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                  <text>&lt;strong&gt;&lt;em&gt;Who is Max Reinhardt?&lt;/em&gt;&lt;/strong&gt; &lt;br /&gt;The celebrated &lt;span&gt;Austrian t&lt;/span&gt;heater director &lt;a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/"&gt;Max Reinhardt&lt;/a&gt;, 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. &lt;br /&gt;&lt;br /&gt;&lt;em&gt;&lt;strong&gt;What is a prompt book?&lt;/strong&gt;&lt;/em&gt; &lt;br /&gt;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. &lt;br /&gt;&lt;br /&gt;&lt;em&gt;&lt;strong&gt;Why are his important?&lt;/strong&gt;&lt;/em&gt; &lt;br /&gt;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. &lt;br /&gt;&lt;br /&gt;&lt;em&gt;&lt;strong&gt;Acknowledgements&lt;/strong&gt;&lt;/em&gt; &lt;br /&gt;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.</text>
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                  <text>&lt;p&gt;&lt;a href="https://omeka.binghamton.edu/omeka/items/show/2877"&gt;Full Display and German Transcription of Max Reinhardt's&lt;/a&gt;&lt;em&gt;&lt;a href="https://omeka.binghamton.edu/omeka/items/show/2877"&gt; Reigen Promptbook&lt;/a&gt;&lt;br /&gt;&lt;/em&gt;&lt;br /&gt;&lt;a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/"&gt;&lt;span&gt;Max Reinhardt Archives and Library&lt;/span&gt;&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,reinhardt&amp;amp;tab=DigitalCollections&amp;amp;search_scope=DigitalCollections&amp;amp;vid=01SUNY_BIN:01SUNY_BIN&amp;amp;offset=0"&gt;Max Reinhardt Collection Photographs&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="https://omeka.binghamton.edu/omeka/max-reinhardt-timeline"&gt;The Life and Times of Theater Director Max Reinhardt&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="https://omeka.binghamton.edu/omeka/max-reinhardt-theaters"&gt;The Theaters of Max Reinhardt&lt;/a&gt;&lt;/p&gt;</text>
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                  <text>Jean Green,&amp;nbsp;&lt;br /&gt;&lt;br /&gt;Binghamton University Students: &lt;br /&gt;Madelynn Cullings&lt;br /&gt;Kashawn Hernandez&lt;br /&gt;Aanyah Jhonson-Whyte&lt;br /&gt;Marisa Joseph&lt;br /&gt;Bethany Maloney&lt;br /&gt;Ashleigh Marie Sherman&lt;br /&gt;Thomas Tegtmeier&lt;br /&gt;Joseph Vitale</text>
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              <text>Book, rebound with large added note pages (Leipzig: Philipp Reclam jun, no year given).“Wallenstein” actually refers to a trilogy of three plays, all here. Different performance dates are given for each play. Uncertain if Reinhardt performed entire trilogy or just single plays at a time. Stage movement directions found throughout, extensive written notes throughout. Markings in black pen and black pencil. Stage drawings emphasized in notes throughout. Can presume Reinhardt was placing extra emphasis on the physical staging and setting of the play. Markings in black pen, black pencil, red pencil, and blue pencil. Extensive written notes throughout.</text>
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              <text>Located in Binghamton University Libraries Special Collections</text>
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              <text> PT2635.E548P75 v.103</text>
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              <text>Wallensteins Lager:&#13;
August, 1914, Scotti&#13;
&#13;
Die Piccolomini:&#13;
Geneva, Sept 9, 1913, (city unspecified), August 4, 1914 (city unspecified)&#13;
&#13;
Wallensteins Tod: September 9, 1914, (city illegible), October 10, 1914, “Fr.”, November 9, 1914, Berlin&#13;
-Supporting materials: Box 4B Folder 49: Photographs&#13;
&#13;
Unspecified play: November 13, 1914, (city illegible).</text>
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          <description>Copy/Paste below: &#13;
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at &lt;a href="mailto:orb@binghamton.edu"&gt;orb@binghamton.edu&lt;/a&gt;.</description>
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              <text>Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at &lt;a href="mailto:orb@binghamton.edu"&gt;orb@binghamton.edu&lt;/a&gt;.</text>
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                <text>Schiller, Friedrich, 1759-1805</text>
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                <text>Deutsches Theater zu Berlin</text>
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                <text>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. </text>
