146 10 1775 https://omeka.binghamton.edu/omeka/files/original/5523193cbcd064ea6726ff37255516f8.pdf 090d12323ab28361877833e595a8a92d PDF Text Text INGHAMTON B U N I V E R S I T Y OF N E W Y O R K S T A T E UNIVERSITY vdeo [4 D E P A R T M E N T SAXOPHONE STuDIO RECITAL E X 21 23) , “ ' g , ‘ « v . V Sv = 513 i R H I ' ¢ 0 A b I with M a r g a r e t72 04134 Pia/no Frid ay, April/30, 2010 4.00 p . rm CmadeéwkecémJ/Haﬂ/ �PROGRAM Sicilienne Pierre Lantier Dean Papadopoulos. Alto Saxophone Margaret Reitz, Piano (19101993) PittCountyExcurs/ons... A . .. . . . William Duckworth March (b. 1943) Serenade Air Ragtime Bradley Alder, Tenor Saxophone Margaret Reitz, Piano Three Romances IliA N ot F a st .Robert Schumann (18101956) Transcribed by Fred Hemke Andrew Block, Alto Saxophone Margaret Reitz, Piano Scaramouche A . . A . . . . . . . 4 .ADarius Milhaud II. Modere III. Brazileira (18921974) Daniel Fagen, Alto Saxophone Margaret Reitz, Piano Six Barefoot Dances4.. . .. A . . . . ..John David Lamb 1 . F i r m (b. 1 935) 2. Swinging 3. Walking 4. Lively 5. Jaunty 6. Brisk Daniel Fagen and Dean Papadopoulos Alto Saxophones Premier Quatour A . . . . A ... Jean Baptiste Singelee l. Andante (18121875) Allegro Petit Quatour. . . . . . 4 . . . . . Jean Francaix I. G ag uenardise Cantina Band. (19121997) John Williams (b. 1 932) The Binghamton University Saxophone Quartet Daniel Fagen, Soprano Saxophone Andrew Block, Alto Saxophone Raymond Hendricks, Tenor Saxophone Dean Papadopoulos, Baritone Saxophone Two Rags for Saxophone Ensemble .. . Arthur Frackenpohl 1. S a d R a g 2. Glad Rag Daniel Fagen, Soprano Saxophone Andrew Block, Alto Saxophone I Nicholas Lord, Alto Saxophone II Raymond Hendricks and Bradley Alder, Tenor Saxophone Dean Papadopoulos, Baritone Saxophone Special Guest, Anthony Alduino, Bass Saxophone (b.1923) �ABOUT THE PERFORMER S PEJ REI TZ, 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. She is on the Executive Board of the New York District MTNA organization. She is President of the local District V I I Music Teachers Association and is an active adjudicator for the National Piano Guild Organization. TONY ALDUINO is a music educator in the Susquehanna Valley School District and an active musician in the Southern Tier. He is frequently called upon to play saxophone with the Sammy Kay Orchestra, Music Unlimited, the Terry Walker Project and the Southern Tier Concert Band. Mr. Alduino is also the baritone saxophonist with the Empire Saxophone Quartet, a professional ensemble of the highest caliber. They have toured throughout the United States and can be heard on several CDs. Mr. Alduino has also recorded with the Rascher Saxophone Ensemble, the Fredonia Saxophone Ensemble, and the Saxophone Sinfonia, an 18 piece saxophone ensemble that performed in Alice Tully Hall at Lincoln Center. He teaches saxophone at The Woodwind Studio in Conklin. He is on the Executive Board of BCMEA and is a NYSSMA AllState adjudicator. Prior to coming to the Binghamton area, Mr. Alduino was a member of the Onondaga Community College faculty and saxophonist with the Syracuse Symphony Orchestra. He is the father of two, Gina Kline, a music teacher in the Union Endicott School District and Angelo Alduino, a computer expert in NYC. He enjoys kayaking, biking and skiing. BRADLEY ALDER, Sophomore, Major: Biochemistry ANDREW BLOCK, Freshman, Major: Engineering D A N I E L FAGEN, Senior, Major : Psychology/Music RAYMOND HENDRICKS , Sophomore, Major: Industrial Engineering NICHOLAS LORD, Senior, Union Endicott High School DEAN PAPADOPOULOS , Sophomore, Major: Accounting/M15 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 51:12:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE154600">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE154600</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 Saxophone studio recital, April 30, 2010 Recital Tape 2010-4-30b Description An account of the resource Works by Lantier, Duckworth, Schumann, Milhaud, Lamb, Singelée, Williams, Frackenpohl. Held at 4:00 p.m., April 30, 2010, Casdesus Recital Hall. Creator An entity primarily responsible for making the resource Reitz, Margaret 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 2010-04-30 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/b9205bcc1c77a13897cfac215c89f6c4.jpg 762df632d925fce51f6a0ab8164c6106 https://omeka.binghamton.edu/omeka/files/original/72b4ab03586e50360cf92a81871c466f.jpg b787ce84ed4892faec4db67501396cbc https://omeka.binghamton.edu/omeka/files/original/e37deef545f340559ddace860aae8be7.jpg 1a823b97626ab67189f20417900bfb1e https://omeka.binghamton.edu/omeka/files/original/ddb1201b294f2cb4c8f92b5e1bac097e.jpg dc777ce7f9edb518e07250f05ab8fbf6 https://omeka.binghamton.edu/omeka/files/original/1795a8f3c50c0f2143d5ad88b556cfd7.jpg 5aa246ce3f3b1de5f0ae809a9a542f98 https://omeka.binghamton.edu/omeka/files/original/f9843cd1157b2820085df38ea9674401.jpg 04d2d816424923755577bf8a47528023 https://omeka.binghamton.edu/omeka/files/original/69747b409abbb56fab9af0abe6b21ed9.jpg 4b87ef9ca33f0b87256f916ee80c8613 https://omeka.binghamton.edu/omeka/files/original/08a5922383ee45b4e84133121b033287.jpg 7efd95f940dde7de33b351b8c9b1d307 https://omeka.binghamton.edu/omeka/files/original/0351e51f21bd1bca5750c5212a0b3f4f.jpg dc93df6fc53693f1ef2dff0a44b8b833 https://omeka.binghamton.edu/omeka/files/original/231609b46e654c6a0a85f95ac39514fc.jpg 5d80b862d326a786d865b66300789f2d 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 Partial cast list given. Stage sketches consistent throughout entire promptbook, some more extensive than others. Notes also consistent throughout promptbook, never particularly extensive but there are plenty of notes per page, mostly notes on dialogue and quick remarks. All markings in black pencil. Collection Max Reinhardt Promptbooks Dimensions Physical dimensions of item 21cm x 17cm Earlier version Earlier version (dcterms:isVersion Of) Der Oizer (Der Schatz) Notes Located in Binghamton University Libraries Special Collections PT2635.E548P75 v.94 Production(s) March 11, 1910, 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 Schatz : Komödie in vier Akten [promptbook] Subject The topic of the resource Pinski, David, 1872-1959. Oizer-- Translations into German Promptbooks Stage Directions Creator An entity primarily responsible for making the resource Pinski, David, 1872-1959 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 3188 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/b30d8df96f7ba29f060ee85f752f80c4.jpg 9874c83cbb3997c754fd6d4352746fc9 https://omeka.binghamton.edu/omeka/files/original/def381e456e8d59ebc1a4ed6a3b67eb5.jpg 683ff300d08a321adff6e9d761cdf088 https://omeka.binghamton.edu/omeka/files/original/9417c9197d5eaa870267e1c326becf5f.jpg 8c0e0775a28d21f050f2b5d5de1a27a9 https://omeka.binghamton.edu/omeka/files/original/3de0ec7a43312b5b37a3a30c17004c1a.jpg