114 10 1775 https://omeka.binghamton.edu/omeka/files/original/f741017befc130ea1f01a0adb255a79f.jpg b04eda297bbf5fec1fe776aa8adb58dd https://omeka.binghamton.edu/omeka/files/original/83794fd7177d279e818b3e84f5faccfd.jpg d4c75785b144ae816c4cb7dc9638730f https://omeka.binghamton.edu/omeka/files/original/fc86ce33bb5a4a3fc7150709463032aa.jpg 135a5d06eaef1f8711c1ba47598c7861 https://omeka.binghamton.edu/omeka/files/original/7d7ad1d013bd18d0d4fb3d17280a8f83.jpg 0bf9ad91a34dd562d57418a2acea20d8 https://omeka.binghamton.edu/omeka/files/original/b522ca8f43201e6b280188358e4c3714.jpg 8784ddccf95d55f132da4b78f6b012c9 https://omeka.binghamton.edu/omeka/files/original/48e7b94ea5f097dee7711c8b7d09b3fc.jpg 51bf2c89e36a43c8967bbc89007be4e7 https://omeka.binghamton.edu/omeka/files/original/f3dc061eeb45b503a8c8af5661b0e16e.jpg 5a46dded655243e67a1aac030a4b2651 https://omeka.binghamton.edu/omeka/files/original/dfa05e2f26d3b450911b1d600a19fb81.jpg 85da6a8930725d7bc63a92389cd6ce3a https://omeka.binghamton.edu/omeka/files/original/9f7eb9d7206605a14367d780bce5f6ef.jpg 922ed18494c03d9eda8c573664d81b08 https://omeka.binghamton.edu/omeka/files/original/e6de8f479a6ae10aa27c3fbce2190e88.jpg 64f2ebf3ad8fb32e63b7a10aab12b714 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 Who is Max Reinhardt? The celebrated Austrian theater 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. What is a prompt book? 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. Why are his important? 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. Acknowledgements 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 <a href="https://omeka.binghamton.edu/omeka/items/show/2877">Full Display and German Transcription of Max Reinhardt's</a><a href="https://omeka.binghamton.edu/omeka/items/show/2877"> Reigen Promptbook</a> <a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/">Max Reinhardt Archives and Library</a> <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> <a href="https://omeka.binghamton.edu/omeka/max-reinhardt-timeline">The Life and Times of Theater Director Max Reinhardt</a> <a href="https://omeka.binghamton.edu/omeka/max-reinhardt-theaters">The Theaters of Max Reinhardt</a> Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Jean Green,  Binghamton University Students: Madelynn Cullings Kashawn Hernandez Aanyah Jhonson-Whyte Marisa Joseph Bethany Maloney Ashleigh Marie Sherman Thomas Tegtmeier Joseph Vitale Promptbook Description No cover for book, only paper pages. All text in German. Pages in poor condition, no binding. Purple pen markings and red, blue, and black pencil markings. Most markings throughout in red, blue, and black. Red and black used together for most dialogue crossouts.Most notes are in margins throughout the play. Includes stage sketch. Collection Max Reinhardt Promptbooks Dimensions Physical dimensions of item 22cm x 15.5cm Earlier version Earlier version (dcterms:isVersion Of) Loyalties Notes Located in Binghamton University Libraries Special Collections PT2635.E548P75 v.19 Production(s) March 27, 1925, Vienna -Supporting materials: Box 14 Folder 4: Programs; plays 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 Loyalität : Schauspiel in drei Akten (sieben Szenen) [promptbook] Subject The topic of the resource Galsworthy, John, 1867-1933. Loyalties -- Translations into German Promptbooks Stage directions Creator An entity primarily responsible for making the resource Galsworthy, John, 1867-1933 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 3119 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. https://omeka.binghamton.edu/omeka/files/original/9088a823ebd7c5b1be61ce873748fcd6.jpg e7b0066a2b1f5af5de884febf343f43f https://omeka.binghamton.edu/omeka/files/original/4e0862ffb6e7b1681120e77d67966cc0.jpg c86b16a0f28438c15e7e0d4766ad4392 https://omeka.binghamton.edu/omeka/files/original/be077531a07831b4531377120b69f466.jpg c2e6c6f7019059fc7e3d4f44704d9b3c https://omeka.binghamton.edu/omeka/files/original/ec2913004f846fb03e4c1857be8113fd.jpg 079578e55d726b85bb72e4de1256ec20 https://omeka.binghamton.edu/omeka/files/original/71466c2e669059cf064c68c14ec80d11.jpg 0ce44a2452f8928dbe49ae7a81ab2d10 https://omeka.binghamton.edu/omeka/files/original/b910754f9b3f7f4ee031bff93a1ccc82.jpg 2f18c26a0407209b7ddcd11fac8ff0a9 https://omeka.binghamton.edu/omeka/files/original/2eb9003618e4b87ac1f0d7994ab15a6a.jpg c53b1ce1d257e09b77452a6313567a0a https://omeka.binghamton.edu/omeka/files/original/655b3c48422540f820fb3c927a2d18c2.jpg fd64f4b44ea0ef2130bdfd28cc9eac97 https://omeka.binghamton.edu/omeka/files/original/2e6c5e4a695595222704862bba30a1ef.jpg 79959c84b8e07665f16a5e47bb471940 https://omeka.binghamton.edu/omeka/files/original/fdfe0430b972a788a62165f07b5fe559.jpg 81c02b00a2b0550866764db4ec9be41d 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 Who is Max Reinhardt? The celebrated Austrian theater 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. What is a prompt book? 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. Why are his important? 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. Acknowledgements 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 <a href="https://omeka.binghamton.edu/omeka/items/show/2877">Full Display and German Transcription of Max Reinhardt's</a><a href="https://omeka.binghamton.edu/omeka/items/show/2877"> Reigen Promptbook</a> <a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/">Max Reinhardt Archives and Library</a> <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> <a href="https://omeka.binghamton.edu/omeka/max-reinhardt-timeline">The Life and Times of Theater Director Max Reinhardt</a> <a href="https://omeka.binghamton.edu/omeka/max-reinhardt-theaters">The Theaters of Max Reinhardt</a> Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Jean Green,  Binghamton University Students: Madelynn Cullings Kashawn Hernandez Aanyah Jhonson-Whyte Marisa Joseph Bethany Maloney Ashleigh Marie Sherman Thomas Tegtmeier Joseph Vitale Promptbook Description Book with note pages and markings throughout (Berlin: S. Fischer Verlag, 1906). All text in German. Many pages of book are loose, heavily marked throughout. Black pen markings: August 8, 1911 / August 11, 1911 (Tutzing); Red pencil markings: November 24, 1916 (Berlin) / November 28, 1919 (Berlin); Blue/purple markings: September 19, 1919 (Leopoldskron); “Zur Eröffnung des großen Schauspielhauses”; Black pencil markings unspecified. Includes stage sketches, cast notes. Many markings are symbols denoting stage directions for certain lines in the play with most notes in black pen. Extensive markings concerning the “Greise” with rewording and rewriting of Greise characters in choir. Includes supplement folder which contains a copy of Lysistrata - Act I with text in English. Collection Max Reinhardt Promptbooks Dimensions Physical dimensions of item 21cm x 17cm Earlier version Earlier version (dcterms:isVersion Of) Lysistratē Notes Located in Binghamton University Libraries Special Collections PT2635.E548P75 v.2 Production(s) June 1920, Berlin -Supporting materials: Box 1 Folder 7: Photographs