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                  <text>&lt;p&gt;The Binghamton Community Poets were founded in 1983 by native Binghamton poet, educator, and Harpur College alum Richard Martin. That year he started the &lt;em&gt;The Big Horror Reading Series&lt;/em&gt; at a local coffee house. People associated with the series changed throughout the years but always included local writers who were dedicated to the idea of creating a space where literary art could flourish. For fourteen years, readings took place at various venues around the Triple Cities featuring nationally and internationally known writers while continuing to provide “open mike” time for local community writers and sometimes musicians. The series received funding from the New York State Council on the Arts, the Broome County Arts Council, and Poets and Writers, Inc., as well as public donations.&lt;br /&gt;&lt;br /&gt;Many of the readings between 1987 and 1996 were videotaped. Some of the writers who are featured on the videotapes include (in alphabetical order) Tish Benson, Charles Bernstein, Barney Bush, Wally Butts, Adrian Clarke, Suzanne Cleary, Robert Creeley, Joel Dailey, Jim Daniels, Jack Dann, Diane di Prima, Safiya Henderson-Holmes, Lance Henson, Bob Holman, Pierre Joris, Dave Kelly, Sylvia Kelly, Bill Kemmett, Peter Kidd, Dorianne Laux, Ed Ochester, Kate Rushin, Pamela Sargent, Patricia Smith, Lloyd Van Brunt. Also featured are former and current members of the Binghamton University faculty (in alphabetical order): David Bartine, Martin Bidney, Milton Kessler, Bob Mooney, Liz Rosenberg, Jerome Rothenberg, John Vernon. People associated with the series at one time or another (in alphabetical order): Ken Bovee, Alexis Cacyuk, Jerry Caswell, Tom Costello, Gerry Crinnin, Terry Day, Paul Dean, Zack Grabosky, Tom Haines, Connie Head, Michael Kelly, Tom Kolpakas, Richard Martin, Kate McQueen, John Miller, Bern Mulligan, Doug Paugh, Susan Prezzano, Phil Sweeney, Mike Tarcha. Venues for recorded readings (in chronological order): Swat Sullivan’s Hotel*, Benlin’s, Mad Murphy’s, The Tazmanian Embassy, The Amsterdam, Java Joe’s, Amp’s.&lt;br /&gt;&lt;br /&gt;The collection also &lt;a href="https://omeka.binghamton.edu/omeka/collections/show/31"&gt;includes twelve excerpted poems&lt;/a&gt; that serve as an introduction. They are linked not only to the full individual readings in Rosetta but also to the catalog records for the books in which they are published. This creates a unique convergence experience, as the catalog record “comes alive” and users can see the writer and hear a poem from the book before they take it off the shelf to read.&lt;/p&gt;</text>
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                  <text>&lt;p&gt;&lt;strong&gt;Digitization and DVD Production&lt;/strong&gt; &lt;br /&gt;After the series ended in 1996, the videotapes sat in boxes for ten years. In 2006, since they were most likely degrading and losing both video and audio fidelity, a Memorandum of Understanding between the BCP and the Libraries was agreed on and the process of converting the videotapes to DVD-quality MPEG files for preservation and access purposes was begun. Many of them had glitches and dead spots and several others were not originals but copies, further adding to loss of video and audio fidelity. After the conversion, both the video and audio quality were enhanced to a degree from what was on the tapes.&amp;nbsp; Phase Two involved producing individual DVDs from the MPEG files. The files were literally “raw”: they started when the camera was turned on and continued without interruption until it was turned off, which meant there was often video of silent microphones and audio of irrelevant crowd noises and conversations. Editing these out made the DVDs much better than the raw files. &lt;br /&gt;&lt;br /&gt;&lt;strong&gt;Preservation and Expanded Access&lt;/strong&gt; &lt;br /&gt;Due to copyright restrictions, the DVDs have been housed in Special Collections and had to be viewed there. This has definitely curtailed their usage. However, a recent development in Rosetta, our digital preservation system, has allowed us to offer a new form of access. Rosetta added a built-in video viewer, which allows the videos to be both preserved and streamed at the same time. In order to accomplish this, the DVDs had to be converted to MP4s to be compatible with the new viewer. The streaming versions are copies of the DVDs, which is why they contain menus and chapters which are not functional but are continuous play. The streaming versions will allow more users to be able to view and listen to this diverse, wide-ranging collection of readings. &lt;strong&gt;(N.B.: They are only accessible on campus or via campus VPN.)&lt;/strong&gt;&lt;br /&gt;&lt;br /&gt;*The image on the item records is the iconic Swat Sullivan's Hotel, which was located on Binghamton's South Side. Swat's was the venue for the earliest readings in the video collection. The building was torn down in 1990. This image was downloaded from &lt;a href="https://www.pinterest.com/pin/548805904585058425/"&gt;Pinterest&lt;/a&gt;. If you are the rights holder, please contact The Libraries.&lt;/p&gt;</text>
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                  <text>Bern Mulligan&#13;
Erin Rushton&#13;
Ben Coury&#13;
David Schuster&#13;
Rachel Turner &#13;
David Floyd&#13;
Sasha Frizzell&#13;
Aynur de Rouen&#13;
Nicholas Eggleston&#13;
Alexxa O Bisnar (Student worker)&#13;
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                    <text>STATE UNIVERSITY OF NEW YORK AT BINGHAMTON
DEPARTMENT OF MUSIC
presents
WALTER PONCE, piano
Sun., April 9 - 8:15
Recital Hall
PROGRAM
major
Sonata in þÿB&amp;m
Molto moderato
Andante sostenuto
Scherzo: Allegro vivace con delicatezza
Allegro ma non troppo

