38 10 1775 https://omeka.binghamton.edu/omeka/files/original/9e8d9476e0e0ce617404cf233d897373.pdf 38a1a6bd2a5f2de399a77716e40594dd PDF Text Text BINGHAMTON U N I V E R S I T Y d e e D E P A R T M E N T GERMAN LYRIC DICTION FINAL CONCERT JUDY BERRY, INSTRUCTOR with William Lawson, Accompanist Thursday, May 10, 2012 8:00 p.m. Casadesus Recital Hall �PROGRAM Franz Schubert . (1797 –1828) Hugo Wolf... (1860 –1903) Standchen (from Schwanengesang, D. 957) Verschwiegene Liebe (Eichendorﬀ Lieder, no. 3) Erlkonig (Opus 1, D. 328) In dem Schatten meiner Locken (“Spanische Lieder”, no. 4) Christina Kompa r HeePyoung Oh Abendstern (D. 806 ) Richard Strauss (1864 –1949) Heimliche Auﬀorderung (Op. 27 No. 3) Richard G. Leon berger Gretchen am Spinnrade (Op. 2, D. 118) Eun Hwan Bae Traum durch die Dammerung (Op. 29 no. 1) Meghan Cakalli Robert Schumann...... Seit ich ihn gesehen (from Frauenliebe und Leben, Op. 42) Molly AdamsToomey Molly AdamsToomey ...(1810 –1856) Zueignung (Op. 10, No. 1) Richard G. Leon berger Selections from Dichterliebe, Op. 48 Johann Strauss. Im wunderschonen Monat Mai Aus meinen Tranen sprieRen Die Rose, die Lilie “Mein Herr Marquis” (from Die Fledermaus) Ich grolle nicht Charles Hyland Eun Hwan Bae ..(1825 –1899) Meghan Cakalli �TRANSLATIONS Sténdchen (Serena de) (Heinrich Rellstab) My songs quietly implore you through the night: down to the silent w ood my love, come to me! The tree tops whisper in the light of the moon; Don’t be afraid, my love, no one will observe us. Can you hearthe nightingales? Oh! They implore you, their sweet lament pleads with you on my behalf. They understand the yearning I feel, they know Iove’s torture. with their silvery notes they touch every soft heart Let them touch yours, too, sweet love: hear my plea! Trembling I await you, come, bring me bliss! Erlkdnig (Johann Wolfgang von Goethe) “You dear child, come, go with me! Very lovely games I ’ll play with YOU; Some colourful ﬂowers are on the beach, My mother has some golden robes.” “My father, my father, and don‘t you hear What the Elfking quietly promises me?” “Be calm, stay calm, my child; The wind is rustling through withered leaves.“ “Do you want to come with me, pretty boy? My daughters shall wait on you ﬁnely; My daughters will lead the nightly dance, And rock and dance and sing you to sleep.” “My father, my father, and don’t you see there The Elfking’s daughters in the gloomy place?” “My son, my son, I see it clearly: There shimmer the old willows so grey.” his arms, Reaches the farm with trouble Is bitter to me. My poor head Is crazy to me, My poor mind Is torn apart. Abendstern My peace is gone, My heart is heavy, I will ﬁnd it never It horriﬁes the father, he swiftly rides on, He holds the moaning child in and hardship; In his arms, the child was dead. (Evening Star) (Johann Mayrhofer) Why do you linger alone in the sky, o beautiful star? and you are so mild ; why does the spark ling crowd of your brothers shun your sight? “I am the star of true love, and they keep far away from Love.” So you should go to them, if you are love; do not delay! Who could then withstand you, you sweet but stubborn light? “I sow, but see no shoot, and so I remain here, mournful and still.” and never more. For him only, I look Out the window Only for him do I go Out of the house. His tall walk, His noble ﬁgure, His mouth’s smile, His eyes’ power, And his mouth‘s Magic ﬂow, His handclasp. and ah! his kiss! My peace is gone, My heart is heavy, I will ﬁnd it never and never more. Gretchen am Spinnrade (Gretchen at the spinning wheel) (from Faust by Johann Wolfgang von Goethe) My bosom urges itself toward him. Ah, might I grasp And hold him! “My son. why do you hide your will use force.” “My father, my father, he’s grabbing me now! My peace is gone, My heart is heavy, [will ﬁnd it never and never more. And kiss him, As I would wish. At his kisses I should die! Elﬁting? The Elfking has done me some harm!” Where I do not have him. That is the grave, The whole world Who rides, so late, through night and wind? It is the father with his child. He has the boy well in his arm He holds him safely, he keeps him warm. face so anxiously?” “Father, do you not see the The Elfking with crown and tail? ” “My son, it’s a wisp of fog.” “I love you, your beautiful form entices me; And if you’re not willing, then I �Seit ich ihn gesehen (Since I ﬁrst saw him) (Adalbert von Chaimsso) Since I ﬁrst saw him I think I must be blind; wherever I look I see only him; as if in a trance, his image hovers before me, emerging from the deepest gloom even brighter. All else is dark and colorless in my surroundings: my sisters‘ games interest me no longer; I would rather weep quietly in my room. Since I ﬁrst saw him, I think I must be blind. Im wunderschénen Monet Mai (In the wonderfully beautiful month of May) (Heinrich Heine) In the wonderfully beautiful month of May When all the buds are bursting open, There, from my own heart, Bursts forth my own love. In the wonderfully beautiful month of May When all the birds are singing, So have l confessed to her My yearning and my longing. Aus meinen Trénen sprieBen (Many ﬂowers spring up from my tears) (Heinrich Heine) From my tears spring many blooming ﬂowers forth, and my sighs become a nightingale choir, and if you have love for me, child. I’ll give you all the ﬂowers, and before your window shall sound the song of the nightingale. Die Rose, die Lilie (The rose, t he lily) (Heinrich Heine) The rose, the lily, the dove, the sun, I once loved them all in love’s bliss. I love them no more, I love only the small, the ﬁne, the pure, the one; she herself, source of all love, is rose and lily and dove and sun. Verschwiegene Liebe (Silent love) (Josef Karl Benedikt von Eichendorﬀ) Over treetops and corn and into the splendor — who may guess them, who may catch up with them? Thoughts sway, the night is mute; thoughts run free Only one guesses, one who has thought of her by the rustling of the grove, when no one was watching any longer except the clouds that ﬂew by — my love is silent and a s fair as the night. In dem Schatten meiner Locken (In the shadow of m y tresses) Ich grolle nicht (I bear no grudge) (anon. translated into German by Emanuel Geibel and Paul Heyse) I bear no grudge, even though my heart may break. eternally lost love! I bear no grudge. However you may shine in the splendor of your diamonds. no ray of light falls in the darkness of your heart. In the shadow of my tresses My beloved has fallen asleep. Shall I awaken him now? Ah, no! (Heinrich Heine) I have long known this, I saw you in a dream, and saw the night within the void of your heart, and saw the serpent that