Oversized mounted: 1, 5, 16 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 Lysistrata : Komödie frei nach Aristophanes [promptbook] Subject The topic of the resource Aristophanes. Lysistratē -- Translations into German Promtpbooks Stage Directions Creator An entity primarily responsible for making the resource Aristophanes 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 3102 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. https://omeka.binghamton.edu/omeka/files/original/a417304796a9d67f07e7fd4cfcea5e31.jpg dcaaa53fefa3262ba04e08cabd4be596 https://omeka.binghamton.edu/omeka/files/original/ac7b0c12e4c347e2984c67f5ea420c8e.jpg 31757a0f6d3f4ea21816ab180f52a7fd https://omeka.binghamton.edu/omeka/files/original/6559cbd2815050c46703bac9cd73379f.jpg d1051f5d8d2ce4a252e3a15e7e5ad4cb https://omeka.binghamton.edu/omeka/files/original/1d0d3e8d70c145b5207ab57d9ea038a9.jpg 9a652508e4a9a54316ae184b60045f49 https://omeka.binghamton.edu/omeka/files/original/717e466e7edfd17001da973985175165.jpg da706df45a64817f99e336364c271925 https://omeka.binghamton.edu/omeka/files/original/48f0883d762030293454acb2e42dd70c.jpg a2fde469be0e0dbd4b2444d8acb4d3e3 https://omeka.binghamton.edu/omeka/files/original/8bc41a3bb9d1d097263f29afd0c3d531.jpg 8579591201ad29959f27b6fdd9c8e5f4 https://omeka.binghamton.edu/omeka/files/original/8a11e25107d6cb06217694e6fc8b04b1.jpg 5a9294d22897c803a8e246674d9a4413 https://omeka.binghamton.edu/omeka/files/original/66dc10c90f4c7f376f52d2d7d0887272.jpg 13ce3174d1fbc42c559f6c8d842ce7ec https://omeka.binghamton.edu/omeka/files/original/c598bf96cc117b45fa852eaf81c9b6ee.jpg 4242e41c2cdd2efe6b12d5e6cbe72f87 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 Who is Max Reinhardt? The celebrated Austrian theater 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. What is a prompt book? 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. Why are his important? 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. Acknowledgements 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 <a href="https://omeka.binghamton.edu/omeka/items/show/2877">Full Display and German Transcription of Max Reinhardt's</a><a href="https://omeka.binghamton.edu/omeka/items/show/2877"> Reigen Promptbook</a> <a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/">Max Reinhardt Archives and Library</a> <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> <a href="https://omeka.binghamton.edu/omeka/max-reinhardt-timeline">The Life and Times of Theater Director Max Reinhardt</a> <a href="https://omeka.binghamton.edu/omeka/max-reinhardt-theaters">The Theaters of Max Reinhardt</a> Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Jean Green,  Binghamton University Students: Madelynn Cullings Kashawn Hernandez Aanyah Jhonson-Whyte Marisa Joseph Bethany Maloney Ashleigh Marie Sherman Thomas Tegtmeier Joseph Vitale Promptbook Description Markings in purple pen, red pencil, blue pencil, and black pen. Note page key and prop list found inside cover. Consistent written notes throughout, some pages with more extensive notations. Various stage drawings and directions also found scattered throughout promptbook. Written notes in purple pen, red and blue pencil used together (as is the case with most Reinhardt productions). Collection Max Reinhardt Promptbooks Dimensions Physical dimensions of item 34.25cm x 22cm Earlier version Earlier version (dcterms:isVersion Of) Власть тьмы Notes Located in Binghamton University Libraries Special Collections PT2635.E548P75 v.137 Production(s) February 22, 1917, Berlin January 9, 1918, Berlin February 9, 1918 (city unspecified) -Supporting materials (for all 1918 productions): Box 7 Folder 53: Photographs Box 7 Folder 53: Photographs Box 14 Folder 48: Programs; plays 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 Macht der Finsternis : Drama in fünf Akten [promptbook] Subject The topic of the resource Tolstoy, Leo, graf, 1828-1910. Vlast' t'my -- Translations into German Promptbooks Stage directions Creator An entity primarily responsible for making the resource Tolstoy, Leo, graf, 1828-1910 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 3232 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Deutsches Theater zu Berlin 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. https://omeka.binghamton.edu/omeka/files/original/1b53ae308944883ac9c5382ef4877cca.jpg 86eed910def601022425b8933f5bd020 https://omeka.binghamton.edu/omeka/files/original/22727839da1f63dcb357f35bbb4ae8e3.jpg 039c8160b3da75fbf2aaf0b42d4cecd9 https://omeka.binghamton.edu/omeka/files/original/fa1c17ad3fef73bc64bebd42661d28fe.jpg 5bcccfa39a8b227cffb63ebc0c4942fd https://omeka.binghamton.edu/omeka/files/original/fd765bd485c2e4de4358016b0d6e79b1.jpg 3b9f563ff0a887772e79bba754362895 https://omeka.binghamton.edu/omeka/files/original/4c2d65e3ff3191fa8ebd144c7e4d9a86.jpg 44c5bd414de53342b4e1b6a110c0ae95 https://omeka.binghamton.edu/omeka/files/original/54bb00e804d6426b83a4309c5771ec8a.jpg 30b6a6806260ab742580fcf684b62904 https://omeka.binghamton.edu/omeka/files/original/ae0b9e3d93446f1bb0ac2f72e7b03c03.jpg f2e80c6e943fcf31415110ca68217b83 https://omeka.binghamton.edu/omeka/files/original/a440d4b4ad65f8ed24145e6a2914a55b.jpg 58e18d2cdda64f5d35394980e98e6f67 https://omeka.binghamton.edu/omeka/files/original/67249084ddc54c540bf4fdfb98102f4e.jpg 3d7b822c6364e289988bcc49af1182e8 https://omeka.binghamton.edu/omeka/files/original/604d4c37e356fcb85646678040689e57.jpg a90176c8302ccf3973e999c91527fd60 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 Who is Max Reinhardt? The celebrated Austrian theater 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. What is a prompt book? 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. Why are his important? 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. Acknowledgements 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 <a href="https://omeka.binghamton.edu/omeka/items/show/2877">Full Display and German Transcription of Max Reinhardt's</a><a href="https://omeka.binghamton.edu/omeka/items/show/2877"> Reigen Promptbook</a> <a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/">Max Reinhardt Archives and Library</a> <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> <a href="https://omeka.binghamton.edu/omeka/max-reinhardt-timeline">The Life and Times of Theater Director Max Reinhardt</a> <a href="https://omeka.binghamton.edu/omeka/max-reinhardt-theaters">The Theaters of Max Reinhardt</a> Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Jean Green,  Binghamton University Students: Madelynn Cullings Kashawn Hernandez Aanyah Jhonson-Whyte Marisa Joseph Bethany Maloney Ashleigh Marie Sherman Thomas Tegtmeier Joseph Vitale Promptbook Description Almost no markings in promptbook. Staging drawings and directions found in purple pen on page 3. On the other side is a written note, “see manuscript.” Presumably all of Reinhardt’s notes for the play were written somewhere else. Stage directions found page 15, no notes after until page 65. From page 65 to the end there are very few notes, all of which are very short. Notes from