Schubert

INTERMISSION
major, Op. 110
Sonata in þÿA&amp;m
Moderato cantabile molto espressivo
Allegro molto
Adagio ma non troppo-Arioso dolenteFuga: Allegro ma non troppo-L'istesso Tempo
di Arioso-L'istesso Tempo della Fuga _poi a
poi di nouvo vivente

Beethoven

Sonata
Allegro Marcato
Presto Misterioso
Adagio Molto Appasionato
Ruvido Ed Ostinato

Ginastera

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                    <text>STATE UNIVERSITY OF NEW YORK AT BINGHAMTON
HARPUR COLLEGE
THE DEPARTMENT OF MUSIC

WA LT E R
PONCE

Piano
SUNDAY, APRIL 17, 1977
§:15 P.M.
WATTERS THEATER

�PROGRAM
*kkkkkx

Three Moments Musicaux, Opus 94. - - - . - F.3chubejz/t
C Major

Al Major
§ minor

WALTER PONCE, PIANO
So n ata i n § minor, Opus 5 7 . . . . . L . van Beethoven

Allegro Assad
Andante con moto
Allegro ma non thoppo

¥* * * INTERMISSION * * *

Sonata i n BP M a j o n . . . . . . . . . . . . . . . . . . . F. S c n a b e j u t

Molto moderato
Andante Sostenuto
Scherzo: Allegro vivace con d el i catez z a
Allegro ma non troppo

�COMING EVENTS
RRRRRRRKRRK KK

Satu rday, A p r i l 23 a t §:15

Inene Rosenberg, piano

Sunday, A p r i l 24 a t §:15
David Hoppe, c e l l o

Monday, April 25 a t §:15
J a y H i lg i g e r, conducting
Saturday, A p r i l 30 a t 8:15
George Myers, violin
Sunday, May 1 a t 8:15
Sara Whitmore, organ
Tuesday, May 3 a t §:15

Collegium Musicum

Wednesday, May 4 a t §:15
Paul Ketchoyian , c l a r i n e t
Thursday, May 5 a t 8:15
Composers Concent
Saturday, May 7 a t 8:15
Miriam Greenberg, piano
Sunday, May § a t 3:00
Doug Beardsle y, piano

Sunday, May 8 a t 8:15
E l i o t Friedman, oboe
Tuesday, May 10 a t 8:15
J a n Lawiidsen, paino

�</text>
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                    <text>I
I

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TE 

UNIVERSITY 
THE 

OF  NEW 

YORK  AT 

B)

DEPARTME  »! OF  M
U

VFBRUARY  1 4 ,  1974  at   8:15  p.w+
CASADESUS  RECITAL  HALL

HIROKO  YAJIMA,  v i o l i n i s t

­  WALTER  PONCE,  pianist

­ Be 

I'_  _ '. ­

h.h 
of 

 
Sonata i n E m?sor ‘

J .   8 .  Bach

Allegro

A d a g i o  ma  non  tanto

anda

Alem
iue
g
G

S o n a t a  A major, opus 1 3  mno.l 

.