e5bf3333c6d419c8863c414bbcd77ac3 https://omeka.binghamton.edu/omeka/files/original/995c105a3cb483729153ce526beb8b13.jpg bae6855934d575da0066db13e9ed860d https://omeka.binghamton.edu/omeka/files/original/1e75675193b74eb9757f39bff783a487.jpg fd66cc0b200a1aa5d546bf5a5b5f2d8c https://omeka.binghamton.edu/omeka/files/original/6bf930205bc589531a429dadffa4b19b.jpg 6a9bd7df8b85f31a6f92a7f69b2ada1f https://omeka.binghamton.edu/omeka/files/original/3d2cad2675225ab21a32486977640a6e.jpg ed49ef9cc17629c288f0cf45822dcd64 https://omeka.binghamton.edu/omeka/files/original/84cb1faf064e148526bdb11fdb60f332.jpg 937344fe21d093acf37081acd7ca470b https://omeka.binghamton.edu/omeka/files/original/5838c107b8e102427f5f904d8501a479.jpg 8b5a69460c28d05b67031389f518fc2b 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 Stamped “Deutsches Theater zu Berlin." Markings in black pen, black pencil, red pen, and red pencil. Extensive staging drawings/directions provided in opening pages. Extensive written notes and markings, mostly in black pen, throughout entire promptbook. Other inks mainly used for smaller notes on staging/technical directions. Collection Max Reinhardt Promptbooks Dimensions Physical dimensions of item 19.9cm x 13.5cm Earlier version Earlier version (dcterms:isVersion Of) Pelikanen Notes Located in Binghamton University Libraries Special Collections PT2635.E548P75 v.129 Production(s) March 22, 1914, Berlin April 1, 1914, Berlin -Supporting materials (for all Berlin productions): Box 7 Folder 46: Photographs Box 14 Folder 46: Programs; plays November 10, 1920 (city unspecified, possibly Oslo, Nationaltheatret Christiania) 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 Scheiterhaufen [promptbook] Subject The topic of the resource Strindberg, August, 1849-1912. Scheiterhaufen Promptbooks Stage directions Deutsches Theater zu Berlin -- Germany Creator An entity primarily responsible for making the resource Strindberg, August, 1849-1912 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 3224 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/b9ffd605f877094503ea43fc3633d511.jpg e7d43abe7b415722704fc6286b140fa8 https://omeka.binghamton.edu/omeka/files/original/95a120b73514b7e7c210a9018d0b80b7.jpg 32786ba2766a203cfa70b6bb0aae58a2 https://omeka.binghamton.edu/omeka/files/original/b90f14af32275062fc2c315dadb0171c.jpg fe986dca420f2a10664c6265231ecde4 https://omeka.binghamton.edu/omeka/files/original/f2e4e8286ac8aa1ca33c99fbf4b41cc9.jpg fe904df9ce16ebad806ab2de32b16b34 https://omeka.binghamton.edu/omeka/files/original/55dda68b676ca1f18c4300a82e11ab22.jpg 0a2e631c02d16482aaf341665863c472 https://omeka.binghamton.edu/omeka/files/original/48091444be14efe220ac5ecd717da882.jpg 3ff9b0e3d9cf660e00bc17afd4a67e20 https://omeka.binghamton.edu/omeka/files/original/814fd72ef0e82c758faaf4e50ede8124.jpg a8e06ce9263f2d77e97bed10f31b9703 https://omeka.binghamton.edu/omeka/files/original/f291480b0627591e60f1f119ef89b018.jpg e3accdaf5e5d4807e268998136b88ba7 https://omeka.binghamton.edu/omeka/files/original/9a5f2927e3fc7d26b8a1153737d592f7.jpg dc3447ff04a7d73df06898e8badcdec3 https://omeka.binghamton.edu/omeka/files/original/2ae0c4087cb3dbfc9da9f76d40d80889.jpg 9f77b84f2af0311b686e7ecb7d5b0ce0 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, published, rebound with added note pages, publication information missing (most likely S. Fischer, Berlin). All text in German. Stamped “Deutsches Theater zu Berlin” in opening cover pages. Markings in black pen, pencil, red pencil, and blue pencil. Black pen: Front cover pages - “Oberhof 30. Jan. 15”; p. 116 - “Oberhof 9. Febr. 15.” Detailed stage sketch page after cast list. Most written notes taken in black pen. Blue pencil used mainly to section, cross-out, and highlight lines of dialogue. Red pencil used mainly for underlining, highlighting, etc. Notes on music, stage, effects, etc. in all inks. Collection Max Reinhardt Promptbooks Dimensions Physical dimensions of item 20.5cm x 16.5cm Notes Located in Binghamton University Libraries Special Collections PT2635.E548P75 v.43 Production(s) January 30, 1915 February 9, 1915 -Supporting materials (all): Box 2 Folder 59: Photographs Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Schluck und Jau : Possenspiel in 5 Akten [promptbook] Subject The topic of the resource Hauptmann, Gerhart, 1862-1946 Promptbooks Stage directions Deutsches Theater zu Berlin -- Germany Creator An entity primarily responsible for making the resource Hauptmann, Gerhart, 1862-1946 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 3148 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/ccef58b268d39ed61fb140ed83f92195.pdf e48a6efc01476d9cbe7846aab043c123 PDF Text Text The Founda tion of the State University of New York at Binghamton A Scholarship Beneﬁt Concert PRESEN TED B Y THE CASADE SU S FAMILY THE NEW YORK W OODWIND QUIN TE T THE LENOX QUARTET David L. Buttolph C 0nd uctor WEDNESDAY, JANUARY 7 , 1970, 8:30 P.M. DON A. WATTER S THEATE R HARPUR COLLEGE �GUEST ARTISTS Robert and Gaby Casodesus ARTISTSINRES IDENCE Jean Cosadesus The New York Woodwind Quintet Thomas Nyfenger, F lute Ronald Roseman, Oboe David Glazer, Clarinet Arthur Weisberg, Bassoon Ralph Froelich, French Horn The Lenox Quartet Peter Marsh, Violin Delmar Pettys, Violin Paul Hersh, Viola Donald McCall, Cello assisted by Alvin Brehm, Double Bass (5.U.N.Y. StonyBrook) �Program Concert fLir drei Klaviere in C dur Johann Sebas tian Ba ch Allegro Adagio Allegro Conce rt ﬁi r drei Pianof orte ( K242) Allegro Adagio Rondo Tempo di Me nuetto Wolfgang A madeus Moza rt INTERMISSION Nonet te in F (Opus 31) . . . . . . . . . . . . . Ludwi gSpoh r Allegro Scherzo: Allegro Adagio Finale : Vivace Conce rto pou r trois pianos et O rchest re a cordes (opus 65) . . . . . . . . . . . . Robert Casadesus Allegro marziale Andante Siciliano Presto Spagnolo Followi ng the Concert : R E C E P T l O N in the U niversit y Art G allery �THE CASADESUS FAMILY Robert Casadesus was born in Paris into a family of artists and musicians. A t the age of four he began pianistic study and when he was twelve entered the Paris Conservatory.While there he won all the major awards and em barked on a career in which, in addition to excelling in concert and recital appearances, he has in cluded the composition of almost sixty works. He made his American debut with the New York Philharmonic orchestra i n 1935 when he was already considered in Europe to be the most eminent of French pian ists. I t was im media tely af ter this concert that Toscanini, who was in the audience, invited Casadesus to play under him the following season. The 196768 season ma rked his 94 th, 95th and 96th appearances with the Philharmonic and his 200th. 2015t, and 202nd appear ances in the city of New York– almost unparalleled among con temporary pianists. Robert Casadesus also appears jointly in recitals