page 65 to end are in black pen. Collection Max Reinhardt Promptbooks Dimensions Physical dimensions of item 20cm x 15cm Earlier version Earlier version (dcterms:isVersion Of) Власть тьмы Notes Located in Binghamton University Libraries Special Collections PT2635.E548P75 v.138 Production(s) December 10, 1917, 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 Macht der Finsternis [promptbook] Subject The topic of the resource Tolstoy, Leo, graf, 1828-1910. Vlast' t'my -- Translations into German Promptbooks Stage directions Creator An entity primarily responsible for making the resource Tolstoy, Leo, graf, 1828-1910 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 3233 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. https://omeka.binghamton.edu/omeka/files/original/9e0c6ccb30559aa8a8838d9c82d86040.pdf f40713ff0438fb50341ba215a96974fc PDF Text Text STATE UNIVERSITY OF NEW YORK AT BINGHAMTON DEPARTMENT OF MUSIC presents Th e Manh a t t an String Quartet F r i . , Dec“ 1 0 , 1971 – 8 : 1 5 Re c i t a l Ha l l Eric Lewis, violin John Mcleod, violin Andre w Berdahl, viola Judith Glyde, cello �PROGRAM Bee thoven (17 70– 1827) Quar te t Op . 1 8 , No . 3 A l le g ro Andan te con mot o A l le g ro P res to Kirchner Quar te t No. 3 f o r S t r ings and E lec t ronic t ape The f o l low ing re mar ks are by the compose r: Qua r te t No . 3 f o r S t r ings and E lec t r i c Tape ( 1967) Leon Kirchner (b . 19 19 ) INTERMISSION Quar te t No . 4 (1928) A l le g ro P res t iss imo , con so rd ino Non t roppo len t o A l le g re t t o p i zz ica to A l le g ro Mol t o “Bef ore beg inning my Th i rd S t r ing Quar te t I gave cons ide rab le thou gh t to the par t icular at t r ibu tes of e lec t ronic mus i c . The e lec t ronic med ium i s f requen t ly spoken o f as being absol u te ly un l imi ted in poss ib i l i t y . In gene ral , I wou ld say that mus i c has g ained new ins i gh ts f rom the man ipu la t ions of e lec– t ron i c sounds , but the supposed l ac k of l i mi t a t i on i s rea l ly qu i te decep t ive . Theo re t i ca l ly , i t wou l d seem to be un l i mi t ed , and yet I th ink t h is i s the area wh i ch i s mos t p roble ma t ic - and w i t h compu te rs , even more so . By a th i rd , i f not second , per f or mance o f even an exe mplary e lec t ronic p iece , one deve lops a ce r tain l is tene r ’ s f at ig ue . . . i t could be bored om. The re i s no ‘ ch a rac te r is t i c l i mi t ’ o r ins t an t accommoda t ion t o a b r i l l i an t wh i m Bar tok (1881– 1945) THE MANHATTAN QUARTET i s i n res idence at Co rne l l U n i ve rs i t y and w i t h the Young A r t is t s P rog ra m i n Chamber Mus i c a t SUNY /Bingh a mt on . or ‘acc iden t . ’ The s ub t le mani f es t a t ions that are sub jec t to h uman con t rol i n the great per f or mer ha ve l i t t le or no l i f e at a l l i n the e lec t ronic med ium. “ More interes t ing to me are combinat ions of ins t ruments wi th elec t ronic sounds and ﬁ l t e rs . The ins t rumen t al qual i t ies are then somehow reﬂe c t ed , extended and en larged . ‘ Human involve men t ’ is , of course , essen t ial , f or the proble ms of compos i t ion re main the p r imary f ac tors . My Th i rd Quarte t was w r i t ten w i t h a l l o f t h is i n mi nd . I se t out to produce a mean ing f u l con– f ron t a t ion be tween ‘ new ’ e le c t ron i c sounds and those o f t he t r ad i t i ona l s t r ing quartet - a k ind of d ialog ue-idea i n wh i ch the e lec t ronics are qu i te in te g ra l . “There i s a g reat dea l of t alk these days about systems analys is , de te rmina t ion o f ru les , and so f or th , but the ac t of tot al involve men t , o f phys ical and sp i r i t ua l p lay , see ms t o be f o rgot ten . Ru les are va l uab le , and , w i t h proper unders tand ing , we can cons t ruc t mode ls f rom wh i ch inval uab le inf or– ma t ion may be inf e r red . Howeve r , the adequacy of a ru le i s en t i re ly dependent upon h igh ly reﬁned and sens i t ive observat ion , and , g iven an adequate rule , we mus t also unde rs tand that the va r iab les (a mos t produc t ive area) are d i ﬀ i c u l t to ‘ cove r . ’ When we g rasp a f ac t by desc r ib ing i t , the re i s no reason to ass ume that we ha ve unde rs tood the t ot al phenomenon . One o f the na i ve assump t ions i n the cons t ruc t ion of computer mus ic , f or ins t ance , i s that i f one programs the parameters (durat ion , dens i t y , p i tch , e t c . , e t c . , ) mus i c should resul t . Gran ted compe tence i n techniques , i t i s the i r us e that i s essen t ial - and the i r ar t is t ic use depends on the vas t and tot al me mory bank of the h uman mind . In th is sense , though the e lec t ronic sounds i n my Quar te t t ook f ou r days t o w r i t e , t he no tes t ook f o r t y y ea rs . “Nus ic i s an ar t , not a sc ience . The recent , almos t e xc l us ive invol ve – ment w i th the ‘ s ubs t an t ive ’ and the c raze f or ‘ ve r iﬁc a t ion ’ or ‘ caus al e xp lanat ion ’ seems to me to f oss i l i ze that art and make i t b lood less . Th is i s wha t I ’ ve always t r ied to a void . My Quar te t ilo. 3 i s not concerned w i t h sys te ms , ru les , p rocedures - o r tha t mons t ros i t y k nown as ‘ t o t a l c on t ro l . ’ I composed the wor k because o f sheer mus ical urge . I t was f un , and wh i le I composed i t I was ve ry conscious of the j oy of c reat ing mus i c . ” � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 30:17:00 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63564 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63564"> Manhattan String Quartet Recital</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Manhattan String Quartet Recital, December 10, 1971 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works of Beethoven, Kirchner, and Bartók. Held at 8:15 pm, Dec. 10, 1971, Recital Hall. Creator An entity primarily responsible for making the resource Manhattan String Quartet Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1971-12-10 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Beethoven, Ludwig van, 1770-1827 Kirchner, Leon Bartók, Béla, 1881-1945 Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020073593 39091020073544 39091020073494 https://omeka.binghamton.edu/omeka/files/original/746ae24139d4ec522c0a90a33f1d37eb.pdf a892abcde2fc3b63945bdd8860b5beeb PDF Text Text STATE U NIVERSITY OF NEW YORK AT BINGHAMTON HARPUR COLLEGE THE DEPARTMENT OF MUSIC THE MANHATTAN STRING QUARTET E r ic L ewis, violin John Mc L eod , violin F r iday , Dece m be r 4, 1970 And r ew Berdahl, viola Jud i th Gl yde , ‘cello 8 : 15 p. m . Music Reci ta l Ha ll PROGRAM Qua r tet No. 46 (Opus 20 , No. 4) Allegro d i molto Un poco Adagio, aﬀetuoso Menuetto Presto scherzando Joseph Haydn Five P iec es 1 . H eftig bewegt 2 . Seh r langsa m 3. Se h r bewegt 4. Sehr langsam 5. In za r te r Bewegung Anton Webern Intermission Quartet No. 6 in F Ma jo r , Opus 96 Allegro ma non troppo Lento Molto vivace V iva c e m a n on t r o ppo Antonin Dvorak �THE MANHATTAN STRING