G .   Faure

Allegro molto

Andante

Allegro vivo
Allegro quasi presto

INTERMISSION

€

P i e c e  two  parts for violin alone

Fantaisie, opus 159

§ .  Wolpe

F .  Schubert

Andante molto­ Allegretto
Andantino  (theme  and  vari ­tions)

Allegro~Presto

­

{

aN
—

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                    <text>Wa l t e r  Po nce

i y
i y
Q ‘9 r

Chamber  Music  Series
January  19,  1974
Don  A.  Watters  Theater
8:15  p.m.

�WALTER 

PONCE,  pianist

*************&gt;€*&gt;('3G************************&gt;(­&gt;h(~&gt;l~&gt;§**&gt;(~*

PICTURES  AT  AN  EXHIBITION 

MODEST  MUSSORGSKY

Promenade­Gnomus
Promenade–Il  Vecchio  Caste Z 
10  (an  old  castle
and  singing  troubadour)
Promenade–"Tuileries" ”,  dispute  o f   children

a f t e r   play
Bydlo  (The  Ox  Cart)
Promenade­Ballet  o f   the  Chicks  i n  th e i r
Shells–Two  Polish Jews  (one  r i c h ,   th e
other  poor)
 T
E

* 

E
T

Promenade­Limoges  (the  Market  Place)­
Catacombae  (Sepulcrum  Romanum)–Con
Mortuis  in  Lingue  Mortua­Baba­Yaga
(the  Hut  on  Fowl’s  Legs)­the  Great
Gate  of  Kiev
INTERMISSION

SONATA  QUASI  UNA  FANTASIA, 
LUDWIG  VON  BEETHOVEN
opus  27  no.1  in  E­ﬂat major
Andante­Allegro–Andante
Allegro  molto  e vivace
Adagio  con  espressione
Allegro  vivace
SONETTO  104  DEL  PETRARCA 

FRANZ  LISZT

MEPHISTO  WALTZ 

FRANZ  LISZT

�COMING  EVENTS:
January  26th–  The  Lenox  Quartet

February  9th–  Toby  Appel,  viola
February  27th–  The  Collegium  Musicum
March  8th–  The  Harpur  Symphony  Orchestra

March  9th–  The  Lenox  Quartet

�</text>
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                    <text>STATE

UNIVERSITY OF NEW YORK AT BINGHAMTON
HARPUR COLLEGE
DEPARTMENT OF MUSIC

WA LT E R P O N C E

S E YMOUR F I N K

DAV I D BUTTOILPII

J O E ROMA
SUNDAY, FEBRUARY 13, 1977
§:15 P. M.
WATTERS THEATER

�PROGRAM

SEYMOUR FINK, piano

March i n C Major,Opus 1 2 1 . . . . . . . . . F r a n z Schubert

WALTER PONCE, piano

Fantasy Ain § minor,Opus 1 0 3 . . . . . . . Fr a n z Schubert

DAVID BUTTOLPH, percussion
JOSEPH ROMA, percussion

SLavonic Danced. . e e e e e e s s s e s s e s Anton
s s s s Dvorak
B Major, Opus 72, No. 1
–
_
—
e minor, Opus 72, No. 2
g minor, Opus 46, No. 8

SEYMOUR FINK and WALTER PONCE, piano

INTERMISSION
Sonata gor Two Pianos and Pe r c u s s i o n . . . . .
Assal Lento - AlLegro molto
Beta Bartok
Lento, ma non t ro p p o
Allegro non troppo

SEYMOUR FINK and WALTER PONCE, piano
DAVID BUTTOLPH and JOSEPH ROMA, percussion

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&lt;p&gt;&lt;a href="https://omeka.binghamton.edu/omeka/max-reinhardt-timeline"&gt;The Life and Times of Theater Director Max Reinhardt&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="https://omeka.binghamton.edu/omeka/max-reinhardt-theaters"&gt;The Theaters of Max Reinhardt&lt;/a&gt;&lt;/p&gt;</text>
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                    <text>UNIVARC