with his wife, Gaby, whom he met at the Paris Conservatory when he was enjoy ing the ﬁrst triumphs of his career. One day he came to the conserva tory to show his former teacher, Louis Diemer, a twopiano work he had composed. The professor introduced him to his current prize pupil, Gaby L’Hote, and the two young artists performed Robert’s composition. Soon after they were married and began a musical col laboration that has taken the dis tinguished cou ple a rou nd the world. I t was a t t h e suggestion of the la te Dimitri Mitropoulos tha t their son, Jean, joined his illustrious pa ren ts in performances of t he concerto for three pianos and or chestra by I. S. Bach. Later these three great artists added the M o za r t th ree piano concerto to their repertoire. A new three piano work, this time by Robert, had its premiere performance during the sum mer o f 1965 w h e n t h e t h ree Casadesus played with the New York Philharmonic at the French American Festival in New York. Jean Casadesus’ professional career was brilliantly launched when he made his debut as solo ist wi t h E uge n e O r m a nd y i n 194 7. The following autumn he won the First Meda l at the Geneva Inter national Competition and since then has toured e x tensi v ely throughout Europe, North and South America and Israel. He has appeared frequently with major orchestras as solo guest artist a nd in three piano works with his par ents. They have played together in Europe with the Santa Cecilia Orchestra in Rome and the So cieté des Concerts in Paris, and in this country with the New York Philharmonic, and the orchestras of St. Louis, Kansas City, Balti more and Miami. Truly, the family of Casadesus has been a glory of French and Interna tional music annals for genera tions. �THE LENOX QUARTET The L eno x String Quartet takes i t s name from the to wn i n M as s a chusetts where it was founded in The members of the Lenox Quartet have ma de their homes in the Triple Cities area since July, 1958 wh en its members were on 1969 when they assumed their ter ( Tanglewood Summer Festi R esidence at Ha rpur College, Sta te University of New York at Bing hamton. In addition to their reg ula r concert activities, studio in the faculty of The Berkshire Cen val ). Du r i n g fou r sum mers, wh ile on the s t a ﬀ o f the C ompo si tion Depa r t m en t, the m en we re in present posi tion as Quartetin volved with the Fromm Founda struction, and ensemble coaching, gram. The Foundation was crucia l classes in the regular curriculum. They also have done extensive taping for educational television. tion’s contemporary music pro in t he support of t he Qua rtet in its early years, including concerts fea turing ﬁrst performances of n e w compositions a t the N e w School of New York and at the U n i v e r s i t y o f C h i c a g o . T h e Fromm Foundation also supported t h e Qua rtet ’s residencies a t t he Princeton Seminars in Advanced Musical Studies. c these eminent artis ts teach some Besides, va rious sta te a rts coun cils have employed them in a va riety o f educa t iona l presen ta tions. In performance, lectureconcerts, and in “workshop” conditions, The Lenox Quartet inspires and instructs t h e young m usicians of tomorrow. e THE NEW YORK WOODWIND QUINTET The other of the chamber en sembles in residence at the State University of New York at Bing hamton is the New York Wood wind Quintet. Since 1952 t he Quin tet has ma inta ined its position of pre eminence in the ﬁeld of chamber music through numerous concerts in the United S tates and abroad, radio and television appearances, and highly praised recordings. The Quintet is an ensemble of es tablished solo artists well known to the musical world. Their col laboration has resulted in an en semble which has prompted many critics to classif y t he Quin tet i n the highest category of chamber music performance. T h e New Yor k W oo d w i nd Quintet, which recently returned f rom its second S ta te Depa r tm en t tour of South America, has been in residence at Harpur College since 1967. Each member i s on the faculty of the Music Depa rt ment. �PRO GR AM NOTES F rom i ts incep tion, t h e t h ree piano concerto has been a ” famil y aﬀair.” ]. S. Bach crea ted th e mul ti(two, three, or four) keyboard concerto for the uses of his own circle of sons and pupils which comprised a group of the best keyboardists of that or any epoch. It was accomplished by the simple expedient of reworking, expand ing or working to the model of al ready existi ng conce rtos for t wo or more violins of which those of Vivaldi are the best known. The prese nt wo rk is an ex ampl e. It e x ploits the dynam ism and ﬂorid, no t t o sa y glitte ring, ornam en ta tion of the Baroq ue Italia n con certo. The tutti sections contrast with the solo portion: the princi pal interest lies in the eloquence of the individual solos (of which there are three in the last move ment ) and, as with Vivaldi, es pecia lly in t he intric a te tex tures created by the three keyboards playi ng toget her. Moza r t ’s th ree pi ano c oncer to is likewise a family project. It was written for a Salzburg family, a Coun tess Lodron and her da ugh ters, amateur pianists who had al ready comm issioned other works by Moza r t ( Diver timen ti, K 247 a nd K 287) . It is a galla nt work, simple and elegant, whose form and diction show the inﬂuence upon Moza rt of the school of pianists developed by expat riate Germ an vi rtuosi in Paris and ob served by Moza rt on his visits there. The C oncer to fo r Three Pianos and Strin gs o f Robert Casadesus wa s wri t ten i n t h e Sp r i ng o f 196 4 for a famil y per forma nce with th e New York Philharmonic during a F rench A m e r ican F es t i va l. T h e work con tinues t he tradit ion of stylized evocation which has been a featu re of native French key board music since the begin ning, notably in Couperin a nd Ramea u as well as many others . Although renowned in his own time as a violinist, com poser and conductor, history has not dealt kindl y with the reputation of Ludwig Spohr. With out t he pow erf ul, crea tive force of eithe r Beethoven or Brahms, he never theless stands as a link between them in the tradit ion of solid craftsmanship and sincerity of Germ an m usic. For all its adherence to the structural principles of Ha ydn a nd Beethoven, the N o nettei s a fr iend ly, unpr eten tious work . The Scherzo is derived from popular danc e music, the Land ler. The slow movement, thematically re lated to the ﬁrst, recalls Beethoven and oﬀers more than a hint of Brahms. The last movemen t is in genuous and charm ing. Despite the opulence of the means af forded by the large group, no wher e does Spoh r desc end to bombast or empty display, and the piece remains genuine cham ber music. —Willium Klenz 14 �THE ORCHESTRA VIOLINS: VIOLAS: Peter Ma rsh Concert Master Delmar