QUARTET—E r i c Lewis, John McLeod, Andrew Berdahl, Judith Glyde— was founded in 1968 and quickly established itself as a ﬁn e young qua r tet. Having won the N ew Yo r k Sta te St r ing Qua r tet Com peti tion in 1968 and the Lenox St r ing Qua r tet Sc hola rship Com peti tion for study in San F ranc isco in 196 9 and 1970 , the qua r tet is gaining r ecogni tion as a new and exciting young musical group. Describing their performance of the Bartok Second String Quartet, the San Francisco Chronicle sta ted : (they played with) . . . “amazing secu r i ty . . . remarkable maturity. ” Michael Steinberg of the Boston Globe com m ented : “ The Manhattan Quartet shows uncommon pro mise. ” Besides its conc e r ta ppea ranc es in San F ranc isco , the qua r tet has a ppea r ed in othe r California c i ties and as far south as A ubur n , Alaba ma . The qua r tet has also pe r fo r m ed extensivel y in the New York a r ea . Two reviews in August, 1970 had this to say : “ . . . the Manha ttan Qua r tet doesn ’t have to take a back seat to anyone. ” San F ranc isco C h ronic le , Aug. 3, 1970 “ The Manhattan foursome, a New York group with an ave rage age hovering a round 25,\served up a d iﬀi cu l tp r og r a m at He r tz Ha ll on the U . C . Be r k ele y ca m pus Sunday night. And it was a marvel. ” Oak land T r ibune , A ug. 2 5, 1970 The members of the quartet, besides pursuing a busy schedule of pe r formances, are enrolled as graduate students at SUNY at Binghamton, studying chamber m usic with the Lenox String Quartet. F U T U R E E V E N T S SU NDAY, DECEMBER 6 , 1970 8:15 p.m. Music Recital Hall MARIA CISYK, FACULTY PIANIST Solo Recital THURSDAY, DECEMBER 10, 1970 FRIDAY, DECEMBER 11, 1970 8:15 p.m. Music Recital Hall OPERA WORKSHOP PRODUCTION SU NDAY, DECEMBER 13, 1970 3:00 p.m. Student Center Social Room JAZZ WORKSHOP CONCERT Albert Hamme, director WEDNESDAY, DECEMBER 16, 1970 8 : 15 p.m . Don A. Wa tte rs Thea te r SPECIAL CHRISTMAS CONCERT inc l uding singing with audience pa r ti c i pa tion. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 24:34:00 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63358 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63358"> Manhattan String Quartet Recital</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Manhattan String Quartet Recital, December 4, 1970 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works of Haydn, Webern, Dvořák. Held at 8:15 pm, December 4, 1970, Music Recital Hall. Creator An entity primarily responsible for making the resource Manhattan String Quartet Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1970-12-4 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Haydn, Joseph, 1732-1809 Webern, Anton, 1833-1945 Dvořák, Antonín, 1841-1904 Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020096602 39091020096297 39091020096347 https://omeka.binghamton.edu/omeka/files/original/93a351175bf204737b3a8dcf34b8a5f2.pdf edb5b76af2aef4689fb0c14c35b8859f PDF Text Text B INGHAMTON U N I V E R S I T Y STATE U N IVE RS IT Y OF NEW YORK W ' 0 D E P A R T M E N T SENIOR HONORS R ECITAL MARC SILVAGNI, PERCUSSION nadir/ Waly D r e m w T heater Journey To d d k r m d g r m Sunday, March/21, 2010 C W 3:00pm4 R W H M �PROGRAM PROGRAM NOTES Stubemic.. . . . . . . . Mark Ford Caleb DeGroote, Adam Goldenberg Marimba clean it up please .. .Robin Engelman William L. Cahn Afrodditty. Solo Impressions for Four Timpani. Vic Firth Pej Reitz Piano ' Concertino para Marimba y Orquesta. Jorge Sarmientos l Moderato Allegro Moderato II Andante Cantabile (Movimento Canzone India) III – Rondo Allegro Pej Reitz Piano Erotomania. .Joumey AFRODDITTY is a snare drum piece written by William Cahn. Bill Cahn is also a member of the percussion quintet “Nexus”. Both this and “clean it up please“ are parts of a set of snare drum pieces called the “Nexus Portfolio”. Each member of Nexus wrote a snare drum piece to StoneinLove. . Keiko Abe” . . . . . . . BilIMohIenoﬀ I–Wsual Image II–Waltz King Marcus Lalli – Keyboard Sam Smith – Electric Bass Lee Vilinsky– Drum Set Richard Silvagni – Electric Guitar/Backing Vocals Marcus Lalli – Keyboard/Lead Vocals Sam Smith – Electric Bass Lee Vilinsky – Drum Set Rock Duo Dan Fabricius 'Drum’sér Bang on the Drum All Day. Dan Fabricius – Drum Set Marcus Lalli – Keyboard Lee Vilinsky – Timpani Caleb DeGroote – Vibraphone Dan Fagen – Alto Sax . trio on one low A marimba in the style of the Latin American marimba bands. Although he does not cite any music from Latin America in Stubernic, he hoped to capture the spirit and energy of their music. The title Stubernic comes from the Stuber’s last name with the ‘Nic” coming from Nicaragua (which is where they spent most of their time that year). The piece is very fun and has a few fancy tricks thrown in. Ford later wrote a sequel piece called “AftaStuba” (meaning after Stubernic), which shares a similar form. . Dream Theater Frogs – Etude for Four Mallets III – Mayﬂower IV – Wave Motion they heard, especially in Guatemala. Ford was writing a vibraphone/marimba duet at the time. However, he decided to make it a CLEAN IT UP PLEASE is a rudimental snare drum piece written by Robin Engelman. Robin’s inspiration for the piece came from Patrick Cooperman at his home in New York City in 1976. Patrick was selling ﬁfes and drums in his basement. He had parts of drums lying around and assembled Robin his drum. He then took him upstairs and played on a drum pad for an hour, showing Robin his style of drumming. It was here where Robin developed his passion for drumming and ﬁfe music. The title of this piece is a reference to the cleaner playing of traditional drumming over other styles. Robin is also a member of the great Torontobased percussion quintet “Nexus”. wINTERMISSIONrs Music of the Day Suite. STUBERNIC is a marimba piece written for three marimba players on one marimba. The piece is dedicated to Stefan and Mary K. Stuber. Mark Ford went to college with both of these individuals and they have been friends ever since. In 1988, the Stubers went to Guatemala and Nicaragua for a year for humanitarian aid purposes. When they returned, they told him stories of their adventures and the many marimba bands Murray Houllif Todd Rundgren Richard Silvagni – Electric Guitar Sam Smith – Electric Bass Adam Goldenberg – Marimba Pej Reitz – Piano Reese Taylor– Trombone Vocals ???7 contribute to it. “Afrodditty” is quite an interesting name. The name is broken down in this way. “Afro” – of African derivation. “Aphrodite” – Greek goddess of love. “Ditty” – a little song. “Oddity” – something peculiar, eccentric, or strange. Therefore, “Afrodditty’ – an eccentric, little, songlike piece for snare drum by William L. Cahn which uses rhythms of African derivation and which has a title that almost sounds like the name of the Greek goddess of love. SOLO IMPRESSIONS FOR FOUR TIMPANI is a timpani piece written by the great Vic Firth. Firth wrote a solo impression for two, three, and four timpani. Vic Firth is one of the most famous names in all of percussion. Most people know his name