Recital
tap e
2005

BINGHAMTON
UNIVER SITY

State University of New York

Department of Music

5-1
SPEC COL

University Wind Ensemble

Il

Timothy Perry, Director
Stephen Boel, Associate Director

We Band of Brothers
The British Band Connection:
Folk-Song to l?uH Symphon ic

Sunday, May 1, 2005
3:00 p.m.
Anderson Center Chamber Hall

�Program
The Binghamton University Department of Music presents the

University Wind Ensemble
Dr. Timothy Perry, Director and Conductor
Stephen Boel, Associate Conductor

We Band of Brothers
Sunday 3:00 p.m.
May 1, 2005

Chamber Hall
Anderson Center for the Arts

Program

English Folk Song Suite (1923) .. ....... ..Ralph Vaughan Williams
I. March- "Seventeen come Sunday"
(1872-1958)
2. Intermezzo - "My Bonny Boy"
3. March- "Folk Songs from Somerset"

A' Bhirlinn Taibhseil (1993) .... .... ............... William Sweeney
"The Ghost Longship"
Oligopoly (2005) premiere performance..... .. Timothy Michael Rolls

Sketches on a Tudor Psalm (1971) ......... ............. ..Fisher Tull
Lincolnshire Posy (1937) ....... ..... ......... ......... Percy Grainger
1. Dublin Bay
(1882-1961)
2. Harkstow Grange
3. Rufford Park Poachers
4. The Brisk Young Sailor
5. Lord Melbourne
6. The Lost Lady Found
Thank you for attending today's concert. We congratulate all of our graduates,
thank all of our outstanding players and look forward to serving you
with more great Wind Ensemble music next season.

~Timothy Perry, Director
~Stephen Boel, Associate Conductor
~Robert Smith, Conductor-designate

�Wind Ensemble
Piccolo
Amy Forgacs
Flute
Joanna Hunt•
Nicole Kalisz
Subin Lim
Elise Martingale
Lauren Silinonte•
Valerie Spiller
Clarinet
Heather Boland*
Caroline Bravo
Alice Choi
Shanika Cooper
Colin Edmunds
Michelle Grexer
Simon Hawk
Andrew Hsu•
Andrei Lee•
Bass Clarinet
Joshua Schaier
Christopher Strub
Soprano/Alto Saxophone
Emily Alkiewicz
Amy Natiella
Tenor Saxophone
Kevin Kneifel
Baritone Saxophone
Joe Sobel
Trumpet
Mark Alfes
Garret Clark*
Philip Deitz*
Derek Ersbak
Thomas Osa
Steven Pan
Andrew Sanfratello*

French Horn
Megan Caruso
Greg Cecere•
Patrick Lokken
Al Jacobsen
Trombone
Jamie Cepler
David Hennan•
David Ricotta
Baritone/Euphonium
John Testa
Richard Mokan*
Tuba
Erik Appleyard*
Dan Gallagher
Percussion
Christopher Jacobson
Ai Karasawa
Spencer Lo
Christine Jackson
Mark Turley•
Keyboard
Robert Magee
Violin
Tina Chiu
Amanda Dumont
Lauren Moscowitch
Rosa Nam
*principals

�COMING EVENTS
Sunday, May 1 - Junior Recital: Melissa Mattern, viola - 7:30 p.rn. Casadesus Recital Hall - free
Monday, May 2 - Master's Recital: Robin Kindig, bassoon - 8:00 p.rn. Casadesus Recital Hall - 8:00 p.rn. - free
Wednesday, May 4 - Student Conductors' Concert - 8:00 p.rn. - Watters
Theater - free
Thursday, May 5 - Student Recognition Mid-Day Concert - 1:20 p.rn. Casadesus Recital Hall - free
Thursday, May 5 - Harpur Chorale and Women's Chorus - 8:00 p.rn. Anderson Center Chamber Hall - free
Saturday, May 7 - Master's Recital: Theresa Perrone, clarinet - 3:00 p.rn. Casadesus Recital Hall - free
Saturday, May 7 - Student Recital: Christina Wan, violin - 8:00 p.rn. Casadesus Recital Hall - free
Sunday, May 8 - Student Saxophone Quartet- 3:00 p.rn. - Casadesus Recital
Hall- free
Thursday, May 12 - Master's Recital: Donald Truesdail, string bass - 8:00
p.rn. - Casadesus Recital Hall - free

�</text>
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