Pettys Principal Second Section Ralph Wa de Ma rianne Wallenberg Melba Sandberg Carl Silfer Lorraine Fink Richa rd Leavitt Nancy Robbins M rs. Judith Niles David Agard Betty Lou Agard Paul Hersh Edward Pettengill Russell Colton Ronald Roseman Peter Hedrick BASSES: FRENCH HORNS: Alvin Brehm, Principal Richard Thomas Ralph Froelich John Covert D r. Fritz Loewenstein CELLO: Donald McCall, Principal Enzo Liva Fritz Wallenberg David Howard OBOES: DAVI D L.BUTTOLPH From student days at Yale Uni v e r si t y a n d s t u d y wi t h P a u l Hindem i t h to post wa r study a t the Juilliard School in piano with Gordon Stanley followed by in tensive work at Fontainebleau and the Paris Conservatory with Na dia Boulanger, David Buttolph has pursued a conducting career of extraordinary scope and variety. The development of his conduct ing technique was greatly aﬀected by his studies with Fritz Mahler, Eleazar de Carvalho and Pierre Monteux. Th e pa t h lea ds f rom ea rly choirboy experience to timpanist with the New Orleans Philhar monic; from choral conducting in the South to vocal arrangements for a Broadway production; and from the orchestral conducting faculty at the Manha t tan School of Music to music director for sev eral community college and pro fessional organiza tions in metro politan New York. M r. Buttolph’s earliest associa tions with music came through his grandmother, a singer of lieder, and his mother, a music teacher and accompanist, as well as his uncle, a composer for ﬁlms in Hol lywood. M r. Buttolph was appointed to the Music faculty at Harpur Col lege i n 1965. H e is Di rector o f t he Harpur Orchestra and the Harpur Chorale. �ABOUT THE FOUN DATION The Founda tion of the Sta te Univer sity a t Bingh am ton wa s in corpor a ted i n 1957. A ta x ex em p t corporation, it is charged with th e soliciting, managing and allocat who is also a m ember of the Coun cil. The Founda tion meets quar terly, o n the c ampus. T h e ma jor em phasis of t h e Founda tion’s a ctivity has been the ing of gif t f unds in suppo rt o f t he disbursement of scholarships. Last versity. students. Les ser amounts were de– educat ional programs of the Uni The membership of the Foun dation consists of nine members of the Council of the State Uni versity at Bingha mton, who are appoin ted by the Governor, and 22 additional persons including the President of the University at Bingha mton and the Chancellor of the State University of New York. The Presiden t of th e Foun dation is Cornelius C. Van Patten, y ear $3 0,475 was aw arded t o 141 voted to sup port fa culty r esea rch, t o s t u d e n t p r i z es a n d t o t h e acquis ition o r com missio ning of works of art. T h e Fo u nd a t ion a ccom plish ments are due both to the dedica tion of its dist inguished lay mem bers, a nd to the insight and gen erosity of those persons who have made gifts for various Founda tion purposes possible. ME MBE RS OF THE FOU NDATION Cornelius C. Van Patten, Preside n t D r. Orin Q. Fli nt, V ice Pre siden t Frank A. Nem ia, S ec o nd V ice Pre siden t Bruce Dearin g, S ecretar y Stewar t W. M orse, T reasur er Edwar d Demske, Assista nt Trea surer Glenn G. Bar tle William S. Chi ttenden Roger B. Coo per Donald Donn ellan Joseph F. Garbarino Morris Gitlitz S. Stewart Go rdon Samuel B. Gould Ralph J. Hasbrouck Cyrus M . Higley Alexander Ho rowitz Donald W . Krame r M rs. Edwin A. L ink William A. Lyons H. Kenne th MacQueen W . Wallace McDowell Hartwell P. M orse, Jr. Samuel Naka sian M rs. Edward Ne zelek Edward M . Prentice Alec Rosefsky Fred A . Rosek rans John F. Russell Michae l N. Scelsi Robert T. Tho rne Lee J. Wolf �NOTE OF APPRECIATION The Founda tion of the Sta te University of New York a t Bingham ton is grateful to the Casadesus Family for dona ting their services a nd to all members of the audience for their contributions to the Scholarship Fund. Special thanks to the Patrons, Benefactors, Sponsors a nd Donors listed below and many others whose names reached us too la te for publica tion. PATRONS M r. and M r s. Glenn G . Ba rtle M r s. Elizabeth Knapp M r . a nd M r s . W illiam S. Chittenden M r . and M r s . W illiam Lyons M r s. E ben H. E llison M r . and M r s. Ma r io Romano D r. a nd M r s . Orin Q. Flint D r . and M r s . I . J . Rosef s ky M r s. Thomas G riﬀith M r . Leland B . Sh eerer M r . and M r s . G eorg e L . Hinman M r . and M r s . Lynn H. Smith M r s . H. Gordon Kent BENEFACTORS D r. and M r s. Andrew B . Adams M r. and M r s. Ca r rol Coates M r . and M r s. Edg a r W. Couper Gustav Daeum ich M r . and M r s . B r u c e Dea ring M r. and M r s. Leopold E c kler D r. and M r s. V. Garabedian M r . and M r s. Mo r r is G itlitz M r s. Stanley H. Hill M r. and M rs. Alexander Horwitz D r. and M r s . Ba i rd D. Ja y M r. a nd M r s . David Levene M r. and M r s. Edwin A. Link M r. and M r s. Stuart McCarty M r . and M r s. Edward Moore M r . and M r s. Wendell H. M iller M r . and M r s. William J . M i tchell M r . and M r s . Edwa rd L . Nezelek M r s. Ma ry P illepich M r . Seymour M . P itcher M r . and M r s. Alec Rosef sky M r . and M r s. John F . R ussell M r . and M r s. S. E . Va il M r . and M r s . Cornelius C. Van Patten D r. and M r s. Robert J . Weiss SPONSORS M r. and M r s. A. Lawrence Abrams M r. and M r s. John Belniak D r. and M r s. Clif ton H. Berlinghof M r. and M r s. Joseph P . Conte D r. and M r s. Mor r is E ber D r. and M r s. Samuel Finkelstein D r. and M r s. Raul G rinberg Hugh E . Hunter M r . and M r s. Frithiof Johnson M rs. Bette Keefe M r . and M r s. Joseph M . Levene M r . and M r s. Nat L ieber M r . and M rs. Rober t F . Melville M r . and M r s. Cha rles L . Rosenthal Cha rles R . Rosenthal D r. and M r s. Joseph E . Van Riper D r. Anton A. V reede M r . and M r s. P eter N. Vukasin M r . and M r s. Thornton W. Whipple �ADDITIONAL NOTE OF THANKS Due to dela y in the mai ls duri ng the Chr istmas and New Yea r holidays, the following con tribu tions to the Scholarsh ip Fund re ache d us af ter t he Souvenir P r o . ress p gram s ha d gone to PAT RONS M rs. E dwa rd P ettin gill M r. F r i t z Wa llenberg M rs. Maria nne Wal lenberg BEN EFA CTO RS D r. and M r s. A swad M r . and M r s. G eorg e Fo r bes M r. and M rs. W illia m H. Johnson, J r. M r . and M r s. H a r twel l M o r s e M r . and M rs. F rank Nem ia M r. Je rom e Schact er M r s. M erri tt Stewa rt SPONSORS M r . and M r s. G eorg e Co uper thwa it M r . and M r s. G eorg e T . De ck e r D r. and M rs. G eorge Gi tlitz M r . and M r s. E dwa rd R . Le vene D r . and M rs. J ack Leve ne M r . and M r s. H erbe rt R . Le vine M r . and M r s. K eith Ma r tin M r . and M r s. David Pa tter son D r. an d M r s. A rthu r So lom an D r. and M r s. Jo hn T repa M r . and M r s. T hom as L . Ul rich DONORS M r . and M rs. W a l te r Al brec ht M r. and M rs. W illia m Ander