is eating your heart — I saw, my love, how very miserable you are. Carefully I comb my ruﬀled Locks, early every day; Yet for nothing is my trouble, For the wind makes them disheveled yet again. The shadows of my tresses, the whispering of the wind, Have lulled my darling to sleep. Shall I awaken him now? Ah, no! I must listen to him complain That he pines for me so long, That life is given and taken away from him By this, my brown cheek, And he calls me a snake; Yet he fell asleep by me. Shall I awaken him now? Ah, no! Heimliche Auﬀorderung (Secret invitation) (John Henry Mackay) Up, raise the sparkling cup to your lips, And drink your heart’s ﬁll at the joyous feast. And when you raise it, so wink secretly at me, Then I’ll smile a nd drink quietly, as you. . , And quietly as I, look around at the crowd Of drunken revelers — don’t think too ill of them, No, lift the twink ling cup, ﬁlled with wine, And let them be happy at the noisy meal. But when you’ve savored the meal, your thirst quenched, Then quit the loud gathering’s joyful fest, And wander out into the garden, to the rosebush, There shall I await you, as often of old. And ere you know it shall I sink upon your breast, And drink your kisses, as so often before, And twine the rose’s splendor into your hair. Oh, come, you wondrous, longedfor night! �Traum durch die Ddmmerung Mein Herr Marquis (Dreaming through the twilight) (My dear Marquis) (Karl Haﬀner and Franz Broad meadows in the grey twilight; the sun’s light has died away and the stars are moving. Now I go to the loveliest of women, across the meadow in the grey twilight, deep into bushes of jasmine. My dear marquis, a man like you should better understand. Therefore, I advise you to look more closely at people! (Otto Julius Bierbaum) Through the grey twilight to the land of love; I do not walk quickly, I do not hurry. I am drawn by a faint, velvet thread through the grey twilight to the land of love, into a blue, mild light. Zueignung (Dedication) (Hermann von Gilm) Yes, you know it, dearest soul, How I suﬀer far from you, Love makes the heart sick, Have thanks. Once I, drinker of freedom, Held high the amethyst beaker, And you blessed the drink, Have thanks. And you exorcised the evils in it, Until I, as I had never been before, Blessed, blessed sank upon your heart, Have thanks. Friedrich Richard Genée) This hand is surely far too ﬁne, This foot so dainty and small, The manner of speaking I have, My waist, my bustle, These would never be found On a lady’s maid! You really must admit, This mistake is very comical! Yes, very comical is this matter, So pardon me if I laugh! With this proﬁle in Grecian style being a gift of nature; If this face doesn’t say enough, just look at my ﬁgure! Just look through your lorgnette at this outﬁt. It seems to me that love has clouded your eyes. The image of your chambermaid has quite ﬁlled your heart! Now you see her everywhere! This is truly a very comic situation! Yes very comical is this matter, So pardon me if I laugh! � 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.) 48 minutes :27 seconds Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE142453">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE142453</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 German Lyric Diction final concert, May 10, 2012 Description An account of the resource Works by Schubert, Schumann, Strauss Held at 8:00 p.m., May 10, 2012, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Berry, Judy Lawson, Williams James Oh, Hee-Pyoung Leonberger, Richard G Cakalli, Meghan Adams-Toomey, Molly Hyland, Charles Bae, Eun Hwan Kompar, Christina 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 5/10/12 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/bb34c7a103e37aff52849ce0b8bd955f.pdf 6a07823147c7dcfb1361d972712d1cfb PDF Text Text BINGHAMTON l ' N I \' E R S I T Y State University of New York German Romanic Pieces An Evening of Chamber Music Patricia Sunwoo, violin David Brickman, violin Roberta Crawford, viola Stephen Stalker, cello Timothy Perry, clarinet Michael Salmirs, piano Saturday, November 19, 2005 8:00 p.m. Anderson Center Chamber Hall �PROGRAM Adagio in E-Flat, D. 897, "Nottumo" ... .................... Franz Schubert for Piano Trio (1797-1828) Patricia Sunwoo, violin Stephen Stalker, cello Michael Salmirs, piano Grand Quintet in B-Flat, Op. 34 .. .. ............... Carl Maria von Weber for Clarinet and String Quartet ( 1786-1826) Allegro Fantasia Menuetto-Capriccio: Presto Rondo: Allegro giocoso Timothy Perry, clarinet Patricia Sunwoo, violin David Brickman, violin Roberta Crawford, viola Stephen Stalker, cello ~INTERMISSION~ Piano Quartet in A, Op. 26 .................................... Johannes Brahms Allegro non troppo (1833-1897) Poco Adagio Scherzo: Poco Allegro Finale: Allegro Patricia Sunwoo, violin Roberta Crawford, viola Stephen Stalker, cello Michael Salmirs, piano �ABOUT THE MUSIC Adagio in E-flat D. 897, for Piano Trio "Notturno" Some time during the winter of 1822-23 Schubert became seriously ill with the symptoms of syphilis, tantamount to a death sentence in those days. And though there were extended periods of remission, for the remaining six years of his life his health was permanently undermined. It is, of course, dangerous to draw too close a parallel between an artist's life and work. Even so, it is hard to deny that much of Schubert's music from the last years, Winterreise, the late string quartets and piano sonatas, the C Major String Quintet is suffused with a sense of evanescence, an awareness of impending doom. Yet amid this darkening inner landscape, the hedonistic, characteristically Viennese spirit of earlier works like the Trout Quintet is never entirely lost. It permeates the lyrically exuberant Piano Trio in B-flat probably composed during the. late summer or autumn of 1827, a time when Schubert was also preoccupied with the last twelve songs of Winterreise. Conjecture surrounds the B-flat Trio, as it does so many of Schubert's works. There is no surviving manuscript and therefore no exact dating and the composer never mentioned the work in his correspondence with publishers. But circumstantial evidence suggests that it was written shortly before the Trio in E-flat, D. 929, whose autograph bears the date November 1827. An investigation of the paper type used for the autograph score of the Notturno D. 897, long accepted as the original, discarded slow movement for the B-flat Trio, has revealed that it is identical with the paper used in the autumn of 1827 for the E-flat Trio and the finished copy of Winterreise. If the Notturno (as titled by the publisher Diabelli) was indeed