because of his company that makes drumsticks and mallets. Most of my equipment is from Vic Firth. Firth was the youngest member of the Boston Symphony Orchestra �when he joined as principal timpanist in 1952. In 1995, Firth was admitted into the Percussive Arts Society Hall of Fame. He has written music for both solo snare drum and solo timpani. His piece here incorporates many diﬀerent styles into one piece. The beginning starts out like a dirge before moving to a fast Latinstyle groove. The piece goes through many time changes over the same beat before retuming to the dirge at the end. This is a very unique piece for timpani. and uses the sustain of the vibraphone to create its atmosphere. The fourth piece “Wave Motion” represents waves. The piece is an odd time signature to represent the unevenness of waves. The piece incorporates two linear lines in each hand that create dissonance and consonance. The second piece “Waltz King” is my favorite of these four. The piece is slow and beautiful and takes you away. The ﬁfth and sixth pieces “Music of the Day“ and “Precision“ have been cut due to time. CONCERTINO PARA MARIMBA Y ORQUESTA is the ﬁrst marimba concerto ever written. The original handwritten score by Jorge Alvaro Sarmientos can be found in the Percussive Arts Society Museum. Marimbist Vida Chenoweth met Guatemalan composer Jorge Alvaro Sarrnientos while she was a Fulbright scholar studying indigenous marimbas there in 1957. He wrote his “Concertino” for Chenoweth during November and December of that year, and then entered it in a concerto composition contest that Chenoweth sponsored and ﬁnanced in early 1958. This prizewinning concerto was ﬁrst performed in Guatemala at an informal concert in early 1960, with August Ardenois conducting, Sarmientos playing timpani, and Chenoweth as soloist. The formal premiere occurred on September 16, 1960 as part of the celebrations of National Day (September 15), with Chenoweth as soloist and Jose Maria Gill conducting the Sinfonice Nacional. The United States premiere was presented with the Tulsa (Oklahoma) Philharmonic Orchestra in 1964. This piece is seldom performed because of its rarity and diﬀiculty. While looking for a concerto to perform, Marc stumbled upon it on YouTube with Keiko Abe playing the solo and Jorge Sarmientos conducting, and fell in love. He hopes you all do too. EROTOMANIA is the fourth song on the album “Awake” by Dream Theater. The song is an instrumental and was written collectively as a band. The song is the ﬁrst in a set of three called “A Mind Beside Itself". Erotomania is a type of delusion in which the aﬀected person believes that another person, usually a stranger, is in love with him or her. The illness often occurs during psychosis, especially in patients with schizophrenia or bipolar mania. During an erotomanic psychosis, the patient believes that a “secret admirer” is declaring his or her aﬀection to the patient, often by special glances, signals, telepathy, or messages through the media. Usually the patient then returns the perceived aﬀection by means of letters, phone calls, gifts, and visits to the unwitting recipient. In the guitar world, “Erotomania” is very wellknown because of the shred solo near the end. Guitarist John Petrucci shreds in quintuplets over four. FROGS – ETUDE FOR FOUR MALLETS is a fun marimba etude. The title frogs is apropos because it literally sounds like frogs hopping along. The middle section slows down and makes the listener a little nervous about the state of the frog. When the original material returns, the listener can rest easy that the frog is safe. Keiko Abe is one of the most important names in the mallet world today. She was a xylophone prodigy as a child, winning many competitions in Tokyo. She helped develop the modern ﬁveoctave marimba, which most universities own at least one. She has written many works for marimba that have become standard literature in the percussion world. MUSIC OF THE DAY SUITE is a set of six vibraphone songs by Bill Mohlenoﬀ. The six songs are all standalone pieces and do not need to be played consecutively. The third piece “Mayﬂower” is about the Mayﬂower that the pilgrims rode to America. The song starts with the ship leaving port in a slow feel. The tempo then picks up and becomes more rhythmic. This represents the ship traveling across the ocean. When the ship comes near America, the music returns to the slow tempo as the ship settles to port. The ﬁrst piece “Visual Image” represents any image one might have. This piece implements more jazz like harmonies STONE IN LOVE is the second song on the album “Escape“ by Journey. The song was a rock staple in the eariy 1980s. The song was composed by keyboardist Jonathan Cain, lead singer Steve Perry, and guitarist Neal Schon. The “Escape” album went 9x platinum. Other notable songs on the album are “Don‘t Stop Believin™, “Who‘s Crying Now?”, and “Open Arms". The album reached number 1 in 1981 when it was released. Journey is one of the most popular bands ever and is one of my all time favorites. The guitar part will be shared by Richard and Marc Silvagni on guitar and vibraphone respectively. This is their ﬁrst public jam with Marc on vibes. ROCK DUO is a drum set duet. This particular version has been arranged by Dan Fabricius and Marc Silvagni for added enjoyment and soloing. Drum kits were ﬁrst developed due to ﬁnancial and space considerations in theaters where the drummers were encouraged to cover as many percussion parts as possible. Up until then, drums and cymbals were played separately in military and orchestral music settings. Initially, drummers played the bass and snare drums by hand, and then in the 1890s, they started experimenting with foot pedals to play the bass drum. William Ludwig made the bass drum pedal system workable in 1909, paving the way for the modern drum kit. BANG ON THE DRUM ALL DAY is the seventh song on the album “The Ever Popular Tortured Artist Eﬀect” by Todd Rundgren. The lyrics describe in ﬁrst person, the protagonist’s drive to “bang the drum all day” �to the exclusion of everything else. All the instmments on this track are performed by Todd Rundgren. The song became very popular for its simplicity and greatness. All performers on the recital are playing and soloing on this song. This song is Marc’s tribute to them and to all those who just feel like banging on drums once in a while. ABOUT THE PERFORMERS MARC SILVAGNI is a senior at Binghamton University. He is currently double majoring in Music Performance – Percussion and Psychology. He plans on graduate school after Binghamton for a MSEd degree in Social Studies at Hofstra. He was born on December 25, 1988 in Flushing Hospital in Flushing, Queens, where he currently resides. Marc started his music career relatively late in 7 ” grade at I.S. 25 under band director and amazing jazz/blues drummer Marc Copell. There he was assigned to play bellsth but later started in other percussion. During the summers following 7 and 8"’ grade, Marc attended the Manhattan School of Music Summer Camp’and studied under