son M r. Joseph Cornacchio D r. and M rs. B . R. Dorce y M r . and M r s. W illia m D ri ver M r . and M r s. Ronal d Ga le M r . and M rs. Rober t Ga llag her M r. and M rs. Rober t Guy M r. and M rs. Charles Houghton M rs. K atzin M r . and M rs. Bohda m Kostyshyn M r . and M r s. Samu el L even e M r. and M rs. A lber t Ma ll M r . and M r s. S tanle y P e l t e r M r. Donald Rheubottom M r. and M rs. Robert F . Sullivan M r. W illia m T ilton M r. and M rs. L a rry Vest M rs. M ichael Zucke rma n �DONORS M rs. William Anderson M r . and M r s. William R . Austin M r s. E . W. Baumga rtner M r. and M rs. Alex Began 1. Belley M r . and M r s. David Ber nstein D r. and M rs. Alfred Brooks M rs. David L . Buttolph Ma rgery Colell i M r. and M rs. Thomas J . Conlon M r. and M rs. Mumford Crossley M r. and M rs. Edward J . Demske M r. and M rs. F r i t z Dersch M rs. H. H. Die ke Paul H. Diek e Miss G. Diet erle M r. and M rs. George Dunham M r. and M rs. Glenn V. Elmore M r. and M rs. Harvey F airbanks M r. and M rs. Joseph C. Federick M rs. Eduard F eitzinger M r. and M rs. George S. Fichtel M r. and M rs. David C. Fisher M rs. Robert G . F letcher D r. and M r s. Joseph J. F riedman M r. Arnold D. Ga rdner M r . and M r s. U. S. G reene Joan E . Halik D r. and M rs. George Hamilton M r. and M rs. Ralph J. Hasbrouck M r. and M rs. Roy Hase npﬂug Peyton M. Hibbitt Clarence F . Hotchkiss, J r. M r. and M rs. Charles H . Ide Jean Judge D r. Ma rek Kaplan M r . and M rs. Chandler Y. Kelle r M r . and M rs. George S. Kotrch M r. and M rs. Richa rd F . Kuhnen M r. and M rs. William H . Lamb M rs. Robert L arkin M r s. Ha r ry H. L evy M r. and M rs. Alex Livingston M r . and M r s. Walter Lowen M rs. Alfred Lowenstein M rs. Fritz Lowenstein D r. and M r s. Vernon C. Lubs M r. and M rs. E . Scudder Mac key M rs. Ma rga ret Manley D r. and M rs. Melnitz M r . and M r s. S. David Molyneaux D r. and M rs. F rancis E . Moore, J r. M rs. F . W. H. Muell er William B. M ullen Dr. and M rs. Thomas Nytch M r . and M r s. Richa rd H. Pa rish M r . and M rs. Jerome J . P e r l M r. and M rs. Howard P raeger M rs. T racy C. Pren tice M r. and M rs. F red A. Rosek rans M r. and M rs. Herbert J . Savitch M r. and M rs. Maurice Sall M r . and M rs. Edua rd R. Sch e r re r M r. and M rs. Vito F . Sinisi M r. and M rs. Stephen Smyk M r . and M rs. David G . Thomas M r. and M rs. L. N. Vacca M rs. Don A. W atters D r. and M rs. George B . Werner M r. and M r s. James H. Wilmoth Adam H., Wood D r. and M rs. Robert H . Zappert M r . and M rs. Allen D. Z iebur M r. Norbert Ad ler contributed the design and preparation of this Souvenir Program and various other related materials. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 4 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 19:30 25:29 31:43 18:05 Streaming Video HTML For video https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63158 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63158 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63158">Scholarship Benefit Concert</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCoverContinuous Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Scholarship Benefit Concert, January 7, 1970 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works of Bach, Mozart, Spohr, and Robert Casadesus. Held at 8:30 pm, January 7, 1970, Watters Theater. Creator An entity primarily responsible for making the resource Casadesus family New York Woodwind Quintet Lenox String Quartet Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1970-01-07 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 Mozart, Wolfgang Amadeus, 1756-1791 Spohr, Louis, 1784-1859 Casadesus, Robert, 1899-1972 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 39091020058057 39091020058107 39091020058156 39091020058106 https://omeka.binghamton.edu/omeka/files/original/ee3f33bd9dad7ad99456ae8e9712ef55.jpg ebd8e12a2517efdf88ab6aec4cf6be99 https://omeka.binghamton.edu/omeka/files/original/d9fd0c23b5e3213107bd219dab687228.jpg 5d745f20f05dc441b939d8d6abac819b https://omeka.binghamton.edu/omeka/files/original/6e56394ccab811ed1d72be6075454e79.jpg a9b70f1d4867da519dbc02032fd2469b https://omeka.binghamton.edu/omeka/files/original/9a5efaff5f814f89633fe328353eded1.jpg 3770d5d53ae2ad71df4f4b989cbdbad2 https://omeka.binghamton.edu/omeka/files/original/0b843c4341264d9a8e10ca1aa4eb4040.jpg b9d2a13bcf1f60d5eac11c43dc6a4c6c https://omeka.binghamton.edu/omeka/files/original/dead0954b0802d130fd5f251df661e40.jpg fd3ddc45f0e5268a797ff0a7baa19bf4 https://omeka.binghamton.edu/omeka/files/original/e9c2a41cf2e9ffabd853f7e55ffccb67.jpg bdb8ff84e9061b22f4e990a8af84f60d https://omeka.binghamton.edu/omeka/files/original/0c4eb4ee98c7415c955674632bf3cb41.jpg f8bd59631eb447327d53a8d6b44c45c0 https://omeka.binghamton.edu/omeka/files/original/71e2f0c8bd8c3533d375bdb0e6db9a92.jpg f5dd482998e8e8694b7725eb0d36da4d https://omeka.binghamton.edu/omeka/files/original/5d200d01fb3ec5039faed6892b4877cb.jpg 5cbb5a86ce9fb5e804d11141a1bbac9a 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 Notes more extensive in Acts II and III. Consistent markings through entire book in black pencil, blue pencil, red pencil, and purple pen. Mostly general notes, dialogue remarks, and rewrites. Also includes stage drawings with staging directions. Collection Max Reinhardt Promptbooks Dimensions Physical dimensions of item 19.5cm x 14cm Earlier version Earlier version (dcterms:isVersion Of) (not found) Notes Located in Binghamton University Libraries Special Collections PT2635.E548P75 v.97 Production(s) September 1922, Vienna September 22, 1922, Vienna October 1922, Vienna, Hofburg Theater (now Burgtheater) October 1922, Vienna, Redoute (masquerade ball, presumably at Burgtheater). *It may be safely assumed that all Vienna performances were at the Hofburg Theater (now Burgtheater). -Supporting materials (all): Box 4B Folder 25: Photographs Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Schöne Frauen : Lustspiel in 3 Akten [promptbook] Subject The topic of the resource Rey, Étienne, 1879-1965 Promptbooks Stage directions Hofburg Theater -- Austria Creator An entity primarily responsible for making the resource Rey, Étienne, 1879-1965 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 3190 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Hofburg Theater 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. 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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 NOTE: Not annotated by Max Reinhardt; possibly annotated by "Gerner"? Part I: This item includes a cast list. Markings throughout appear in blue, red, green and black pencil. Part II: Page numbering is irregular (pages jump from page 27 to page 34). Markings found throughout in blue, red, and black pencil. This item also includes a songbook, featuring a collection of songs (contains no markings). ncludes letter from Helene Thiming-Reinhardt, Max Reinhardt’s wife, dated Nov. 29, 1953 and telegram for Helene Thiming, sender unknown, dated October 17, 1953, requesting Max Reinhardt’s promptbook. Collection Miscellaneous Promptbooks Dimensions Physical dimensions of item 25cm x 34.5cm Earlier version Earlier version (dcterms:isVersion Of) Die schöne Helena Notes Located in Binghamton University Libraries Special Collections PT2635.E548P752 v.4 Production(s) Not specified. 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 Schöne Helena [promptbook] Subject The topic of the resource Offenbach, Jacques, 1819-1880. Schöne Helena Promptbooks Stage directions Creator An entity primarily responsible for making the resource Offenbach, Jacques, 1819-1880 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 3175 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/4a32e1de58d557eb588a56dbc781db79.jpg df0a0ae5e1bce12a0f63d25b90521442 https://omeka.binghamton.edu/omeka/files/original/193cddb8d18c09f58b560b4bc5848efb.jpg cb6468a8a289f1cef8fcabe87981e1eb https://omeka.binghamton.edu/omeka/files/original/e41eec5a1f0f16c826c414e020688652.jpg 190d438d7c205f8932631ee0bbed79e2 https://omeka.binghamton.edu/omeka/files/original/768b43278d269b1489d7a14ad0a6abac.jpg b51eb50c73e893466879e4238b454365 https://omeka.binghamton.edu/omeka/files/original/e648adf745cb55db511783231c95b08c.jpg 893e2c2d241ed01274093fd72e4c8052 https://omeka.binghamton.edu/omeka/files/original/9d305c32f775bd919744eeeee29d1ce6.jpg 59fa3b4972687389c079e97005d6ee39 https://omeka.binghamton.edu/omeka/files/original/5f30b210022c53361889b042005de28d.jpg e95053e7eba7fb3f0d8d8e3351ed9e84 https://omeka.binghamton.edu/omeka/files/original/08681a1bd66020e93934f6c03e7eee99.jpg b4b0978feffe6bb17720324f90126cfc https://omeka.binghamton.edu/omeka/files/original/81e1de99673b9c573d32dbfe1c420bb5.jpg 2e96194fa0e5c93b7889008d0b682646 https://omeka.binghamton.edu/omeka/files/original/64ccd73bdb8fcd80b8634b5917fb8f92.jpg 1cbc82f96dcac7aeb69063f4132449c9 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 Typed manuscript, bound, no publishing information given. Markings appear throughout the promptbook in purple pen, pink pencil, blue pencil, black pen, and black pencil. Page numbers are out of order - appears not to be primary promptbook. Act I of the play is interspersed with various additions, songs, choirs, typed noted pages and cuts to other scenes. Book appears to be a collection of typed notes rather than a promptbook for the play. Supplement folder: Seven pages labelled “Vorspiel zur schönen Helena” (Prelude for Die schöne Helena), typed; Seven pages of extensive drawings and directions regarding stage settings at various points in play; Six pages labelled “following page 24 of Act One"; Three pages ofvarious typed dialogue with markings; Three pages ofvarious typed dialogue, labelled “Between scene act three": Two pages typed dialogue, labelled “Act Three”; Twenty-six pages labelled “German translation of the English outline; Three pages labelled (in English) “Helena (Story and history)”. Possible aforementioned English outline. All text in English. Collection Max Reinhardt Promptbooks Dimensions Physical dimensions of item 33.5cm x 21cm Supplements: varying dimensions. Notes Located in Binghamton University Libraries Special Collections PT2635.E548P75 v.80 Production(s) Not specified. 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 Schöne Helena [promptbook] Subject The topic of the resource Meilhac, Henri, 1831-1897 Promptbooks Stage directions Creator An entity primarily responsible for making the resource Meilhac, Henri, 1831-1897 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 3175 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/97ead1a41ccb20314f2f71837bd1ad6e.pdf c866c261ab8f5200b544c99896c00950 PDF Text Text BINGHAMTON UNIVERSITY STATE U N I V E R S I T Y OF N E W YORK wdee ’ D E P A R T M E N T UNIVERSITY CHORUS Bruce Borton, conductor UNIVERSITY SYMPHONY ORCHESTRA Heather Worden, conductor SCHUBERT SYMPHONY N o. 8 IN BMINOR (“UNFINISHED”) DURUFLE REQUIEM Emily Geller, mezzo soprano Michael Celentano, baritone Sunday, May 5, 2013 3:00 p.m. Osterhout Concert Theater �PROGRAM NOTES PROGRAM F R A N Z SCHUBERT – Symphony No. 8 i n B Minor, D. 759 (Unﬁnished) Born: January 31, 1797, Himmelpfortgrund (northwest ofVienna), Austria Died: Novement I9, l828 Symphony No. 8 in Bminor Franz Schubert (17971828) I Allegro moderato II Andante con moto Franz Schubert is considered to be one of the most talented composers of melody in the history of western music. His music leaves you with a singable melody line that often is missing, especially in instrumental music. The composer/conductor Leonard Bernstein was one musician to acknowledge the memorable nature of Schubert’s melodies. In one of his Young Children’s concerts, he introduced the melody line in the ﬁrst movement by singing, “This is the symphony that Schubert wrote and never ﬁnished.”, while the celli played along with the theme from movement one. Most of Schubert’s compositions were vocal, further emphasizing his strength in melody writing. He composed hundreds of arts songs, while he only wrote nine symphonies, with one being incomplete by the standards of the time. FoI’NTERMISSION6 Requiem % I Introit. 1 1: Kyrie. . . . . = III. Domine Jesu Christe.. L IV. Sanctus I V. Pie Jesu. si © VI. Agnus Dei " VII. Lux aeterna VIII. Libera me . 1 IX. In paradisum 1. Allegro Moderato in B minor ll. Andante con moto in E Major .Maurice Duruﬂé (19021986) Chorus . . . Chorus Chorus and Baritone solo s a l . Chorus Mezzo Soprano solo Chorus . . . Chorus Chorus and Baritone solo Chorus The fact that this piece is unﬁnished has caused lots of debate and argument among the musical community. Why would a composer as meticulous about form as Schubert leave a work unﬁnished? The date on the original manuscript, October 22, 1822, shows that this piece was written very close to the end of hrs life. This has caused many musicologists to believe that he stopped on purpose, that he could not write anything else as grandiose and was becoming too ill and tired. Others believe that the ﬁrst two movements were given in thanks for his entrance into the musical society in Gratz and for the Diploma of Honor he was awarded. A piano sketch that was found among Schuben‘s manuscripts shows a plan for a Scherzo and possibly a Trio, which would have made this a three or four movement symphony. This work was hidden or lost in Anselm Hittenbrenner‘s (a member of the honor society) home until 1865, when it found and performed for the ﬁrst time. This means that Schubert himself never heard it performed. Many modern composers, musicologists and pianists have tried to ﬁnish the symphony by adding their own pieces, new original compositions using the Scherzo sketch, or other works of Schubert‘s to the end. Most professional and collegiate orchestras today perform it in its original, unﬁnished state. �The Requiem actually began as an organ suite based on the the The ﬁrst movement is written in traditional sonata form (exposition, Gregorian chant melodies from the Requiem liturgy. However, Duruﬂé found development, recapitulation) and features the famous melody line in the cellos the texts of the chants to be too closely aligned with the music to separate, and that was mentioned earlier. While the cellos introduce the melody line, it is carried throughout the development and recapitulation in other voices as well. The development, now in G major, takes the two themes from the exposition and expands/extends them which lead right into the recapitulation. This subsequently the idea o f a choral Requiem was born. Interestingly, the ﬁnal impetus for the composition came through a commission from the Vichy government soon after the German occupation of France in 1940. The government, in an attempt to boost morale of the French people, oﬀered modest movement ends with both heavy, passionate sections and more soﬂ, lyrical commissions to composers to keep creating works in the severe economic conditions during the war. Duruﬂé was awarded a commission for a “symphonic poem”. Surprisingly, he ultimately received the commission even passages, which help carry the tension and turmoil that has been built into the next movement. though it was not completed until after the war in 1947, and the “symphonic poem” had morphed into an extended religious choral work. The ﬁrst performance was on French national radio in November of 1947, followed by a succession of live performances in various concert venues in France and elsewhere. Movement two is quite diﬀerent from the ﬁrst in both form and mood. Schubert uses a strict Rondo form (ABABA) that creates memorable, repeated sections for the listener. The A section features a beautifully written melody that alternates between the horns, the strings and the clarinet and oboe. In contrast, the B section is loud, accented and features the full orchestra. In those B sections, the strings provide a driving bass line that really gives the excitement to the movement. The end ﬁnishes with the same beautiful Andante theme that it began with, leaving us waiting for more. Who knows what would have happened had Schubert not died at such a young age. Heather Worden Some scholars, critics, and performers have compared Duruﬂe’s Requiem to that of his earlier compatriot, Gabriel Faure. Indeed, there are certain similarities in spirit and detail. Most obvious is the absence of the lengthy Dies irae sequence whose color and dramatic possibilities had so fascinated and inspired composers such as Mozart, Berlioz, and Verdi among others. By comparison, the settings of Faure and Duruﬂé are restrained and intimate. Faure and Duruﬂé both include the Pie Jesu (the ﬁnal verse of the Dies irae) as a separate solo movement, Faure for soprano and Duruﬂé for MAURICE DURUFLE Requiem (0p.9) mezzo. Yet another similarity is the dark, rich texture of the orchestra] writing created by the division of the string sections and the emphasis on the lower string sections, viola in particular. Maurice Duruﬂé is regarded as one of the leading organists of his time. His early appointment as Vieme’s assistant at Notre Dame in Paris was followed in 1929 by his appointment as organist at St. Etiennedu Mont, a title he held until his death in 1986. In fact, however, this was a position he shared with his gifted assistant and later wife, MarieMadeleine Chevalier, with whom he toured Finally, some have noted the inﬂuence of chant in both Faure and Duruﬂé. While it is true that Faure’s melodies display the graceful rise and fall internationally in the middle decades of the twentieth century. Duruﬂé’s reputation as a composer is based on a remarkably small number of works, of which the Requiem is the most wellknown. He was reputed to be a severe selfcritic and the act of composition was, for him, a long and tortuous process. Prior to the Requiem (1947) his published compositions were entirely instrumental, mostly organ works and a few orchestral pieces. Of his other works, his Quatre Motets sur des themes gregariens (1960) are the best known – in particular the ﬁrst of these, Ubi caritas is a special work of genius. [ } and some of the modality that is characteristic of Gregorian melodies, they are not Gregorian in origin. Duruﬂé’s Requiem setting, and much of his other music, is completely immersed in the actual Gregorian tunes associated with the various sections of the Requiem liturgy. The tunes provide the melodic material and the supple, unmeasured rhythms resonate in the ﬂexible changing meters of Duruﬂé’s choral writing. The Requiem exists in three versions. The original for chorus and large orchestra is the version we present today. A version accompanied by organ alone was prepared by Duruﬂé the year after the work’s premiere, and a frequentlyperformed version for organ and string orchestra was created by the composer in 1961. Bruce Borton �THE UNIVERSITY CHORUS THE PERFORMERS Mezzosoprano EMILY GELLER is currently a Resident Artist with TriCities Opera where she recently performed lnes in II Trovatore and Lola in Cavalleria Rusticana. Before coming to Binghamton, she performed with Opera on the James as a Tyler Young Artist. Ms. Geller covered Giannetta in L Elisir d’amore and performed Cherubino in The Three Little Pigs and The Wife in The Music Shop. Ms. Geller has performed lead roles with numerous regional theater companies, including CR Productions at Cohoes Music Hall, College Light Opera Company, One World Symphony, Amore Opera, Regina Opera, NY Lyric Opera Theater and Village Light Opera Group. Originally from Long Island, Ms. Geller earned her Bachelors of Music in Vocal Performance from New England Conservatory under the Ruth S. Morse Scholarship. Ms. Geller is currently getting her Masters of Music in Opera at Binghamton University with a Full Assistantship where she performed Hansel in Hansel and Gretel. Bruce Borton, conductor William Lawson, rehearsal accompanist Soprano 1 Susan Bachman Rose Ann C laugh Lorraine Emmons Mary Gilda MayBelle Golis Beverly Hitchcock Christina Jarosch Elizabeth Keyes Susan MacLennan Cathie Makowka Mary Barb Martin Allison Matey Rachel Robertson MICHAEL CELENTANO‘S. baritone past performances in the Manhattan area have included the cover of Galanthus in the North American premier of Vaughan William’s The Poisoned Kiss with The Bronx Opera Company and Papageno in Die Zauberﬂote with New York Opera Studio. Recent performances in the Binghamton area have included Alcindoro in Puccini‘s L a Bohéme, Peter in Humperdinck’s Hansel and Gretel, The Giant/Trouble Man in the TriCitie‘s