the original slow movement of the B-flat Trio, we can only guess at Schubert's reasons for jettisoning it. But while it makes a less ready appeal than the Andante that replaced it, it uncannily prefigures the Adagio of the C Major String Quintet, composed the following autumn. The two movements realize consummately the vein of timeless, contemplative ecstasy. Like the Quintet's Adagio, the Notturno presents . a mesmerically sustained melody in close harmony in the inner voices (violin and cello) against a plucked accompaniment in the treble and bass, with the piano doing a fair imitation of a harp. And as in the Quintet the contrasting central section moves to the key of the Neapolitan second, a semitone above the tonic: E-flat to E Major. Finally, like that in the Quintet, the coda contains a final harmonic shudder (with a sudden crescendo) just before the closing bars. by Richard Wigmore �Grand Quintet in B-Flat, Op. 34 Carl Maria von Weber (1786-1826) was a generous contributor to the repertory of the solo clarinet through his deep and abiding friendship with the Munich clarinetist Heinrich Baermann. In addition to tonight's Quintet, Weber completed two concerti, a concertino, a set of variations and the Grand Duo Concertante. Weber toured Europe as Baermann' s accompanist, and his complete familiarity with the possibilities of the developing instrument are echoed in the rapidity with which the clarinet works were composed. The Concertino was written in three days, the Variations were written on the morning of its premiere (!), and the splendid Quintet, although written over a period of four years ( 1811-15), occupied probably not more than two weeks of the busy composer's time. The work is clearly intended first and foremost as a tour de force for the solo clarinet, although the string writing is well conceived and effective. The opening allegro is a sturdy, sunny march whose jaunty dotted rhythms would find an echo a century later in Bela Bartok's Contrasts. Weber's natural gifts as an opera composer are put to use in the aria-like second movement fantasia, culminating in two extended chromatic scales at the outer dynamic edges of possibility. The third movement Capriccio, while listed as 'Menuetto', is very much a Beethoven-style scherzo with its 3/4 time constantly being re-organized into 3/8 and 3/2 structures, its complexity balanced by a sweetly naïve trio. The finale, a galloping presto in quick 2/4 is all flash, dash and panache in which even the improved modern clarinet is pushed to the edges of fleet-fingered virtuosity- but all in good fun. By Timothy Perry Brahms Piano Quartet in A, Opus 26 The Brahms Piano quartet Opus 26 was published in 1862, along with the G Minor Quartet, just as the young Brahms was passed over for an appointment to become director of the Hamburg Philharmonic Society. He moved to Vienna and it received its first performance there. It is less often played than its partner, the G Minor Quartet or indeed, the later C Minor Quartet. This may be related to the fact that it is longer, and a little less "obvious" in design and temperament than either of the other two quartets. Although the drama and deft use of short motives which Brahms derived from his study of the works of Beethoven are ever-present, the dolcc parts owe more to Schubert in terms of the lighter, more lyrical quality of the music. This is particularly obvious in his piano writing. �The Poco Adagio is the heart of this work. The exquisite use of offset rhythm to convey a beautiful melody, which characterizes so many of the composer's slow movements, is used to great effect here. More ominous material is introduced, but he returns to the lovely melody, ending the movement as atmospherically as it was begun. The Allegro finale, like the wild Gypsy Rondo of the G Minor Quartet, has energetic Zigeuner elements. This is particularly evident in the way the piano chords are syncopated against the strings in the very opening. Brahms quotes freely from his other movements and introduces more thematic material before he brings the work to close with one of his trademark grand symphonic finales. By Patricia Sunwoo ABOUT THE PERFORMERS Canadian-born violinist PATRICIA SUNWOO made her New York orchestral debut in 1995, performing Alban Berg's Violin Concerto at Alice Tully Hall, and has since been active as a recitalist and chamber musician throughout the United States. She has won prizes from the Canadian Music Competition, Montreal Symphony Orchestra Competition, and CIBC Festival of Music. As a member of the Whitman String Quartet, winner of the 1998 Walter W. Naumburg Award, she performed to critical acclaim across the United States, France and South America. She has recorded works of Artur Schnabel and Michael Whalen for labels CP 2 and Arabesque Recordings, and was aired by NPR and Japan's NHK. Recent engagements include appearances at Carnegie Hall's Weill Recital Hall, Corcoran Gallery in Washington, D.C., Bard College, Meadowmount School and L'Espace Pierre Cardin in Paris. She has worked with composers John Corigliano, Joan Tower and George Crumb, and given premieres with the Whitman Quartet, Metamorphosen Chamber Orchestra and new music ensembles. Sunwoo is also an active advocate of music education, and has been a teaching artist for the Midori Foundation, Da Camera Society of Los Angeles and Carnegie Hall. In 2001, she joined the faculty at Binghamton University. Her major teachers include John Loban in Vancouver, the Juilliard String Quartet, and Sally Thomas at the Juilliard School, where she received her doctorate. �STEPHEN STALKER, cellist, teaches cello and double bass at Binghamton University. He formerly taught at Colgate University, Mansfield University, Ithaca College, and in the Binghamton City Schools. He has performed extensively with the Catskill Chamber Players of Oneonta, NY, the Finger Lakes Chamber Ensemble, and in concerts at Binghamton University. He plays with the Northeastern Pennsylvania Philharmonic and was the principal cellist of the Cayuga Chamber Orchestra in Ithaca, NY. TIMOTHY PERRY, clarinetist, conductor and Professor of Music, joined the Binghamton University faculty in 1986 as director of the orchestral and wind ensemble programs and instructor of studio conducting and clarinet. Perry holds D.M.A., M.M.A. and M.M. degree from the Yale School of Music and a B. Mus. degree from the Manhattan School of Music. Dr. Perry's more than two hundred programs include ten seasons as Music Director of the Binghamton Community Orchestra and as guest conductor of both the Catskill Symphony and Binghamton Philharmonic orchestras. Perry is widely