percussionist Jeﬀ Kraus who taught him about the entire world of percussion. He then attended St. Francis Preparatory High School in Fresh Meadows, Queens, and studied under percussionist Mark Teoﬁlo. He also performed with every music performance group the school had, including singing bass under voice teacher Fernando Sicilia. In the summer of his sophomore year, Marc and other students, under teacher David Kobayashi (Binghamton Alum), traveled to Australia and played with the Tallahassee Winds in the Sydney Opera House for the Eric Whitacre Festival. He has never performed for NYSSMA. Next, Marc began college at Binghamton University under percussionist Dan Fabricius. Here he has had featured solos with the Percussion Ensemble and has played with the Harpur Jazz Ensemble, University Orchestra, Harpur Chorale, Women‘s Chorus, and the Commencement Wind Ensemble. He has also played at the Musica Nova concert and at Stephanie Lehman’s Masters Recital. Marc’s philosophy of music has always been that music should be more fun than serious. The playing of music should be respectable, but there should not be heavy pressure to perform. Marc always performs with a smile, whether it is showing or not. DANIEL FABRICIUS, Lecturer of Music in Percussion, has been a member of the Binghamton University faculty since 1992. He holds degrees from Mansﬁeld University (BS) and Ithaca College (MM) where he studied percussion with Richard Talbot and Gordon Stout. In addition to his work at BU, he has served as Director of Bands at Owego Free Academy since 1989. He has been a member of the Binghamton Philharmonic percussion section since 1982 but is also comfortable performing in popular, rock, jazz, and other styles. He plays regularly on drums as a member of several musical organizations in the Southern Tier, including the Mason Warrington Orchestra and his own band, Prism. He has also played often as a freelance percussionist, accompanying national touring artists such as Tommy Tune, Jerry Vail, Lorrie Morgan, Ringling Brothers Circus, the Smothers Brothers, and Ella Fitzgerald. He is highly regarded in the region as a percussion soloist and ensemble player and has played and collaborated often with organist Jonathan Biggers and the Ithaca Brass. For many years, Professor Fabricius has served the New York State School Music Association as an AllState Percussion adjudicator. In addition, he is the Instrumental Jazz Reviews editor of The School Music News and was the Jazz editor for the current NYSSMA Manual. He serves on the faculty of the Binghamton High School Percussion Camp each summer and over the years has presented many percussion clinics at state conventions and conferences. In addition, he often serves as a guest conductor for honor band festivals and has adjudicated Jazz Ensemble and Concert Band performances at music festivals throughout New York. “Dan deserves a raise.” Marc MARCUS LALLI has been a Lecturer of Music at Binghamton University since 2004. He has a LA/AS from Broome Community College, a BA in Music from Binghamton University, and a MM in Composition from Binghamton University. Mr. Lalli has studied composition and arranging with David Brackett, Paul Goldstaub, and Michael Carbone, and private piano study with Douglas Beardsley. He has served as the president for the Harpur Jazz Project, and as principal pianist for the Harpur Jazz Ensemble. appearing with many nationally recognized jazz artists including Rob McConnell, Rufus Reid, John McNeil, Houston Person, Jeﬀ Jarvis, Bill Easley, and Dave Stryker. His compositions have been performed by the Binghamton University Harpur Jazz Ensemble and by graduate music students at Binghamton University. Mr. Lalli has worked as a professional vocalist and keyboardist both locally and regionally. He has been an owner and operator of a commercial recording facility for over a decade, and as an independent producer and songwriter, he has appeared on many regionally and nationally released CD’s on independent labels as a guest artist/musician, and producer. Mr. Lalli is also a faculty member at Broome Community College teaching Sound Engineering and Music Theory. “Marcus is the sickest keyboardist I have ever seen.” Marc PEJ REITZ, pianist, is a native of the Binghamton Area. She received her Bachelor and Master of Music degrees in piano performance with accompanying emphasis. She attended Boston University, New England Conservatory and Binghamton University. She has studied piano with Jean Casadesus, Victor Rosenbaum, Seymour Fink and Walter Ponce and accompanying with Allen Rogers. She has accompanied throughout the United States, in England, South America, Spain and at the American Institute of Musical Studies in Graz, Austria. She was a winner of the Artistic Ambassadors Program by the United States Information Agency in partnership with the John F. Kennedy Center for the �performing arts. She has been on the faculty at Binghamton University since 1991 and Ithaca College School of Music since 1999. Ms. Reitz is on the Executive Board of the New York District MTNA organization and is President of the local District VII Music Teachers Association. She is also an active adjudicator for the National Piano Guild Organization. “Pej is the best accompanist ever...everyone should play with her...her energy is unmatched and contagious” Marc RICHARD SILVAGNI, guitarist, is a senior at the Aaron Copland School of Music at CUNY Queens majoring in Music (General). Also from Flushing, Queens, he started playing guitar seriously at age 14. He also played clarinet from 7'" grade through most of his college. He and Marc are the guitarist and drummer for a local Queens rock band called Warped Vinyl (www.myspace.comlwarpedvinylny). He also traveled to Australia for the Eric Whitacre Festival. While at Binghamton University, he played clarinet for the Harpur Jazz Ensemble and the Wind Symphony. He also studied under Dr. Timothy Perry. He currently teaches swimming for Gateway Sports on weekends. He is also studying to become a paralegal. “Nobody rocks harder than the Van himself!” Marc ADAM GOLDENBERG, percussionist, is a sophomore Biochemistry and Psychobiology major with a minor in Music. Adam is from Vestal, NY. He would like to announce that he will be holding auditions for the role of girlfriend/signiﬁcant female other over the course of the rest of the semester. Although there are no formal requirements for the role, it is assumed that applicants will be able to hold a conversation and form opinions of their own. A basic enjoyment of music, the ability to enjoy Mr. Goldenberg‘s twisted sense of humor, and a predisposition towards smiling are preferred, but ultimately not required. Although there is no immediate ﬁnancial compensation for this role, there are various long term beneﬁts including gifts, attention, and other acts and deeds, which are undoubtedly unprintable in this program, but would ultimately prove beneﬁcial to both parties. Callback decisions will be made by Mr. Goldenberg. No timeframe has been set, and auditions will be on a ﬁrst come ﬁrst served basis. Any other questions should be directed towards Mr. Goldenberg immediately following the performance, and can be further discussed over dinner tonight. “Adam sits at the popular table in the dining hall.” Marc CALEB DEGROOTE, percussionist, is a senior Political Science and Music double major with an Arabic minor. He comes from the great town of Vine Valley, NY. He attended Marcus Whitman High School, where we won three New York State Percussion Circuit (NYSPC) championships (2003, 2005, 2006) and set the record for alltime highest scoring ensemble, along with a New York State Field Band (NYSFBC) championship in 2003. He was then hired as percussion staﬀ at Naples High School his senior year and has taught there for the last ﬁve years. He cofounded the Midlakes Percussion Ensemble, which is highly competitive in the NYSPC. In the fall of 2007, he became the caption head of the Vestal High School Field Band, which competes in the NYSFBC. During the summer of 2008, he marched timpani and 1st marimba with the DCA Rochester Crusaders, which made ﬁnals, placing 10th. During the summer of 2009, he marched with the Citations, winning a bronze medal in DCI Open Class. Currently, he is marching and on staﬀ at the DCA Empire Statesmen, playing 1st marimba. His classical experience includes four semesters with the Binghamton University Symphony Orchestra as, one with the Binghamton University Percussion Ensemble, ﬁve with the Binghamton University Wind Ensemble, one with the Binghamton Community Orchestra on timpani, and one with the Southern Tier Concert Band. He has twice been a guest performer with the Binghamton University Chorus and the Binghamton University horn studio. “Caleb is the smoothest cat walkin’ ‘round town.” Marc LEE VILINSKY, percussionist, is a senior Psychology and Music double major hailing from Centereach, New York. At Binghamton University, he distributes his time between doing research involving elementary cognition under the supervision of Dr. Ralph Miller, acting as a recording engineer for the music department, recording lectures and participating in the Evolutionary Studies (EvoS) program, carrying out activities with MOE, and performing in various musical groups, including the BU orchestra, BU percussion ensemble, and Lady Skaga. Lee has been actively involved in percussion since fourth grade, but discovered his passion in pop and rock music when ﬁrst teaming drum set in ninth grade. Lee is also interested in composing and arranging music, music theory, farming, bicycling, and adventuring. After graduation, he plans to attend graduate school for experimental psychology to continue doing research involved in music cognition. He also plans to become a rock star. “Lee needs to grow his hair back out.” Marc SAM SMITH, bassist, is a sophomore dual majoring in Music and Math. He is from Warwick New York, in Orange County. Sam has been playing the bass guitar for 6 years, and has played in the Harpur Jazz Ensemble for the past 4 semesters. He currently takes lessons with Stephen Brooks. Sam has also had the pleasure of jamming with the son of the great bassist Jaco Pastorius. He also played bass for Marc’s Junior Recital last spring on Cliﬀs of Dover. “Sam slaps da bass mon.” Marc DAN FAGEN, alto sax, is a senior from Staten Island, NY double majoring in music and psychology. Thankfully, Dan does not represent what most people think of when they hear Staten Island. He began playing the clarinet when he was 9 years old and took up the saxophone when he was 13. In high school, he focused on studying jazz under Ray Scro and Chris Garone. At Binghamton University, his main focus has continued to be jazz. Dan has been the lead alto sax of the Harpur Jazz Ensemble for the last three years while studying under Mike Carbone. �His skill does exceed the world of jazz though. He studies classical style and repertoire with Professor April Lucas and performed a Senior Recital last semester. “Dan’s range on the sax is limitless.” Marc MO “REESE” TAYLOR, trombone. is a versatile multiinstrumentalist that can play many diﬀerent styles of music. He hails from Binghamton NY. Mo “Reese” is the director of the Binghamton University Pep Band and is an Assistant with the Harpur Jazz Ensemble. He plays in many groups around the area including the 11 piece Funk Horn Band “The Terry Walker Project.” “Reese’s stories are the best par t of jazz band.” – Marc ???? is a mysterious man who many might know. His charm is so contagious, vaccines were created for it. Every time he goes for a swim, dolphins appear. His reputation is expanding, faster than the universe. His hands feel like rich, brown suede. His legend precedes him, the way lightning precedes thunder. “I would comment, but...” Marc MARK ROSSNAGEL is a sophomore double majoring in Arabic and Organ Performance. Mark is proud (I do not know why) to come from the best (or worst) part of New York City, Staten Island. He has been playing organ and piano for many years and studies here in Binghamton under Dr. Jonathan Biggers. Today, he is recording this concert and deserves a special mention for being asked to do more than any other recording engineer has done. “Mark’s passion for music is unmatched by any monal.” – Marc VICTOR CALIGIURI is a senior Industrial and Systems Engineering major from Flushing, Queens. He has been pushing the play button for countless years. His famous play button pushing occurred in his sophomore year against his former roommate Jonah Sperber. “Nothing is more important than the man behind the scenes.“ – Marc Letter from the Performer Dear Audience, Thank you for attending my Senior Honors Recital. I hope you all have fun and rock out. This recital has no rules. Feel free to applaud whenever the moment strikes (even between movements). Do not worry about conventional recital procedures. WARNING: unexpected occurrences may occur, do not leave your seat, everything will be taken care of. I f the music gets too loud, rock harder. Feel free to get up and dance at any moment; I will be dancing on stage anyway. But seriously, thank you for attending because the purpose of performing is to share music to a wide audience. I feed oﬀ people’s energies, so the more interested the audience is, the more fun the whole experience will be. The program I have selected is very eclectic and shows oﬀ many diﬀerent types of playing. I hope you enjoy and remember this experience. Thank you, Marc �Bin gha mto n Un ive rsit y Mu sic D epa rtm ent ’s U P C O M I N G E V E NT S M M Thu rsda y, Mar ch 25"' MidDay Concert, 1:20 PM —FREE , Casadesus Recital Hall Thu rsda y, A p r i l 8 ‘” Jazz MidDay Concert, 1:20 PM – FREE Osterhout Concert Theater Thu rsda y, A p r i l 8 ” Harp ur Jazz Ensemble Concert (cosp onsored by the Harpur Jazz Ensemble and the Binghamton University Department of Music), 8:00 PM, Osterhout Concert Theater, $$ (FREE for students) Satu rday , A p r i l1 0 ” J unior Recital: Jieun Jang, piano, 3:00 PM, Casadesus Rea‘ta/ Hall, FREE Satu rday, A p ri l 1 0 ” L ecture/Demonsbaﬁon on Jacques Ibert’s Concertino da Camera: Origins, Ear/y Reception History, and Current Performance Considerations fo r Alto Saxophone and Orchestra by Professor Daniel Gordon, 11:00 AM, FA 111, FREE (cosponsored by the Binghamton University Music Series) Department and the Harpur College Dean’s Visiting Speaker Satu rday , A p r i l 1 0"ll Sweet Albion: The English Clarinet with clarinetist Timothy Perry and pianist Margaret Reitz, 8:00 PM, Anderson Center Chamber Hall, $$ Thu rsda y, Apr il 1 5‘” MidDay Concert; 1:20 PM — FREE, FA 21 Fri d ay, A p r i l 1 6m Master’s Recital: Stephen Brooks, double bass, 8:00 PM, Casadesus Recital Hall, FREE Satu rday , A p r i l 1 7 ” Gan’ net Studio Recital, 3:00 PM – FREE Casadesus Recital Hall Sa t u r d ay, A p r i l 1 7°" University Chorus: Honegger’s KING DA VID, 8:00 PM, Osterhout Concert Theater, $$ (FREE for students) For ticket information, please call the And erso n Cen ter Box O ﬀice a t 777ARTS To see all events, please visit music. binghamt vn. e du Become a fan on Facebook by visiting Bing ham ton Univ ersi ty Mus ic D epa rtme nt � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:05:19 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE154593">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE154593</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marc Silvagni, percussion, senior honors recital: One meets his makers!, March 21, 2010 Recital Tape 2010-3-21 Description An account of the resource Works by Ford, Engelman, Cahn, Firth, Sarmientos, Abe, Mohlenoff, Houllif, Rundgren. Held at 3:00 p.m., March 21, 2010, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Silvagni, Marc 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 2010-03-21 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound tape reel Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 35:19:00 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59271 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59271"> Mareda Gaither-Graves Recital</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mareda Gaither-Graves Recital Subject The topic of the resource Concerts Description An account of the resource Held at 8:15 pm, May 9, 1968, Music Recital Hall. Works of Handel, Schubert, Debussy, Korte. Creator An entity primarily responsible for making the resource Gaither-Graves, Mareda 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 1968-05-09 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Handel, George Frideric, 1685-1759 Schubert, Franz, 1797-1828 Debussy, Claude, 1862-1918 Korte, Karl State University of New York at Binghamton. Department of Music. Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 3.9091E+13 https://omeka.binghamton.edu/omeka/files/original/bcdcbed7adecdd7fc1968938d115df5b.pdf c3744a07f9f6f150d54a5f1eca012ba7 PDF Text Text STATE UNIVERSITY OF NEW YORK AT BINGHAMTON Harpur College Department of Music MAREDA GRAVES VOCAL–CHAMBER RECITAL February 15, 1974 Casadesus R e c i t a l Hall 8:16 p.m. �MAREDA GAITHERGRAVES, soprano JANE HAWKINS, piano and harpsichord A A A A A A A A X A R A A A X I J.S. BACH SCAFE KONNEN SICHER WEIDEN (Sheep may safely graze) Birthday Cantata BWV 208 Charles A. Joseph, recorder Kevin McDermott, recorder II PIECES de CLAVECIN avec VOIX et VIOLON J.J. de MONDONVILLE (ed. by E. Borroﬀ),)(/ 1 . Quare t r i s t i s e s . Psalm 41, 6 Psalm 41, 7 Psalm 143, 3 2. Spera, in Deo. 3. Protector meus. Mary Reynolds, violin III F. SCHUBERT DER HIRT AUF DEM FELSEN (Shepherd on the Rock) Sheldon Berkowitz, cl a r i n e t INTERMISSION IV 0. RESPIGHI IL TRAMONTO AMICI QUARTET Evelina Chao, v i o l i n Cordy Rosow, violin John D exter, v i o l a Fred Raimi, cello There was a Youth i n whose s u b t l e being Genius and Death contended. Mingled with shades of twilight in the brown mossy woods, he lay in �love with his lady. But when th e morning came, she found her lover dead and cold . The tomb i s a l l , l o s t child , that now remains o f Thee! Peace! This was the only moan she ever made. “The Sunset", P.B. Shelley (abridged) 4 CHANSON PERPETUELLE (Song without end) E. CHAUSSON AMICI QUARTET Jane Hawkins [] Trembling woods, starstudd ed sky, My beloved has gone away, Carrying o ﬀ my disconsola te heart. Because I have my lover no longer I shall die i n the pond, amidst the ﬂ owe rs , under t h e q u i e t cu r r e n t s . The green reeds w i l l entwine me and my bosom w i l l b e l i e v e that I am i n the arms o f my l ove r! � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audiotape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 32:01 28:42 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243276">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243276</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mareda Gaither-Graves, recital, February 15, 1974 Recital Tape 1974-2-15 Description An account of the resource Works of Bach, de Mondonville, Schubert and Respighi. Held at 8:15 pm, February 15, 1974, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Gaither-Graves, Mareda 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 1974-02-15 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/23e7562aa0a1ebaea8d8f3d6aff09dcd.pdf d4c117c4081c37ccb4aa759f68f8958a PDF Text Text STATE UNIVERSITY OF N E W YOR K AT BIN GHAMTON HARPUR COLLEGE TH E DEPA RTMEN T OF MUSIC MARIA CISYK, Pianist February 23, 1969 2 :30 p.m. Recital Hall PR OGR A M Toccata in E Minor Moderato Un poco allegro Adagio Allegro J. S. Bach Capriccio. Op. 76, No. 2 Intermezzo, Op. 117, No. 2 Intermezzo, Op. 11 9, No. 3 Brahms Ballade in F Minor Chopin Intermiss ion “Au bord d ’une sourc e ” Liszt Suite, Op. 14 Allegretto Bartok Scherzo Allegro Molto Sostenuto E tude pour les Arpeges composés Etude pou r les “cinq doigts ” Debussy FUTURE EVENTS SUNDAY, MARCH 9, 8:15 p.m. The College Theater, No Charge THE HARPUR COLLEGE WIND ENSE MBLE Albert Hamme, Conductor SUNDAY, MARCH 16, 8 :15 p. m. Recital Hall, No Charge ST UDENT COMPOSERS CONCERT Students of Karl Korte PLEASE NOTE : The New York Woodwind Quintet concert sc heduled for April 7, has bee n rescheduled for APR IL 8, 8 :15 p.m., i n The Col lege Theater. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 28:34 00:38 28:07 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59268 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59268"> Maria Cisyk Recital</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Maria Cisyk Recital, February 23, 1969 Description An account of the resource Held at 2:30 pm, February 23, 1969, Recital Hall. Works of Bach, Brahms, Chopin, Liszt, Bartók, Debussy. Creator An entity primarily responsible for making the resource Cisyk, Maria Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1969-02-23 Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Bach, Johann Sebastian, 1685-1750 Brahms, Johannes, 1833-1897 Chopin, Frédéric, 1810-1849 Bartók, Béla, 1881-1945 Debussy, Claude, 1862-1918 Liszt, Franz, 1811-1886 State University of New York at Binghamton. Department of Music. Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020095794 39091020095588