OperaGoRound production of Davies‘ Jack and the Beanstalk. and Faure’s Requiem (baritone soloist) with the Binghamton University Chorus Chamber Singers. Mr. Celentano is currently completing a Masters ofMusic in Opera at SUNY Binghamton, IS a Young Artist at TriCities Opera, and a student of Thomas Goodheart. Nicolette Roselli Marilyn Ross Gloria Salamida Sadie Schwartz Barbara Alhart Simon Stephanie Stahovic Barbara Thamasett Soprano 2 Martha Bennett Joanne Corey Sarah Evans Kalie Fiorenza Sharon Fish Hailey Gonzalez Theanna Green Lois Hearn Barbara Herne Nicole Meeker Inez Nelson Yvonne Newell Sioux Petrow Kelly Pueschel Susan Sarzynski N. Eva Wu Rachel Young Alto 1 Marion K. Adams Carolyn E. Blake Nanette Berton Susan G. Campbell Maria Luisa Cook Carole Dickinson Sylvia Horowitz Cheryl Jacobson Joan Kellam Pat Labzentis Arlene Lyon Margit Mayberry Greta L. Myers Archana Susarla Susan Szczotka Pam Turrigiano Mikiko Umeda Mary Woestman Katarzyna Zanlro Alto 2 Kathryn Baine Anna B. Bitterbaum Kate Bouman Phyllis S. Burr Jeanne Fenzel Judy James Maggie Kirkaldy Leann Lesperance Ethel F. Molessa Shirley Rodgers Jane Shear Lee Shepherd Heather Sheridan Tenor Brad Bennett Martin Bidney Carol Chandler Ron Clupper H.B. King Dennis Leipold David W. Martin Kevin Mootoo Brian Presser Carlton Sackett Jr. Robert Scull Mark Tyson Judson Wallis Bass 1 Eric Bare Joshua Collins Michael Jabo, J.D. Tom Lamphere Thomas Parker Myron F. Shlatz Emmanuel J. Sikora Joshua Silver Bokan g Wu Michael Zick Bass 2 Blane Bossung Carl Bugaiski Jason Cruz Mark Epstein J. Scott Hustod Robert Ludden Robert Maer Arlo H. Meeker Sean E. Moran Joseph E. Nelson John Patterson Daniel Rosenau Bob Sullivan �UNIVERSITY SYMPHONY ORCHESTRA Violin I *Ella Serrano, Principal Heather Worden, conductor Rebecca Sgroi *Nicholas Thompson *Sara Sunshine lfe Samms Karen Fu Gabrielle Maire Olivia Rhines Christopher Rogers Emma Lecarie *Fanny Chu Violin l l Nathaniel Christman, Principal Natalie Bock Anna Li Eleanor Krasner Emily Sui Joseph Vanderpool Jiwon Nam Sara Kohtz Simon Benarie Viola Max Stein, Principal Lindsay Covington Mimi Nam Flute Jessica Biagiotti *Lindsay Ralbovsky Oboe/English Horn Rebecca Marwin Kathy Karlsen” John Lathwell# Clarinet Jaclyn Adler Skylar Buono Bassoon Laura Earls Natalie Spitzer Horn Zachary Birnbaum Matt McAuliﬀe Natalie Rivera Kathryn Saturnino Trumpet **Kevin Hannon Michael Stern Junbo Yan Harrison Dulin Jillian Chen Ethan Schaber Kaila Umbach Trombone *Billy Marsiglia, Principal Cello Tuba Elliot Bowen Xander Edwards, Principal Richard Reitz *Eric Wuu Deborah Mariottini Raeleen Bichler Ryan Hogan Paul Watrobski Emily Mockler Andrew Card Alan Wang Bass *Gabriel Felix Robert Durante Jacob Strohm Gary Bennett Percussion Steve Olson Benjamin Rothschild * Andrew Williamson Harp/Keyboard Peter Browne# Organ Jonathan Biggers# * Graduating senior /**Grad student # Binghamton University Faculty member A Community player � 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 Choose this for any item where the file type is PDF. This template and others do not support mixed file types (PDF and image attached to same item). If you have mixed file types, you can either create another Omeka item or contact Digital Initiatives for assistance converting from pdf to image or vice versa. 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.) 1:03:08 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE128173">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE128173</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 Schubert's Symphony No. 8 in B-minor ("Unfinished") and Duruflé's Requiem, May 5, 2013 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works by Schubert, Durufle. Held at 3:00 p.m., Month Day, Year, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource University Chorus Borton, Bruce University Symphony Orchestra Worden, Heather Geller, Emily Celentano, Michael 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 2013-5-5 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/3c84641a512d998740e3ad08683354a0.jpg 2f7e4ae141f19a4a8afe8e3838d1717d https://omeka.binghamton.edu/omeka/files/original/ca6d92a4097db2fec81d34dac3b14db1.jpg 7c4ce3e3895a32a37d73b2fa6d4f5e75 https://omeka.binghamton.edu/omeka/files/original/a8a30e39ba5167d8902044def2d6dfe7.jpg 1b514773396ed98ecd04bcef7a87168a https://omeka.binghamton.edu/omeka/files/original/751835535cb037a7a0ed9c7668152437.jpg e5e107fd21296f4cc32ceded9aaab82e https://omeka.binghamton.edu/omeka/files/original/19a62435668e020805a0da562329b062.jpg b1e6ebc927683f4ac2d334ee6a309d1d https://omeka.binghamton.edu/omeka/files/original/003ee5ae72efd1b725a50a85a697714b.jpg 4f6c5427f4b356041a35e73749dd90ea https://omeka.binghamton.edu/omeka/files/original/629cc276b9b087d350ca0f72ff29b182.jpg d830e7a83bb67d2ae8e1086559a346a3 https://omeka.binghamton.edu/omeka/files/original/83e9ed4df60b2f269e3ed05a8ae94d0d.jpg 56b78a15178074341e903373edb3afba https://omeka.binghamton.edu/omeka/files/original/dad4f1a1d0af298c05b19af4defd1e82.jpg 42b8560f8fc0112789d8f6e46956f7df https://omeka.binghamton.edu/omeka/files/original/d7e9c944057472f183c4e0e9fe992ae1.jpg a20fd36ab0246c3c2d90eb26e230d6af 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 Most text in German. Certain dialogue in the play reads in English and Spanish. Purple pen markings: note on title page reads “Weihn. 30.” could be Weihnachten (Christmas 1930). Note on “Erster Akt.” (page 3) also reads Jan. 31. Symbol found in blue, red, and black pencil, purple and pink pen; possibly all markings from same performance. Repeated note, "Vorschlag" (suggestion) found in margins in black pencil throughout the book, seems mostly to accompany pencil strikeouts of dialogue. As found in other prompt-books, red and black pencil used together to strikeout large sections of dialogue. Most markings concern dialogue changes, amendments, and emphasis. Markings at beginning of each act usually concerned with music, stage setup, etc. Collection Max Reinhardt Promptbooks Dimensions Physical dimensions of item 27cm x 22cm Earlier version Earlier version (dcterms:isVersion Of) Le Sexe faible Notes Located in Binghamton University Libraries Special Collections PT2635.E548P75 v.8 Production(s) December 25, 1930 (“Weihn. 30.”) (city unspecified) January, 1931 (possibly Kurfürstendamm, Berlin) -Supporting materials: Box 1 Folders 12-13: Costume and scene designs Box 14 Folder 2: 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 Schwache Geschlecht : Komödie in drei Akten [promptbook] Subject The topic of the resource Bourdet, Édouard, 1887-1945. Sexe faible --- Translations into German Promptbooks Stage directions Creator An entity primarily responsible for making the resource Bourdet, Édouard, 1887-1945 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 3108 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.