known as a virtuoso solo and chamber music clarinetist, touring Latin America and the Caribbean as a United States Musical Ambassador and appearing at international festivals in Europe and Asia. He presented his third artist recital at an International Clarinet Conference this past summer in Tokyo. Pianist MICHAEL SALMIRS, a founding member and artistic director of the Finger Lakes Chamber Ensemble is well known as a recitalist and chamber musician performing extensively throughout the region. He has appeared as soloist with the Corning Philharmonic, Binghamton University Orchestra, Cayuga Chamber Orchestra, and has been a featured pianist on their Sunday chamber series. As a performer of contemporary music, he has participated in such series as Binghamton University's Musica Nova, Cornell University's Ensemble X, and has toured and recorded for the Syracuse Society for New Music. Salmirs studied at the New England Conservatory and Eastman School of Music; his teachers have included pianists Leonard Shure and Rebecca Penncys and composer Karel Husa. Salmirs has taught at the Syracuse University School of Music and Hobart and William Smith Colleges. He is currently a faculty member at Binghamton University and Affiliate Artist at Cornell University. He maintains a private piano studio in Ithaca and enjoys teaching students of all ages and levels. �DAVID BRICKMAN enjoys a diverse career as soloist, chamber player, and orchestral musician. Prior to joining the Rochester Philharmonic Orchestra in 1989 as its principal second violinist, he was a member of the Columbus Symphony Orchestra and associate concertmaster of the Honolulu Symphony Orchestra. He is concertmaster of the Rochester Chamber Orchestra, has toured the United States and Europe with the Pittsburgh Symphony Orchestra and Lorin Maazel, and has performed and recorded as acting concertmaster of the Milwaukee Symphony Orchestra. Mr. Brickman plays for the Rochester Society for Chamber Music, the Seal Bay Festival of American Chamber Music in Vinahaven, Maine and is a founding member of the Ithaca-based Finger Lakes Chamber Ensemble. He is a frequent soloist with the Rochester Philharmonic and Rochester Chamber Orchestras and has appeared with the Albany Symphony and Savannah Symphony Orchestras among others. He is a featured soloist in a performance of Vernon Duke's jazz standard "Autumn in New York" on the RPO's 75th Anniversary CD and has recorded several works of 20th century chamber music for the Milken Foundation. l ROBERT A CRAWFORD, violist, performs extensively as a recitalist and chamber musician. As Associate Director and a founding member of the Finger Lake Chamber Ensemble, Crawford has participated in over one hundred solo, chamber, and lecture recitals presented by the ensemble since its formation in 1990. She has performed with the Catskill Chamber Players, appeared frequently on the Cayuga Chamber Orchestra's Sunday Chamber Music Series and has been a guest performer with the Ariadne String Quartet. Crawford has played with the Portland and Syracuse symphonies and is Associate Principal Violist for the Cayuga Chamber Orchestra. An advocate of new music, Crawford has premiered numerous works featuring viola and has had sevetalworks dedicated to her. She has participated in music festivals throughout the United States and in the Caribbean and has appeared in live performance broadcasts for public radio and television. A dedicated teacher, Crawford has served as clinician, coach, and adjudicator for numerous music organizations and is Director of ViolaFest at Binghamton. She has been a guest faculty member at Phillips Academy, the Quartet Program, Ithaca College, and the Eastman School of Music and is currently Coordinator of Strings at Binghamton University. �COMING EVENTS Sunday, November 20 - Concerto & Aria Competition Auditions - 7:00 p.m. - Casadesus Recital Hall - free Tuesday, November 29 - University Percussion Ensemble - 8:00 p.m. Anderson Center Chamber Hall - free Thursday, December 1 - Mid-Day Concert with faculty and student performers - 1:20 p.m. - Casadesus Recital Hall - free Friday, December 2 - Flute Studio Recital - 10:30 a.m. - Casadesus Recital Hall - free Saturday, December 3 - University Symphony Orchestra - 8:00 p.m. Osterhout Concert Theater - $9 general public; $7 faculty/staff/seniors; free for students Saturday, December 3 - Master's Recital: Erin Lahm, soprano - 5:00 p.m. - Casadesus Recital Hall - free Sunday, December 4 - University Wind Ensemble Holiday Concert 1:00 p.m. - Oakdale Mall - free Sunday, December 4 - University Flute Ensemble - 7:30 p.m. Casadesus Recital Hall - free Thursday, December 8 - Holiday Mid-Day Concert with faculty and student performers - 1:20 p.m. - Casadesus Recital Hall - free Thursday, December 8 - Harpur Chorale and Women's Chorus - 8:00 p.m. - Anderson Center Chamber Hall - free Sunday, December 11 - Master's Recital: Kathryn Boczar, soprano 7:30 p.m. - Casadesus Recital Hall - free Wednesday, December 14 - Master's Recital: Donald Truesdail, string bass - Casadesus Recital Hall - free Sunday, February 12 - Organist Jonathan Biggers: Bach Again! - 4:00 p.m. - First Presbyterian Church, Chenango St., Binghamton - $14 general public; $12 faculty/staff/seniors; $6 students Sunday, February 19 - Pianist Michael Salmirs - 3:00 p.m. - Anderson Center Chamber Hall - $14 general public; $12 faculty/staff/seniors; $6 students l � 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 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 German Romantic pieces: an evening of chamber music, November 19, 2005 Description An account of the resource Works of Schubert, von Weber, Brahms. Held at 8:00 p.m., November 19, 2005, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Sunwoo, Patricia Brickman, David Crawford, Roberta Stalker, Stephen Perry, Timothy Salmirs, 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 2005-11-19 Rights Information about rights held in and over the resource In copyright Format The file format, physical medium, or dimensions of the resource 2 audio discs 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 Binghamton Community Poets' Big Horror Reading Series Subject The topic of the resource American poetry -- 20th century; Oral interpretation of poetry Description An account of the resource The Binghamton Community Poets were founded in 1983 by native Binghamton poet, educator, and Harpur College alum Richard Martin. That year he started the The Big Horror Reading Series 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. 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. The collection also <a href="https://omeka.binghamton.edu/omeka/collections/show/31">includes twelve excerpted poems</a> 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. Digitization and DVD Production 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.  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. Preservation and Expanded Access 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. (N.B.: They are only accessible on campus or via campus VPN.) *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 <a href="https://www.pinterest.com/pin/548805904585058425/">Pinterest</a>. If you are the rights holder, please contact The Libraries. Creator An entity primarily responsible for making the resource Binghamton Community Poets Publisher An entity responsible for making the resource available Digital publisher: Binghamton University Libraries Rights Information about rights held in and over the resource In copyright Language A language of the resource English Contributor An entity responsible for making contributions to the resource Bern Mulligan Erin Rushton Ben Coury David Schuster Rachel Turner David Floyd Sasha Frizzell Aynur de Rouen Nicholas Eggleston Alexxa O Bisnar (Student worker) Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 videodisc (92 min.) sound, color 4 3/4 in. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 92 min. Collection Big horror reading series (Binghamton Community Poets) Date of Digitization 7/20/22 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243206">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243206</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gerry Crinnin with "Open Mike" at the Amsterdam July 20, 1993 Subject The topic of the resource American poetry -- 20th century Oral interpretation of poetry Description An account of the resource Features poetry readings from Gerry Crinnin at the Amsterdam in Johnson City, N.Y. Several local poets read their works during "open mike" sessions interspersed with the featured poet. The event was held on July 20, 1993 and the readings were sponsored by the Binghamton Community Poets as part of their Big Horror Reading Series. Video edited by Bern Mulligan. Creator An entity primarily responsible for making the resource Crinnin, Gerry Source A related resource from which the described resource is derived DVD created from VHS recording of the event Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Binghamton Community Poets Date A point or period of time associated with an event in the lifecycle of the resource 1993/07/20 Rights Information about rights held in and over the resource In copyright Language A language of the resource English Type The nature or genre of the resource Moving Image Identifier An unambiguous reference to the resource within a given context PS615 B56 1993 7-20 Format The file format, physical medium, or dimensions of the resource video/mp4 https://omeka.binghamton.edu/omeka/files/original/0e557bce9dcda5fba40992a828272911.jpg 2759dbff371c5fa04b933b961602aab5 https://omeka.binghamton.edu/omeka/files/original/4fa59cd39b8b2008f523a5e6d3bd6821.jpg c6cf91d133a60c3a00a682511fd42d55 https://omeka.binghamton.edu/omeka/files/original/c18babf8ea698137d0abd329b588e260.jpg bd3a209653892c4a4a7d40938af0291f https://omeka.binghamton.edu/omeka/files/original/e037df0f4280b25d826c7f61993c98f2.jpg 8b002f816dcc77fef36a215338560f8f https://omeka.binghamton.edu/omeka/files/original/60877f824e275f98846adea951751d65.jpg f6256154db18daed3330ff870bce658a https://omeka.binghamton.edu/omeka/files/original/490a6a14f0012727ae7129397c13580a.jpg 7126d31202c0bf18d34ebd2e6d8d92e5 https://omeka.binghamton.edu/omeka/files/original/129d04d57de6c225188d77567ebca15f.jpg 860e2f16e9764873c688fce8dd8e7952 https://omeka.binghamton.edu/omeka/files/original/59422e64d444e02891412cccfcd4d9e2.jpg 62107a250887fe21e334c6f8213b5aff https://omeka.binghamton.edu/omeka/files/original/993a5de6dcb220627ffa6577a17b7885.jpg 45d73e206dbc072a5db1cbbe468b2b19 https://omeka.binghamton.edu/omeka/files/original/2013a55d78645c9bbfd4ccf9c0e36eee.jpg 1b6197569f66b7e611280782cfe4d1d6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Reinhardt Promptbooks Description An account of the resource Who is Max Reinhardt? The celebrated Austrian theater director <a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/">Max Reinhardt</a>, recognized in America primarily for his elaborate productions of Shakespeare’s A Midsummer Night’s Dream, Franz Werfel’s The Eternal Road, and Karl Vollmoeller’s The Miracle, was born in 1873 at Baden near Vienna, Austria and died in New York City in 1943. Reinhardt’s illustrious career takes on added significance because it coincides with a major shift in the evolution of the modern theater: the ascendancy of the director as the key figure in theatrical production. Reinhardt’s reputation in international theater history is secured by the leading role he played in this transformation, as well as by his innovative use of new theater technology and endless experimentation with theater spaces and locales, which together redefined traditional relationships between actor and audience toward a new participatory theater. What is a prompt book? The prompt book is a master copy of the production script and contains a wealth of instructions and information alongside the basic text of the play. As well as the actors’ lines, you will often see cues for music, movement, light, and many other aspects of stage business. It may also contain sketches of how a piece of staging is supposed to look, or which costume a character should wear in a scene. Why are his important? Reinhardt’s directorial prompt books reflect the ways in which he made plays by major playwrights, including Ibsen, Shakespeare and Wilder, his own. The prompt books contain notations denoting changes in the script, actor moves and technical cues, instructions on how sound, props and scenery were used, and stage drawings. They help us to reconstruct Reinhardt’s techniques and directions in productions. Acknowledgements Thank you to the Gladys Kriebel Delmas Foundation who generously provided the funding to make this extraordinary project possible. Thank you also to the following individuals who helped make this project successful: Binghamton University Libraries’ Staff: Benjamin Coury, Nicholas Eggleston, Jean Green, Blythe Roveland-Brenton, Erin Rushton, David Schuster, Rachel Turner, Brandy Wrighter; Binghamton University Students: Madelynn Cullings, Kashawn Hernandez, Aanyah Jhonson-Whyte, Marisa Joseph, Bethany Maloney, Ashleigh Marie Sherman, Thomas Tegtmeier, Joseph Vitale. Relation A related resource <a href="https://omeka.binghamton.edu/omeka/items/show/2877">Full Display and German Transcription of Max Reinhardt's</a><a href="https://omeka.binghamton.edu/omeka/items/show/2877"> Reigen Promptbook</a> <a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/">Max Reinhardt Archives and Library</a> <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,reinhardt&tab=DigitalCollections&search_scope=DigitalCollections&vid=01SUNY_BIN:01SUNY_BIN&offset=0">Max Reinhardt Collection Photographs</a> <a href="https://omeka.binghamton.edu/omeka/max-reinhardt-timeline">The Life and Times of Theater Director Max Reinhardt</a> <a href="https://omeka.binghamton.edu/omeka/max-reinhardt-theaters">The Theaters of Max Reinhardt</a> Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Jean Green,  Binghamton University Students: Madelynn Cullings Kashawn Hernandez Aanyah Jhonson-Whyte Marisa Joseph Bethany Maloney Ashleigh Marie Sherman Thomas Tegtmeier Joseph Vitale Promptbook Description Markings in black pen, pink pen, blue pencil, black pencil, and red pencil. Notes extensive throughout entire promptbook. Thorough drawings and stage directions found at beginning of each act. Black pen mainly used for written notes regarding play itself colored inks mainly used for staging/technical directions (common throughout all of Reinhardt’s works). Collection Max Reinhardt Promptbooks Dimensions Physical dimensions of item 21.25cm x 13.5cm Earlier version Earlier version (dcterms:isVersion Of) Spöksonaten Notes Located in Binghamton University Libraries Special Collections PT2635.E548P75 v.128 Production(s) September 21, 1916, Berlin September 26, 1916, Berlin -Supporting materials: Box 7 Folder 45: 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 Gespenstersonate [promptbook] Subject The topic of the resource Strindberg, August, 1849-1912. Gespenstersonate -- Translations into German Promptbooks Stage directions 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 3223 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Kammerspiele 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/2971dbea17976f3fb33d3607d72ae4d5.pdf 63bb8ecdfdc49b35d6dd5bd64ba05a9c PDF Text Text STATE UNIVERSITY OF NEW YORK AT BINGHAMTON HARPUR COLLEGE THE DEPARTMENT OF MUSIC with THE DEPARTMENT OF THEATER present ME N O T T I ' S THE OLD MAID AND THE THIEF by Students from the Opera Workshop Thursday, April 29, 1971 Friday, April 30, 1971 8: 15 p.m. Studio I �THE OLD MAID AND THE THIEF A Grotesque Opera in 14 Scenes Libretto and Music by GIAN CARLO MENOTTI - Overture - Scene 1 -- Miss Todd's Parlor: Miss Todd, Miss Pinkerton, Leatitia, Bob. - Scenes 2 and 3 -- The Kitchen of Miss Todd's House; Bob's Bedroom: Miss Todd, Laetitia, Bob. - Scene 4 The Street: Miss Pinkerton, Miss Todd. - Scene 5 Miss Todd's Parlor: Miss Todd, Laetitia, Bob. - Scene 6 The Kitchen of Miss Todd's House: Laetitia. - Scene 7 The Porch of Miss Todd's House: Miss Todd Miss Pinkerton. - Scenes 8 and 9 -- Bob's Bedroom; Miss Todd's Parlor: Bob, Laetitia, Miss Todd. - Scene 10 -- In Front of the Liquor Store: Laetitia, Miss Todd. - Scene 11 -- Miss Todd's Parlor: Miss Pinkerton, Miss Todd, Laetitia. - Scene 12 -- Bob's Bedroom: Miss Todd, Laetitia, Bob. -Scenes 13 and 14 -- Bob's Bedroom, Miss Todd's Parlor: Bob, Laetitia, Miss Todd. Characters Miss Todd Laetitia Miss Pinkerton Bob Mezzo-soprano Soprano Soprano Baritone Michele Milligan Margaret Koty lo Donna Ribble James Osborne The Action takes place in a Small Town somewhere in the United States. Time: The Present Musical Preparation and Conductor - -- Roberta Schlosser Dramatic Director -- Charles Dietrich Coach and Accompanist -- Barbara Garges Liquor Store Proprietor -- Martin Kass Assistant Stage Director -- John Sturman Lighting -- Dennis Crozier Properties -- Claire Witlin, Janet Randall Sound -- Sherry Teitelbaum Photography -- Herman Paikoff Right of performance granted by Belwin Publishing Corporation. Mills Notes by Gian Carlo Menotti In his middle age, an artist is apt to look back at his youthful works with much embarrassment. Later in life, more often than not, the embarrassment turns to sentimental affection. On listening to The Old Maid and the Thief, I no longer smile at what for a time seemed utter naivete, but, rather, admire the courage of the young man . who wrote it. Still in my twenties, with only one other opera to my credit (Amelia Goes to the Ball), I was connnissioned by NBC to write an opera especially conceived for radio. It turned out, as far as I know, to be the very first opera written for this medium, just as, years later, Arnahl and the Night Visitors inaugurated a long series of operas written for TV. I had already lived in America for a few years, but my knowledge of the English language was yet rather primitive to say the least. Still, the sound of it fascinated me. I thought that because of its greater sharpness and greater variety of sounds, it offered to the musician much greater rhythmic possibilities than Italian. After studying Elizabethan madrigals, I became quite convinced of this. Only the arrogance of youth, however, could convince me that I was ready to supply myself with an English libretto. I thought, perhaps, that I could not do much worse for myself than some of Verdi's and Donizett's librettists had done for their composers. As for the subject, youthful arrogance, again, encouraged me to tackle what I considered, then, a very American plot. I was living in America, why not write about the American scene? At the time, I was in the habit of often visiting the family of my Curtis Institute fellow-student, Samuel Barber, �in West Chester, Pennsylvania, which was then still a very little sleepy town of quiet oak-lined streets. Coming as I did from a noisy Italian family of ten children, the Barber household, with its quiet Presbyterian background and its subdued dignity, was quite a change for me. In fact, I was incredibly charmed by what seemed to me the exotic quaintness of that little American town. I sound found out, however, from the quiet gossip overheardduring tea and Bridge parties in Mrs. Barber's and her friends' parlors, that behind those innocent 18th century wooden facades all sorts of secret dramas took place; some grim, some comic and all of them, of course, "scandalous." And so, it was the deceptive innocence of West Chester, Pennsylvania which inspired the subject for my second opera. Should I write such an opera today, I'd probably be much more sympathetic and charitable towards Miss Todd and more critical of Laetitia's happy-go-lucky synicism. After A Street Car Named Desire, it is difficult to contemplate frustrated sexual desires with anything but compassion. (I myself, an old bachelor, should know!) But then I was a devoted admirer of comrnedia dell'arte: old unmarried people had to be grotesquely funny, young "servette" had to be sparkling, witty and the handsome hero had to get what he wanted. In spite of the cynical turn of the plot (a man cannot help becoming what people want him to be), and its gentle touch of misogynism, the opera is more or les_s stock commedia dell'arte. As for the music, what can I say? If, as I believe, the true artist is he who is able to reveal his inner self with both precision and spontaneity, I cannot but envy the young man who wrote The Old Maid and the Thief. It is now with gnawing self-doubt that I try to capture my real face beneath the layers of masks that little by little life imposes on me. What seemed so easy then has become unbearably difficult. If The Old Maid has any merits the main one is that it faithfully reveals the young man I was. But, of course, not all young men are charming or amusing. Besides, in art, youth in itself has little value unless it is able to capture, as Bizet did in his "Symphony in C" the very essence of youth. Be it far from me to claim the same for "The Old Maid" but as long as its youthfulness can still make people smile, I am glad that the ever-ready undertakers have not yet succeeded in burying her. * Notes taken from Mercury phonograph record number SR9O521. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 26:42:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63440">Gian Carlo Menotti's Old Maid and the Thief by Students of the Opera Workshop</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 Gian Carlo Menotti's Old Maid and the Thief by Students of the Opera Workshop, April 29, 1971 Subject The topic of the resource Concerts Live sound recordings Description An account of the resource Works of Gian Carlo Menotti. Presented at 1:00 pm, April 29, 1971, Recital Hall. Creator An entity primarily responsible for making the resource Students of the Opera Workshop Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1971-4-29 Contributor An entity responsible for making contributions to the resource Menotti, Gian Carlo, 1911-2007 Identifier An unambiguous reference to the resource within a given context 39091020069906 39091020069856 https://omeka.binghamton.edu/omeka/files/original/bbbdfeb29ecde4a2d49bd45463f52eb8.pdf 63bb8ecdfdc49b35d6dd5bd64ba05a9c PDF Text Text STATE UNIVERSITY OF NEW YORK AT BINGHAMTON HARPUR COLLEGE THE DEPARTMENT OF MUSIC with THE DEPARTMENT OF THEATER present ME N O T T I ' S THE OLD MAID AND THE THIEF by Students from the Opera Workshop Thursday, April 29, 1971 Friday, April 30, 1971 8: 15 p.m. Studio I �THE OLD MAID AND THE THIEF A Grotesque Opera in 14 Scenes Libretto and Music by GIAN CARLO MENOTTI - Overture - Scene 1 -- Miss Todd's Parlor: Miss Todd, Miss Pinkerton, Leatitia, Bob. - Scenes 2 and 3 -- The Kitchen of Miss Todd's House; Bob's Bedroom: Miss Todd, Laetitia, Bob. - Scene 4 The Street: Miss Pinkerton, Miss Todd. - Scene 5 Miss Todd's Parlor: Miss Todd, Laetitia, Bob. - Scene 6 The Kitchen of Miss Todd's House: Laetitia. - Scene 7 The Porch of Miss Todd's House: Miss Todd Miss Pinkerton. - Scenes 8 and 9 -- Bob's Bedroom; Miss Todd's Parlor: Bob, Laetitia, Miss Todd. - Scene 10 -- In Front of the Liquor Store: Laetitia, Miss Todd. - Scene 11 -- Miss Todd's Parlor: Miss Pinkerton, Miss Todd, Laetitia. - Scene 12 -- Bob's Bedroom: Miss Todd, Laetitia, Bob. -Scenes 13 and 14 -- Bob's Bedroom, Miss Todd's Parlor: Bob, Laetitia, Miss Todd. Characters Miss Todd Laetitia Miss Pinkerton Bob Mezzo-soprano Soprano Soprano Baritone Michele Milligan Margaret Koty lo Donna Ribble James Osborne The Action takes place in a Small Town somewhere in the United States. Time: The Present Musical Preparation and Conductor - -- Roberta Schlosser Dramatic Director -- Charles Dietrich Coach and Accompanist -- Barbara Garges Liquor Store Proprietor -- Martin Kass Assistant Stage Director -- John Sturman Lighting -- Dennis Crozier Properties -- Claire Witlin, Janet Randall Sound -- Sherry Teitelbaum Photography -- Herman Paikoff Right of performance granted by Belwin Publishing Corporation. Mills Notes by Gian Carlo Menotti In his middle age, an artist is apt to look back at his youthful works with much embarrassment. Later in life, more often than not, the embarrassment turns to sentimental affection. On listening to The Old Maid and the Thief, I no longer smile at what for a time seemed utter naivete, but, rather, admire the courage of the young man . who wrote it. Still in my twenties, with only one other opera to my credit (Amelia Goes to the Ball), I was connnissioned by NBC to write an opera especially conceived for radio. It turned out, as far as I know, to be the very first opera written for this medium, just as, years later, Arnahl and the Night Visitors inaugurated a long series of operas written for TV. I had already lived in America for a few years, but my knowledge of the English language was yet rather primitive to say the least. Still, the sound of it fascinated me. I thought that because of its greater sharpness and greater variety of sounds, it offered to the musician much greater rhythmic possibilities than Italian. After studying Elizabethan madrigals, I became quite convinced of this. Only the arrogance of youth, however, could convince me that I was ready to supply myself with an English libretto. I thought, perhaps, that I could not do much worse for myself than some of Verdi's and Donizett's librettists had done for their composers. As for the subject, youthful arrogance, again, encouraged me to tackle what I considered, then, a very American plot. I was living in America, why not write about the American scene? At the time, I was in the habit of often visiting the family of my Curtis Institute fellow-student, Samuel Barber, �in West Chester, Pennsylvania, which was then still a very little sleepy town of quiet oak-lined streets. Coming as I did from a noisy Italian family of ten children, the Barber household, with its quiet Presbyterian background and its subdued dignity, was quite a change for me. In fact, I was incredibly charmed by what seemed to me the exotic quaintness of that little American town. I sound found out, however, from the quiet gossip overheardduring tea and Bridge parties in Mrs. Barber's and her friends' parlors, that behind those innocent 18th century wooden facades all sorts of secret dramas took place; some grim, some comic and all of them, of course, "scandalous." And so, it was the deceptive innocence of West Chester, Pennsylvania which inspired the subject for my second opera. Should I write such an opera today, I'd probably be much more sympathetic and charitable towards Miss Todd and more critical of Laetitia's happy-go-lucky synicism. After A Street Car Named Desire, it is difficult to contemplate frustrated sexual desires with anything but compassion. (I myself, an old bachelor, should know!) But then I was a devoted admirer of comrnedia dell'arte: old unmarried people had to be grotesquely funny, young "servette" had to be sparkling, witty and the handsome hero had to get what he wanted. In spite of the cynical turn of the plot (a man cannot help becoming what people want him to be), and its gentle touch of misogynism, the opera is more or les_s stock commedia dell'arte. As for the music, what can I say? If, as I believe, the true artist is he who is able to reveal his inner self with both precision and spontaneity, I cannot but envy the young man who wrote The Old Maid and the Thief. It is now with gnawing self-doubt that I try to capture my real face beneath the layers of masks that little by little life imposes on me. What seemed so easy then has become unbearably difficult. If The Old Maid has any merits the main one is that it faithfully reveals the young man I was. But, of course, not all young men are charming or amusing. Besides, in art, youth in itself has little value unless it is able to capture, as Bizet did in his "Symphony in C" the very essence of youth. Be it far from me to claim the same for "The Old Maid" but as long as its youthfulness can still make people smile, I am glad that the ever-ready undertakers have not yet succeeded in burying her. * Notes taken from Mercury phonograph record number SR9O521. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 3 sound tape reels Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 22:59 OHMS Object URL https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63440 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE63440">Gian Carlo Menotti's Old Maid and the Thief by Students of the Opera Workshop </a><a> </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 Gian Carlo Menotti's Old Maid and the Thief by Students of the Opera Workshop, April 30, 1971 Subject The topic of the resource Concerts Live sound recordings Description An account of the resource Works of Gian Carlo Menotti. Held at 8:15 pm, April 30, 1971, Studio I. Creator An entity primarily responsible for making the resource Students of the Opera Workshop Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1971-4-30 Rights Information about rights held in and over the resource This digital recording may only be used for educational purposes. Please cite as: Binghamton University Music Department tape recordings, Special Collections, Binghamton University Libraries, Binghamton University. Contributor An entity responsible for making contributions to the resource Menotti, Gian Carlo, 1911-2007 Type The nature or genre of the resource sound Identifier An unambiguous reference to the resource within a given context 39091020069781 39091020069732 https://omeka.binghamton.edu/omeka/files/original/b459f9a4e80d3d7e917a340b02c416bc.pdf 76056a6ec82435f7408e47c9697a92c6 PDF Text Text BING HAMTON U N I V E R S I T Y S T A I E U N I V E R S I T Y O F NEW Y O R K d e Ld c D E P A R T M E N T GLEB IVANOV PIA NO Sat urday, February 7, 20 15 7:30 p.m . Anderson Cen ter Cha m ber Hal l �About the Performer 0 PROGRAM 0 Sonata in A major, D. 664, O p. 120. Allegro nwderato Andante Allegro Sonata in A major, D. 784, Op. 120. Allegra giusto Andante . Franz Sc hubert (17971828) . Franz Sch ubert (17971828) Allegro vivace &I n termissi ond®s Consolations, S. 1 72. No. I : Andante con moto No. 2 : Poco piu mosso . Franz Liszt (1 8 1 11 886) Sonata in B Minor, S. 178” . Franz Liszt (18111886) A soughta fter conce rto soloist, GLEB IVANOV pe rforms a wide range of concerto repertoire, from Mozart to Rac hmaninoﬀ and has a ppeared with orchestras including the Symphony Orchestras of Missouri, Johnstown, West Michigan, Eastern Connecticut, South Bend, Westmoreland, Southwest Florida, Peoria, Knoxville, Dearborn, Las Cruces, Grand Rapids, Springﬁeld and Napa Valley, the Indianapolis Chamber Orchestra and the Colorado Springs Philharmonic. Adored in Paris, he has been re engaged four times by the Louvre Museum for specially requested all Schubert and allChopin concerts. Mr. Ivanov has also been frequently re engaged by Princeton University, The Paramount Theater in Vermont, the Isabella Stewart Gardner Museum in Boston, “Pianofest ” in East Hampton, Bargemusic in New York City, and at Fishers Island Concerts. Highlights of this season include appearances as soloist with orchestras in Illinois and Georgia, and in recital at the Lied Center of Kansas and the Morgan Library and Museum in New York. He also performs with the Taos Chamber Music Group. In recognition of impressive career achievement, Ivanov was awarded the Michaels Award of Young Concert Artists, which brought his Lincoln Center recital debut at Alice Tully Hall and a rave review in The New York Times. His program of Russian repertoire included works by Prokoﬁev and the Rachmaninoﬀ Cello Sonata with New York Philharmonic principal cellist Carter Brey (YCA Almnus) as his guest. At a young age in Russia, Ivanov was a protege of Mstislav Rostropovich, appearing as soloist under the famous maestro with the Nizhny Novgorod Philharmonic. He also performed with the Moscow State Orchestra, wirh the Kremlin Orchestra, and at the Pushkin, Glinka, and Scriabin Museums in Moscow. Mr. Ivanov won First Prizes at the 1994 and 1996 International “Classical Legacy” Competition, and the prize for Best *there are no movement markings for the Liszt Sonata in B Minor Performance of a Beethoven Sonata at the First Vladimir Horowitz Competition in Kiev. Months after arriving in the United States, Mr. Ivanov won First Prize in the 2005 Young Concert Artists International Auditions. He received an award from the Jack Romann Special Artists Fund of YCA and made his New York debut in 2006 at Carnegie’s Zankel Hall and his Washington, D C debut at the Kennedy Center, to rave critical acclaim. Musical Studies Grants from the Bagby Foundation. �Bi ngha mton U niversity De pa rtmen t of M usi c Co mi ng Even ts 6 & 6 é 6 ﬁ 6 b w m w ﬁ Saturday, February 7 Guest Art ist: Pianist Gle b Ivanov Chamber H all $20 general public ; $15 faculty/s taﬀ/ n ﬁ b é b 7:30 p.m. Anderson Center seniors/alumni; $10 for students Sunday, February 8 – Tr iCit ies O pera presents Ross i ni’s The Italia n Gi rl i n A lgier s – 8:00 p.m. The Forum Theater call (607) 7720400 for tickets Sunday, February 1 5 Com pose rs at the Conