in the haycocks. the country nymphs ’ gay flocks
wear gowns that are looped over bri ght yellow petticoats,
Gaiters of leather and pheasants ’ tail feathers
in straw hats bewildering many a leathem bat.
They they haymake.
Cowers and whines in showers,
the dew in the dogskin bright flowers;
Pumpking and marrow and cucumber narrow
have grown through the spangled June hours.
Melons as dark as caves have for their fountain waves
thickest gold honey, and wrinkled as dark as Pan,
Or old Silenus, yet youthful as Venus,
are gourds and the wrinkled figs whence all the jewels ran.
Said Queen Venus, ‘Silenus we’ll settle between us
the nymphs’ disobedience, forestall
With my bow and my quiver each fresh evil liver:
for I don’t understand it at all!‘
�12. Country Dance
That hobnailed goblin, the bobtailed Hob,
Said, “It is time I began to rob,
For strawberries bob, hobnob with the pearls
Of cream (like the curls of the dairy girls),
And flushed w ith the heat and fruitish ripe
Are the gowns of the maids who dance to the pipe.
Chase a maid? She’s afraid!”
“Go gather a bobcherry kiss from a tree,
But don’t, I prithee, come bothering me!”
She said, as she fled.
The snouted satyrs drink clouted cream
‘Neath the chestnut trees as thick as a dream;
So I went, and leant,
Where none but the doltish coltish wind
Nuzzled my hand for what it could find.A s it neighed. I said,
“Don’t touch me sir, don’t touch me, I say.
You’ll tumble my strawberries into the hay.”
Those snowmounds of silver that bee, the spring,
Has suck his sweetness from, I will bring
With fairhaired plnts and w ith apples chi ll
For the great god Pan ’s high altar l ’ll spill
Not one!” So. in fun,
We rolled on the grass and began to run
Chasing that gaudy satyr the Sun ;
Over the haycocks, away we ran
Crying “Here be berries as sunburnt as Pan!”
But Silenus Has seen us
He runs like the rough satyr Sun.
Come away!
�13. Polka
“Tra la la la la la la la la
See me dance the pol ka’,
Said Mr. Wagg like a bear,
‘With my top hat
And my whiskers that —
(Tra la la la) trap the Fair.
Where the waves seem chiming haycocks
I dance the polka: there
Stand Venus’ children in their gay frocks, –
Maroon and marine, — and stare
To see me fire my pistol
Through the distance blue as my coat;
Like Wellington, Byron, the Marquis of Bristol,
Busbied great trees float.
While the wheezing h urdygurdy
Of the marine wind blows me
To the tune of “Annie Rooney”, sturdy.
Over the sheafs of the sea:
And bright as a seedsman ’s packet
With zinnias, candytu fts chil,
Is Mrs. Marigold’s jacket
As she gapes at the inn door still,
Where at dawn in the box of the sailor,
Blue as the decks of the sea,
Nelson awoke, crowed like the cocks,
Then back to the dust sank he.
And Robinson Crusoe
Rues so
The bright and foxy beer, –
But he finds fresh isles in a negress’ smiles, —
The poxy doxy dear,
As they watch me dance the polka ’,
�Said Mr. Wagg like a bear,
‘In my top hat and my whiskers that, –
Tra la la la, trap the Fair.
Tra la la la la la —
Trala la I alala —
Tra la la la la la la la
La
]
I
.
La
Lal ’
15. Something Lies Beyond the Scene
Something lies beyond the scene, the encre de chine, marine, obscene
Horizon In Hell Black as a bison
See the tall black Aga on the sofa in the alga mope,
His Bellrope moustache (clear as a great bell!)
Waves in eighteeneighty Bustles Come
Late with tambourines of Rustling Foam.
They answer to the names of ancient dames and shames.
And only call horizons their home.
Coldly wheeze (Chinese as these blackarmoured fleas that dance) the breezes
Seeking for horizons Wide; from her orizons
In her wide Vermilion Pavilion By the seaside
The doors clang open and hide Where the wind died
Nothing but the Princess Cockatrice Lean
Dancing a caprice to the wind’s tambourine.
l
:
�16. Valse
‘Daisy and lily,
Lazy and silly,
Walk by the shore of the wan grassy sea, —
Talking once more ‘neath a swanbosomed tree.
Rose castles,
Tourelles,
Those bustles
Where swells
Each foambell of ermine,
They roam and determine
What fashions have been and what fashions will be, –
What tartan leaves born,
What crinolines wom.
By Queen Thetis,
Pelisses
Of tarlatine blue.
Like the thin plaided leaves that the castle crags grew,
Or velours d’Afrande:
On the water gods’ land
Her hair seemed gold trees on the honeycell sand
When the thickets gold spangles, on deep water seen,
Were like twanging guitar and like cold mandoline,
And the nymphs of great caves,
With hair like gold waves,
Of Venus, wore tarlatine.
Louise and Charlottine
(Boreas ’ daughters)
And the nymphs of deep waters,
The nymph Taglioni,
Grisi the ondine,
Wear plaided Victoria and thin Clementine
Like the crinolined waterfalls;
Woodnymphs wear bonnets, shawls,
Elegant parasols
Floating are seen.
The Amazons wear balzarine of jonquille
Beside the blond lace of a deep–falling ril;
Through glades like a nun
�They run from and shun
The enormous and goldrayed rustling sun;
And the nymphs of the fountains
Descend from the mountains
Like elegant willows
On their deep barouche pillows,
ln cashmere Alvandar. barége Isabelle,
Like bells of bright water from clearest woodwell.
Our élégantes favouring bonnets of blond,
The stars in their apiaries,
Sylphs in their aviaries,
Seeing them, spangle these, and the sylphs fond
From their av iaries fanned
With each long fluid hand
The manteaux espagnols,
Mimic the waterfalls
Over the long and the light summer land.
2
0
So Daisy and Lily,
Lazy and silly,
Walk by the shore of the wan grassy sea,
Talking once more ‘neath a swanbosomed tree.
Rose castles,
Tourelles,
Those bustles!
Mourelles
Of the shade in their train follow.
Ladies, how vain, — hollow, –
Gone is the sweet shallow, —
Gone, Philomel!’
.
�2
0
17. Yodelling Song
‘We bear velvet cream,
Green and babyish
Small leaves seem ; each stream
Horses ’ tails that swish,
And the chimes remind
Us of sweet birds singing,
Like the jangling bells
On rose trees ringing.
Man must say farewells
To parents now,
And to William Tell
And Mrs. Cow.
Man must say farewells
To storks and Bettes,
And to roses ’ bells,
And statuettes.
Forests white and black
In spring are blue
With forgetmenotes,
And to lovers true
Still the sweet bird begs
And tries to cozen
Them : “Buy angels’ eggs
Sold by the dozen.”
Gone are clouds like inns
On the gardens’ brinks,
And the mountain djinns,
Ganymede sells drinks;
While the days seem grey,
And his heart of ice,
Grey as chamois, or
The edelweiss,
.
And the mountain streams
Like cowbells sound –
�Tirra lirra, drowned
In the water’s dreams
Who has gone beyond
The forest waves,
While his true and fond
Ones seek their graves. ’
i
0
18. Scotch Rhapsody
‘Do not take a bath in Jordan, Gordon.
On the holy Sabbath, on the peaceful day!‘
Said the huntsman, playing on his old bag pipe,
Boring to death the pheasant and the snipe —
Boring the ptarmigan and grouse for fun —
Boring them worse than a ninebore gun.
Till the flaxen leaves where the prunes are ripe,
Heard the tartan wind adroning in the pipe,
And they heard Macpherson say:
‘Where do the waves go? What hotels
Hide their bustles and their gay ombrelles?
And would there be room? — Would there be room? Would there be room
for me?
There is a hotel at Ostend
Cold as the wind, without an end,
Haunted by ghostly poor relations
Of Bostonian conversations
(Like bagpipes rotting through the walls.)
And there the pearlropes fall like shawls
With a noise like marine waterfalls.
And ‘Another little drink wouldn’t do us any harm’
Pierces through the Sabbatical calm.
And that is the place for me!
So do not take a bath in Jordan, Gordon,
On the holy Sabbath, on the peaceful day —
Or you’ll never go to heaven, Gordon Macpherson,
And speaking purely as a private person
That is the place — that is the place – that is the place for me!
.
—
—
�19. Popular Song
v
Lily O’Grady.
Silly and shady,
Longing to be
A lazy lady,
Walked by the cupolas, gables in the
Lake’s Georgian stables,
In a fairy tale like the heat intense,
And the mist in the woods when across the fence
The children gathering strawberries
Are changed by the heat into negresses,
Though their fair hair
Shines there
Like goldhaired planets, Calliope, lo,
Pomona, Antiope, Echo, and Clio.
Then Lily O’Grady,
Silly and shady,
Sauntered along like a
Lazy lady.
Beside the waves ’ haycocks her gown with tucks
Was of satin the colour of shining green duc ks,
And her folderol
Parasol
Was a great gold sun o’er the haycocks shining,
But she was a negress black as the shade
That time on the brightest lady laid.
Then a satyr, doghaired as trunks of trees,
O
Began to flatter, began to tease,
And she ran like the nymphs with golden foot
That trampled the strawberry, buttercup root,
In the thick gold dew as bright as the mesh
Of dead Panope ’s golden flesh,
Made from the music whence were born
Memphis and Thebes in the first hot morn,
— A nd ran, to wake
In the lake,
Where the waterripples seem hay to rake.
And Charlottine,
Adeline,
Q
I —
—
—
—
—
—
—
—
—
�Round rosebubbling Victorine,
And the other fish
Express a wish
For mastic mantles and gowns with a swish;
And bright and slight as the posies
Of buttercups and of roses,
And buds of the wild woodlilies
They chase her, as frisky as fillies.
The red retrieverhaired satyr
Can whine and tease her and flatter,
But Lily O’Grady,
Silly and shady,
In the deep shade is a lazy land;
Now Pompeys dead, Homer’s read,
Heliogabalus lost his head,
And shade is on the brightest wing,
And dust forbids the birds to sing.
v
‘
O
—
�v
C
20. FoxTrot “Old Sir Faulk”
Old – Sir Faulk,
Tall as a stork,
Before the honeyed fruits of dawn were ripe, would walk,
And stalk with a gun
The reynardcoloured sun,
Among the pheasantfeathered corn the unicorn has torn, forlorn the
Smockfaced sheep
Sit And Sleep;
Periwigged as William and Mary, weep
‘Sally, Mary, Mattie, what’s the matter, why cry?’
The huntsman and the reynardcoloured sun and I sigh;
‘Oh, the nurserymaid Meg
With a leg like a peg
Chased the feathered dreams like hens, and when they laid an egg
In the sheepskin
Meadows
Where
The serene King James would steer
Horse and hounds, then he
From the shade of a tree
Picked it up as spoil to boil for nursery tea,’ said the mourners.
In the
Corn, towers strain,
Feathered tall as a crane,
And whistling down the feathered rain. old Noah goes again –
An old dull mome
With a head like a pome,
Seeing the world as a bare egg,
Laid by the feathered air; Meg
Would beg three of these
For the nursery teas
Of Japhet, Shem, and Ham; she gave it
v
Underneath the trees,
Where the boiling Water Hissed,
Like the gooseking ’s feathered daughter — kissed.
Pot and pan and copper kettle
Put upon their proper mettle,
Lest the Flood – the Flood – the Flood begin again through these!
�21. Sir Beelzebub
When
Sir
Beelzebub called fo r his syllabub in the hotel in
Hell
Where Proserpine first fell,
Blue as the gendarmerie were the waves of the sea,
(Rocking and shocking the barmaid).
Nobody com es to give him his rum but the
Rim of the sky hippopotamusglum
Enhances the chances to bless with a benison
Alfred Lord Tenny son crossing the bar laid
With cold vegetation from pale deputations
Of temperance workers (all signed In Memoriam
)
Hop ing with glo ry to trip up the Lau reat e ’s fe
et,
(Moving in classical metres)
Like Balaclava, the lava came down from the
Roof, and the sea’s blue wooden gendarmerie
Took them in charge while Beelzebub roared fo
r his rum.
None of them come!
– Dame Edith Sitwell (1 887–1964)
�Jew York City Opera while still a student at the Curtis Institute, and
ubsequently appeared with Santa Fe Opera, Washington Opera, New
Jrleans Opera, Nevada Opera, and many other regional companies
ncluding TriCities Opera in Binghamton. Her European operatic
lebut was at the Holland Festival in Amsterdam. She has also
ierformed at the Spoleto Festival in Italy, at the Theatre Royale de la
onnaie in Brussels, and with Dublin Grand Opera. Burgess has
ppeared as soloist with more than two dozen U. S. orchestras,
.ncluding the Boston Symphony (with Seiji Ozawa), Cleveland
Orchestra (with Lorin Maazel, Eduardo Mata), Chicago Symphony (Sir
Simon Rattle), and Cincinnati Symphony (Klaus Tennstedt, James
Conlon). She has been a frequent guest at such prestigious festivals as
Marlboro, Monadnock, Ravinia, Aspen, Blossom, Casals, Chautauqua,
and the Cincinnati May Festival. Her repertory of forty roles in five
languages ranges from Monteverdi and Cavalli to Britten and Virgil
Thomson. Her performances of Britten ’s Les Illuminations and
Mahler’s Symphony No. 2 with the Omaha Symphony were filmed for
broadcast by Nebraska ETV. She has recorded for Columbia,
Masterworks, CRI, Sony Classical and Telarc.
TIMOTHY PERRY, clarinetist, conductor and Professor of Music,
joined the Binghamton University faculty in 1986 as director of the
orchestral and wind ensemble programs and instructor of studio
conducting and clarinet. Perry holds D.M.A., M.M.A. and M.M. degree
from the Yale School of Music and a B. Mus. degree from the
Manhattan School of Music. Dr. Perry’s more than two hundred
programs include ten seasons as Music Director of the Binghamton
Community Orchestra and as guest conductor of both the Catskill
Symphony and Binghamton Philharmonic Orchestras. Perry is widely
known as a virtuoso solo and chamber music clarinetist, touring Latin
America and the Caribbean as a United States Musical Ambassador and
appearing at international festivals in Europe and Asia. In 2006 he
presented his third artist recital at an International Clarinet Conference
in Tokyo and performed Mozart ’s Clarinet Concerto on basset clarinet
, as part of the composer’s 250th anniversary.
GEORGETTA MAIOLO is a member of the faculty of Binghamton
University and Broome Community College, teaching Flute and
directing Flute Ensembles. From 1977 to 1996, she held the position of
Assistant Professor of Flute at Ithaca College, Ithaca, New York. She
�also taught flute at West Virginia University, Morgantown, West
Virginia. Mrs. Maiolo is a graduate of Duquesne University and
attended graduate school at West Virginia University. Mrs. Maiolo
studied with Bernard Goldberg, principal flutist of the Pittsburgh
Symphony, Marcel Moyse at Marlboro School of Music, and Victor
Saudek. She is the principal flutist with the Binghamton Philharmonic
Orchestra and the TriCities Opera Orchestra, Southe rn Tier Concert
Band and the Downtown Si ngers Orchestra. In addition to her playing
positions, she concertizes as a soloist, recitalist and chamber musician.
Mrs. Maiolo was honored to conduct the NYSSMA AllState Flute
Choir. She served as the flute chairperson for the NYSSMA Manual
from 1981 to 2001. She is a “clinician” for the Selmer Company and
has recorded for Crest Records and NPR.
[
L
I
2
BEN ALDRIDGE holds both Bachelor’s and Master’s degrees from
Yale University, and began teaching trumpet at Binghamton University
in 1976. Aldridge has directed both trumpet and mixed brass
ensembles throughout his tenure at BU, has performed both solo and
chamber repertoire, and has taught theory as well. Aldridge is a
member of the Binghamton Philharmonic and the Utica and Catskill
Symphonies, as well as the Glimmerglass Opera Orchestra. He also
performs with and arranges for the Catskill Brass Quintet. Aldridge is a
charter member of the International Trumpet Guild, and has been
recorded on Columbia and Redwood records.
Cellist HAKAN HROM EK was trained in music performance at
Ithaca College, SUNY Purchase, and Binghamton University. His
teachers include Peter Wiley, Marion Feldman, Daniel Phillips, Stephen
Stalker, Einar Jeff Holm, and Fritz Wallenberg. He has attended the
International Congress of Strings, Round Top International Festival,
Chamber Music at the 92nd Street YNYC, Spoleto Music Festival,
Skaneateles Festival, and the Kenai Penninsula Music Festival In
Alaska. An active performer, Mr Hromek is principal cellist of the
Binghamton Philharmonic, TriCities Opera Orchestra, and The
Orchestra of the Southern F inger Lakes. He has also pe rformed with the
Cayuga Chamber Orchestra, Bach Works in NYC, and the Syracuse
Symphony. During the sum mer of 2006, Mr. Hromek completed his
fourth season as cellist in the DeVere Quartet, which serves as resident
quartet for the Kenai Peninsula Festival in Alaska and at present is
cellist for the Novo Quartet. An avid chamber musician Mr. Hromek
I)
�enjoys collaborating in a cello and piano duo on a regular basis with
Margaret Reitz and various local artists in the Central New York area.
DANIEL FABRICIUS took the post of Percussion Instructor at
Binghamton University in September of 1992 and has been Director of
Bands at Owego Free Academy since 1989. Fabricius is an active
performing percussionist in the Southern Tier. He is a member of the
Binghamton Philharmonic as well as Timpanist/P rincipal Percussionist
for the Orchestra of the Southern Finger Lakes. In recent years he also
has performed as a percussion soloist in chamber ensembles, in musical
theater productions and with several nationally known artists. He
performs often as a freelance musician and as a member of the local
dance band “Classy Brass.” Mr. Fabricius has conducted many honor
band festivals and is a past president of the NYS Band Directors
Association.
GORDON STOUT, Professor of Percussion at Ithaca College School
of Music, is a composer as well as a percussionist who specializes on
marimba. Many of his compositions have become standard repertoire
for marimbists worldwide. He has recorded many of his own works as
well as those of other American composers. As a lecturerecitalist for
the Percussive Arts Society, he has appeared at twelve international
PAS Conventions. Gordon has served on several juries of international
competitions and has appeared as a featured soloist at The World
Marimba Festival in Japan. Gordon is a clinician /recitalist for Kp3 and
performs exclusively on their M5.0 Imperial Grand fiveoctave
marimba.
STEVEN MAUK, Professor of Saxophone at Ithaca College School of
Music, has presented numerous solo and chamber concerts throughout
the world, including four tours to Russia. As a foremost authority on
the soprano saxophone, Mauk has had twentyfive works dedicated to
him. He has recorded 1 7 albums and authored four books. Mauk is an
artist/clinician for both Selmer and Vandoren. He is a past president
and has been Director of Scholarly Publications for the North American
Saxophone Alliance. Mauk, the recipient of a Dana Teaching
Fellowship and a Dana Research Fellowship for his excellence in
teaching and research, also received the Ithaca College President’s
Recognition Award. He was the recipient of the 199598 National
�Artist Award from the Phi Kappa Phi Honor Society and received
Ithaca College’s Excellence in Teaching Award for 20012002.
DAN M I L L E R is a native of Endicott, New York. He is chairman of
the SpencerVan Etten School music program where he directs the
middle school and high school bands and jazz ensembles. Dan earned
his undergraduate degree from Syracuse University (with performance
honors) and a Master’s in Music Education from Ithaca College. He is a
past president of the Tioga County Music Educators Association and
regularly works as an adjudicator and clinician throughout the Southern
Tier of New York State. In addition to being the alto saxophonist in the
Empire Saxophone Quartet, Dan is also a member of Classy Brass and
the Mason Warrington Orchestra. He has performed with the Syracuse
based Society for New Music and the Binghamton Philharmonic and
has recorded with the Swing Street Jazztet and the Empire Saxophone
Quartet.
v
AMY NATIELLA, a senior Sociology major at Binghamton
University, has been studying saxophone under April Lucas for the past
four years. She is a member of the University Wind Ensemble and
Saxophone Quartet. Amy appeared as a soloist with the University
Wind Ensemble this past semester and is a native of Buffalo, NY.
TIMOTHY LEFEBVRE, baritone, has appeared in concert with the
Vermont Symphony, Minnesota Symphony, Syracuse Symphony,
American Symphony Orchestra, Pittsburgh Symphony, Spokane
Symphony, Binghamton Philharmonic, Rochester Bach Festival,
Berkshire Choral Festival, Williamsport Symphony, Syracuse Chamber
Music Society, the Skaneateles Festival and with the prestigious
Marlboro Music Festival. He has also appeared in concert at New
York’s Carnegie Hall and Alice Tully Hall. Mr. LeFebvre is a winner
of the New York Liederkranz Vocal Competition. Other awards
include the Richard F. Gold Career Grant, an Opera Fellowship at
Binghamton University and Regional Finalist in several Metropolitan
Opera Competitions. LeFebvre’s operatic experience includes leading
roles with San Francisco Opera, TriCities Opera, Sarasota Opera,
Chattanooga Symphony and Opera, Syracuse Opera, Indianapolis
Opera, and Opera Theater of Pittsburgh. LeFebvre is a graduate of
Carnegie Mellon University and Binghamton University and is
currently on the faculty at Binghamton University.
�’
"
MARGARET REITZ, pianist, is on the faculties of Binghamton
University and the Ithaca College School of Music. She received her
Bachelor and Master of Music degrees in piano performance with
accompanying emphasis and attended Boston University, New England
Conservatory, and Binghamton University. She studied piano with
Jean Casadesus, Victor Rosen baum, Seymour Fink, Walter Ponce, and
Allen Rogers. Reitz has accompanied throughout the world and has
been a guest chamber music artist in Morges, Switzerland. She and
Binghamton University faculty member Tim Perry were winners of the
1997 Artistic Ambassadors Program by the United States Information
Agency in partnership with the John F. Kennedy Center for the
performing arts. Reitz was a guest artist on the Cornell Summer Series
in August of 2006 and will be an official pianist at the International
Double Reed Competition and Convention this coming June.
ROBERT SMITH is Music Director and Conductor of the
Binghamton University Wind Ensemble. Professor Smith holds degrees
from Hartwick College, Binghamton University and is a candidate for
the Doctor of Musical Arts from Boston University. Locally, he
conducts the annual observance of TubaChristmas and is former
conductor of the Maine Comm unity Band. He has guest conducted all
county and community bands as well as the Goshen College(IND)
Wind Ensemble and Orchestra. An active performer, he currently plays
principal euphonium with the Southern Tier Concert Band and tuba
with the Brass Nickel quintet and the Crown City Brass sextet.
Professor Smith is the immediate past president of the Broome County
Music Educators Association and recipient of the 2005 BCMEA
Distinguished Service Award.
�ABOUT THE MUSIC
Facade, An Entertain ment, was collaborated by William Walton,
Edith Sitwell, and her two brothers in Oxford in 1922 during his 15
year stay with the family. Edith Sitwell quotes “The poems in
Facade are abstract poems, that is, they are patterns in sound.
They are, too, in many cases, virtuoso exercises in techni que of an
extreme difficulty.” Twenty one of Sitwell ’s poems were set to
music by Walton, the 19 year old student greatly interested in
modern music and popular British dance music of the 1920’s. His
interests are obvious in the chamber music for the poems, the
familiar rhythms of the foxtrot, music hall dances, circus music,
tarantella and tango are combined with angular pieces, musical
dissonance and lyrical sections. The poems and music are meant
to be savored as sound, unclear and abstract, but beautifully
integrated.
Concerto in D Minor for Oboe, strings, and basso continuo is
considered Alessandro Marcello ’s best known work. Johann
Sebastian Bach noted its worth when he transcribed the work for
harpsichord (BWV974). Marcello’s other works include cantatas,
arias, canzonets, and violin sonatas.
Saxsounds III, Diminishing Retu rns (1978), was written while
Galante was a student in composition and saxophone at the
University of Michigan. Both his saxophone teacher and his is
composition teacher encouraged him to write a work that
incorporated the saxophone with the latest sound technology. The
resulting duet is played through a digital delay unit that produces
an ostinato and provides pulse and mood throughout the piece.
The saxophonists produce traditional sounds as well some non
traditional sounds (vocal sounds and multiphonics) that make the
saxophone not only a wind and percussive instrument, but part
human at times.
Valencia : I berian Musings for Mari m ba and Saxophone
Quartet is dedicated to the Empire Saxophone Quartet and
Gordon Stout. The work was influenced by a trip to Spain in
September of 1997 by composer David Kechley. The first
�l
l
vl
l
movement, ....on the edge, is a fast, relentless piece with the
marimba maintaining a perpetual motion punctuated by the
saxophone ’s exclamatory remarks. The second movement, Prayer
and La m ent with Inter jections juxtaposes several moods
requiring the marimba and saxophones to reverse roles. The
marimba opens the “prayer” using its ability to create organlike
sustained sounds. The saxophones later articulate the “lament”
against this backdrop. Please refrain......, the third movement,
refers to the playful vam p that sets the pace for this energetic,
rondolike movement. The opening rhythm was suggested by a
Cedar Walton tune, Bolivia. Despite the vamp element, this
movement creates variations on the material introd uced in the first
movement.
George Hamilton Green began playing at age 1 1 and at 19 entered
Vaudeville, earning himself the reputation of being a show
stopping, virtuoso xylophonist. The Ragtime Rob in was one of
his six novelty xylophone solos cut for the Edison recording
company that would eventually include more than 150 sides.
Green eventually left Edison and recorded for com panies such as
Victor and Columbia. He was a noted teacher, performer and
author of pedagogical materials that remain important today. In
1946 he retired to become a successful artist, illustrator and
cartoonist.
Academy Award winning song, It Might As Wel l Be Spring, is
from the musical “State Fair” (1945), one of Richard Rogers’ early
collaborations with lyricist Oscar Hammerstein II, and their only
collaboration written directly for the screen. Rogers wrote the
music for over 50 stage and film musicals and helped make the
American musical a legitimate art form. Keith Young’s
arrangement o f this song features a jazz improvisation solo.
r
J}
�Coming
“Cuenst
Th ursday, Febr uary 22 – Mid Day Conce rt – 1 :20 p.m. – Casadesus Recital
'
Hall free
Saturda y, F e b ruary 24 – F aculty Recita l : Janey Choi , violin and M ichael
Salmirs, piano – 8:00 p.m. – Casadesus Recital Hall $9 general public; $7
faculty/staff/seniors ; free for students
Sunday, Feb ruary 2 5 – Universit y Wind Ensemble : A World To ur – 3:00
p.m. – Anderson Center Chamber Hall – free
Th ursday, March 1 – MidDay C oncert – 1 :20 p.m. – Casadesus Recital
Hall – free
Saturday, March 3 ~ University Symphony Orchestra – 8:00 p.m. –
Osterhout Concert Theater –$9 general publics; $7 faculty/staff/seniors; free
for students
Sunday, Mar ch 4 – Absol ut(e) Russian with special guests Elma r Oliveira,
violin and Sa nd ra Robbins, viola – 3:00 p.m. – Anderson Center Cham ber
Hall $25 general public; $20 faculty/stafflseniors; $10 students
Th ursday, Mar ch 1 5 – MidDay Concert – 1 :20 p.m. – Casadesus Recital
Hall – free
Friday, Marc h 16 – Mater ’s Recital : Akira Maezawa, violin – 8:00 p.m. –
Casadesus Recital Hall – free
Saturday, M arch 1 7 Master ’s Recital : Miriam W right, sopran o – 3:00
p.m. – Casadesus Recital Hall – free
Saturday, M arch 1 7 – H a rpu r Chorale an d Women ’s Chorus – 8 :00 p.m. –
Anderson Center Chamber Hall – Free
Th ursday, March 22 – MidDay Concert – 1:20 p.m. – Casadesus Recital
Hall free
F riday, Marc h 23 – Neil Berg ’s 100 Years of Broadway – 8:00 p.m. ~
Osterhout Concert Theater $30 general public; $25
faculty/staff/seniors/alumni, $10 students (A Benefit for the Music Theater
and Athletic Departments)
�
Dublin Core
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Coverage
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
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Concerts ; Instrumental music ; Live sound recordings
Description
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Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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2 audio discs
Duration
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31:38
45:36
Streaming Audio
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196762">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196762</a>
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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La Saxophone Family and Friends, February 17, 2007
Recital Tape 2-17b-2007
Description
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Held at 8:00 p.m., Feb. 17, 2006, Casadesus Recital Hall. Works of Marcello, Galante, Kechley, Green, Rogers, Green and Raskin.
Creator
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Borton, Bruce
Burgess, Mary
Maiolo, Georgetta
Lucas, April
Perry, Timothy
Aldridge, Benjamin
Tayga-Hromek, Hakan
Fabricius, Daniel
Mauk, Steven
Miller, Dan
Alduino, Anthony
Stout, Gordon
LeFebvre, Timothy
Reitz, Margaret
Smith, Robert
Publisher
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Binghamton University Libraries
Date
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2007-02-17
Rights
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In copyright
Type
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sound
IIIF Item Metadata
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Reinhardt Promptbooks
Description
An account of the resource
<strong><em>Who is Max Reinhardt?</em></strong> <br />The celebrated <span>Austrian t</span>heater director <a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/">Max Reinhardt</a>, recognized in America primarily for his elaborate productions of Shakespeare’s A Midsummer Night’s Dream, Franz Werfel’s The Eternal Road, and Karl Vollmoeller’s The Miracle, was born in 1873 at Baden near Vienna, Austria and died in New York City in 1943. Reinhardt’s illustrious career takes on added significance because it coincides with a major shift in the evolution of the modern theater: the ascendancy of the director as the key figure in theatrical production. Reinhardt’s reputation in international theater history is secured by the leading role he played in this transformation, as well as by his innovative use of new theater technology and endless experimentation with theater spaces and locales, which together redefined traditional relationships between actor and audience toward a new participatory theater. <br /><br /><em><strong>What is a prompt book?</strong></em> <br />The prompt book is a master copy of the production script and contains a wealth of instructions and information alongside the basic text of the play. As well as the actors’ lines, you will often see cues for music, movement, light, and many other aspects of stage business. It may also contain sketches of how a piece of staging is supposed to look, or which costume a character should wear in a scene. <br /><br /><em><strong>Why are his important?</strong></em> <br />Reinhardt’s directorial prompt books reflect the ways in which he made plays by major playwrights, including Ibsen, Shakespeare and Wilder, his own. The prompt books contain notations denoting changes in the script, actor moves and technical cues, instructions on how sound, props and scenery were used, and stage drawings. They help us to reconstruct Reinhardt’s techniques and directions in productions. <br /><br /><em><strong>Acknowledgements</strong></em> <br />Thank you to the Gladys Kriebel Delmas Foundation who generously provided the funding to make this extraordinary project possible. Thank you also to the following individuals who helped make this project successful: Binghamton University Libraries’ Staff: Benjamin Coury, Nicholas Eggleston, Jean Green, Blythe Roveland-Brenton, Erin Rushton, David Schuster, Rachel Turner, Brandy Wrighter; Binghamton University Students: Madelynn Cullings, Kashawn Hernandez, Aanyah Jhonson-Whyte, Marisa Joseph, Bethany Maloney, Ashleigh Marie Sherman, Thomas Tegtmeier, Joseph Vitale.
Relation
A related resource
<p><a href="https://omeka.binghamton.edu/omeka/items/show/2877">Full Display and German Transcription of Max Reinhardt's</a><em><a href="https://omeka.binghamton.edu/omeka/items/show/2877"> Reigen Promptbook</a><br /></em><br /><a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/"><span>Max Reinhardt Archives and Library</span></a><br /><br /><a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,reinhardt&tab=DigitalCollections&search_scope=DigitalCollections&vid=01SUNY_BIN:01SUNY_BIN&offset=0">Max Reinhardt Collection Photographs</a></p>
<p></p>
<p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-timeline">The Life and Times of Theater Director Max Reinhardt</a></p>
<p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-theaters">The Theaters of Max Reinhardt</a></p>
Rights
Information about rights held in and over the resource
In copyright
Contributor
An entity responsible for making contributions to the resource
Jean Green, <br /><br />Binghamton University Students: <br />Madelynn Cullings<br />Kashawn Hernandez<br />Aanyah Jhonson-Whyte<br />Marisa Joseph<br />Bethany Maloney<br />Ashleigh Marie Sherman<br />Thomas Tegtmeier<br />Joseph Vitale
Promptbook
Description
Pages all loose, no binding. Appears that there were earlier versions of this promptbook, notes from earlier promptbooks appear to be typed onto this version. Text in English, almost all notes also in English.
Also at end, an eleven-page typed manuscript labelled “Regieplan” (Director’s Plan). Typed manuscript of Max Reinhardt detailing how he went about planning for the play, the results, the budget, etc. Also of great interest is the pay/expense chart which is given at the end of this manuscript. Text is in English.
Collection
Max Reinhardt Promptbooks
Dimensions
Physical dimensions of item
28cm x 23cm
Earlier version
Earlier version (dcterms:isVersion Of)
Labor for the Wind
Notes
Located in Binghamton University Libraries Special Collections
PT2635.E548P75 v.124
Production(s)
January 15, 1943, New York
May, 1943, New York
Accessibility
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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
Labor for the wind : a play in three acts [promptbook]
Subject
The topic of the resource
Shaw, Irwin, 1913-1984. Labor for the wind : a play in three acts
Promptbooks
Stage directions
Creator
An entity primarily responsible for making the resource
Shaw, Irwin, 1913-1984
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
1900s
Contributor
An entity responsible for making contributions to the resource
Reinhardt, Max, 1873-1943
Language
A language of the resource
English
Identifier
An unambiguous reference to the resource within a given context
R 3217
Rights
Information about rights held in and over the resource
Copyright undetermined. This image is provided for educational and research purposes only as is stipulated by U.S. and international copyright law. For more information, please contact speccoll@binghamton.edu.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Reinhardt Promptbooks
Description
An account of the resource
<strong><em>Who is Max Reinhardt?</em></strong> <br />The celebrated <span>Austrian t</span>heater director <a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/">Max Reinhardt</a>, recognized in America primarily for his elaborate productions of Shakespeare’s A Midsummer Night’s Dream, Franz Werfel’s The Eternal Road, and Karl Vollmoeller’s The Miracle, was born in 1873 at Baden near Vienna, Austria and died in New York City in 1943. Reinhardt’s illustrious career takes on added significance because it coincides with a major shift in the evolution of the modern theater: the ascendancy of the director as the key figure in theatrical production. Reinhardt’s reputation in international theater history is secured by the leading role he played in this transformation, as well as by his innovative use of new theater technology and endless experimentation with theater spaces and locales, which together redefined traditional relationships between actor and audience toward a new participatory theater. <br /><br /><em><strong>What is a prompt book?</strong></em> <br />The prompt book is a master copy of the production script and contains a wealth of instructions and information alongside the basic text of the play. As well as the actors’ lines, you will often see cues for music, movement, light, and many other aspects of stage business. It may also contain sketches of how a piece of staging is supposed to look, or which costume a character should wear in a scene. <br /><br /><em><strong>Why are his important?</strong></em> <br />Reinhardt’s directorial prompt books reflect the ways in which he made plays by major playwrights, including Ibsen, Shakespeare and Wilder, his own. The prompt books contain notations denoting changes in the script, actor moves and technical cues, instructions on how sound, props and scenery were used, and stage drawings. They help us to reconstruct Reinhardt’s techniques and directions in productions. <br /><br /><em><strong>Acknowledgements</strong></em> <br />Thank you to the Gladys Kriebel Delmas Foundation who generously provided the funding to make this extraordinary project possible. Thank you also to the following individuals who helped make this project successful: Binghamton University Libraries’ Staff: Benjamin Coury, Nicholas Eggleston, Jean Green, Blythe Roveland-Brenton, Erin Rushton, David Schuster, Rachel Turner, Brandy Wrighter; Binghamton University Students: Madelynn Cullings, Kashawn Hernandez, Aanyah Jhonson-Whyte, Marisa Joseph, Bethany Maloney, Ashleigh Marie Sherman, Thomas Tegtmeier, Joseph Vitale.
Relation
A related resource
<p><a href="https://omeka.binghamton.edu/omeka/items/show/2877">Full Display and German Transcription of Max Reinhardt's</a><em><a href="https://omeka.binghamton.edu/omeka/items/show/2877"> Reigen Promptbook</a><br /></em><br /><a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/"><span>Max Reinhardt Archives and Library</span></a><br /><br /><a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,reinhardt&tab=DigitalCollections&search_scope=DigitalCollections&vid=01SUNY_BIN:01SUNY_BIN&offset=0">Max Reinhardt Collection Photographs</a></p>
<p></p>
<p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-timeline">The Life and Times of Theater Director Max Reinhardt</a></p>
<p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-theaters">The Theaters of Max Reinhardt</a></p>
Rights
Information about rights held in and over the resource
In copyright
Contributor
An entity responsible for making contributions to the resource
Jean Green, <br /><br />Binghamton University Students: <br />Madelynn Cullings<br />Kashawn Hernandez<br />Aanyah Jhonson-Whyte<br />Marisa Joseph<br />Bethany Maloney<br />Ashleigh Marie Sherman<br />Thomas Tegtmeier<br />Joseph Vitale
Promptbook
Description
Notes throughout, consistent but never extensive. Mostly remarks regarding dialogue and
acting, and some stage directions. Markings in black pen, black pencil, and blue pencil. Most markings in black pencil.
Also includes folder containing four pages, all typed copies of same page, labelled “Scene des Ergaste" (Einfügung) - Ergaste’s scene (Insertion); one page, typed, labelled “Schlussworte der Dorimene” (last words of Dorimene); two pages, unspecified typed excerpt, markings on both; one page, “Einlage S.32” (Insertion for p. 32), typed with markings.
Collection
Max Reinhardt Promptbooks
Dimensions
Physical dimensions of item
33cm x 23cm
Earlier version
Earlier version (dcterms:isVersion Of)
Les Fâcheux
Notes
Located in Binghamton University Libraries Special Collections
PT2635.E548P75 v.85
Production(s)
March 1-2, 1916 (city unspecified)
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
Lästigen [promptbook]
Subject
The topic of the resource
Molière, 1622-1673. Fâcheux -- Translations into German
Promptbooks
Stage directions
Creator
An entity primarily responsible for making the resource
Molière, 1622-1673
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
1900s
Contributor
An entity responsible for making contributions to the resource
Reinhardt, Max, 1873-1943
Language
A language of the resource
German
Identifier
An unambiguous reference to the resource within a given context
R 3180
Rights
Information about rights held in and over the resource
Copyright undetermined. This image is provided for educational and research purposes only as is stipulated by U.S. and international copyright law. For more information, please contact speccoll@binghamton.edu.
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Reinhardt Promptbooks
Description
An account of the resource
<strong><em>Who is Max Reinhardt?</em></strong> <br />The celebrated <span>Austrian t</span>heater director <a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/">Max Reinhardt</a>, recognized in America primarily for his elaborate productions of Shakespeare’s A Midsummer Night’s Dream, Franz Werfel’s The Eternal Road, and Karl Vollmoeller’s The Miracle, was born in 1873 at Baden near Vienna, Austria and died in New York City in 1943. Reinhardt’s illustrious career takes on added significance because it coincides with a major shift in the evolution of the modern theater: the ascendancy of the director as the key figure in theatrical production. Reinhardt’s reputation in international theater history is secured by the leading role he played in this transformation, as well as by his innovative use of new theater technology and endless experimentation with theater spaces and locales, which together redefined traditional relationships between actor and audience toward a new participatory theater. <br /><br /><em><strong>What is a prompt book?</strong></em> <br />The prompt book is a master copy of the production script and contains a wealth of instructions and information alongside the basic text of the play. As well as the actors’ lines, you will often see cues for music, movement, light, and many other aspects of stage business. It may also contain sketches of how a piece of staging is supposed to look, or which costume a character should wear in a scene. <br /><br /><em><strong>Why are his important?</strong></em> <br />Reinhardt’s directorial prompt books reflect the ways in which he made plays by major playwrights, including Ibsen, Shakespeare and Wilder, his own. The prompt books contain notations denoting changes in the script, actor moves and technical cues, instructions on how sound, props and scenery were used, and stage drawings. They help us to reconstruct Reinhardt’s techniques and directions in productions. <br /><br /><em><strong>Acknowledgements</strong></em> <br />Thank you to the Gladys Kriebel Delmas Foundation who generously provided the funding to make this extraordinary project possible. Thank you also to the following individuals who helped make this project successful: Binghamton University Libraries’ Staff: Benjamin Coury, Nicholas Eggleston, Jean Green, Blythe Roveland-Brenton, Erin Rushton, David Schuster, Rachel Turner, Brandy Wrighter; Binghamton University Students: Madelynn Cullings, Kashawn Hernandez, Aanyah Jhonson-Whyte, Marisa Joseph, Bethany Maloney, Ashleigh Marie Sherman, Thomas Tegtmeier, Joseph Vitale.
Relation
A related resource
<p><a href="https://omeka.binghamton.edu/omeka/items/show/2877">Full Display and German Transcription of Max Reinhardt's</a><em><a href="https://omeka.binghamton.edu/omeka/items/show/2877"> Reigen Promptbook</a><br /></em><br /><a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/"><span>Max Reinhardt Archives and Library</span></a><br /><br /><a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,reinhardt&tab=DigitalCollections&search_scope=DigitalCollections&vid=01SUNY_BIN:01SUNY_BIN&offset=0">Max Reinhardt Collection Photographs</a></p>
<p></p>
<p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-timeline">The Life and Times of Theater Director Max Reinhardt</a></p>
<p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-theaters">The Theaters of Max Reinhardt</a></p>
Rights
Information about rights held in and over the resource
In copyright
Contributor
An entity responsible for making contributions to the resource
Jean Green, <br /><br />Binghamton University Students: <br />Madelynn Cullings<br />Kashawn Hernandez<br />Aanyah Jhonson-Whyte<br />Marisa Joseph<br />Bethany Maloney<br />Ashleigh Marie Sherman<br />Thomas Tegtmeier<br />Joseph Vitale
Promptbook
Description
Book in good condition, some pages loose from bindings. All text in German. All markings in purple pen with extensive markings throughout. Most markings relate to specific points in dialogue.
Collection
Max Reinhardt Promptbooks
Dimensions
Physical dimensions of item
20x5cm x 12.5cm
Notes
Located in Binghamton University Libraries Special Collections
PT2635.E548P75 v.27
Production(s)
March 11, 1920, Berlin
March 15, 1920, Berlin
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
Laune des Verliebten : ein Schäferspiel in Versen und einem Akte [promptbook]
Subject
The topic of the resource
Goethe, Johann Wolfgang von, 1749-1832
Promptbooks
Stage directions
Creator
An entity primarily responsible for making the resource
Goethe, Johann Wolfgang von, 1749-1832
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
1900s
Contributor
An entity responsible for making contributions to the resource
Reinhardt, Max, 1873-1943
Language
A language of the resource
German
Identifier
An unambiguous reference to the resource within a given context
R 3129
Rights
Information about rights held in and over the resource
Copyright undetermined. This image is provided for educational and research purposes only as is stipulated by U.S. and international copyright law. For more information, please contact speccoll@binghamton.edu.
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Reinhardt Promptbooks
Description
An account of the resource
<strong><em>Who is Max Reinhardt?</em></strong> <br />The celebrated <span>Austrian t</span>heater director <a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/">Max Reinhardt</a>, recognized in America primarily for his elaborate productions of Shakespeare’s A Midsummer Night’s Dream, Franz Werfel’s The Eternal Road, and Karl Vollmoeller’s The Miracle, was born in 1873 at Baden near Vienna, Austria and died in New York City in 1943. Reinhardt’s illustrious career takes on added significance because it coincides with a major shift in the evolution of the modern theater: the ascendancy of the director as the key figure in theatrical production. Reinhardt’s reputation in international theater history is secured by the leading role he played in this transformation, as well as by his innovative use of new theater technology and endless experimentation with theater spaces and locales, which together redefined traditional relationships between actor and audience toward a new participatory theater. <br /><br /><em><strong>What is a prompt book?</strong></em> <br />The prompt book is a master copy of the production script and contains a wealth of instructions and information alongside the basic text of the play. As well as the actors’ lines, you will often see cues for music, movement, light, and many other aspects of stage business. It may also contain sketches of how a piece of staging is supposed to look, or which costume a character should wear in a scene. <br /><br /><em><strong>Why are his important?</strong></em> <br />Reinhardt’s directorial prompt books reflect the ways in which he made plays by major playwrights, including Ibsen, Shakespeare and Wilder, his own. The prompt books contain notations denoting changes in the script, actor moves and technical cues, instructions on how sound, props and scenery were used, and stage drawings. They help us to reconstruct Reinhardt’s techniques and directions in productions. <br /><br /><em><strong>Acknowledgements</strong></em> <br />Thank you to the Gladys Kriebel Delmas Foundation who generously provided the funding to make this extraordinary project possible. Thank you also to the following individuals who helped make this project successful: Binghamton University Libraries’ Staff: Benjamin Coury, Nicholas Eggleston, Jean Green, Blythe Roveland-Brenton, Erin Rushton, David Schuster, Rachel Turner, Brandy Wrighter; Binghamton University Students: Madelynn Cullings, Kashawn Hernandez, Aanyah Jhonson-Whyte, Marisa Joseph, Bethany Maloney, Ashleigh Marie Sherman, Thomas Tegtmeier, Joseph Vitale.
Relation
A related resource
<p><a href="https://omeka.binghamton.edu/omeka/items/show/2877">Full Display and German Transcription of Max Reinhardt's</a><em><a href="https://omeka.binghamton.edu/omeka/items/show/2877"> Reigen Promptbook</a><br /></em><br /><a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/"><span>Max Reinhardt Archives and Library</span></a><br /><br /><a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,reinhardt&tab=DigitalCollections&search_scope=DigitalCollections&vid=01SUNY_BIN:01SUNY_BIN&offset=0">Max Reinhardt Collection Photographs</a></p>
<p></p>
<p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-timeline">The Life and Times of Theater Director Max Reinhardt</a></p>
<p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-theaters">The Theaters of Max Reinhardt</a></p>
Rights
Information about rights held in and over the resource
In copyright
Contributor
An entity responsible for making contributions to the resource
Jean Green, <br /><br />Binghamton University Students: <br />Madelynn Cullings<br />Kashawn Hernandez<br />Aanyah Jhonson-Whyte<br />Marisa Joseph<br />Bethany Maloney<br />Ashleigh Marie Sherman<br />Thomas Tegtmeier<br />Joseph Vitale
Promptbook
Description
Book in solid condition, some pages loose from bindings. All text in German. All markings in purple pen with extensive markings throughout. Most markings relate to specific points in dialogue.
Collection
Max Reinhardt Promptbooks
Dimensions
Physical dimensions of item
20x5cm x 12.5cm
Notes
Located in Binghamton University Libraries Special Collections
PT2635.E548P75 v.26
Production(s)
Possibly 1915, Dresden; May 1, 1915 (city unspecified).
Accessibility
Copy/Paste below:
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Laune des Verliebten, Die Mitschuldigen, Das Jahrmarktsfest zu Plundersweilen [promptbook]
Subject
The topic of the resource
Goethe, Johann Wolfgang von, 1749-1832
Promtpbooks
Stage Directions
Creator
An entity primarily responsible for making the resource
Goethe, Johann Wolfgang von, 1749-1832
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
1900s
Contributor
An entity responsible for making contributions to the resource
Reinhardt, Max, 1873-1943
Language
A language of the resource
German
Identifier
An unambiguous reference to the resource within a given context
R 3128
Rights
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Copyright undetermined. This image is provided for educational and research purposes only as is stipulated by U.S. and international copyright law. For more information, please contact speccoll@binghamton.edu.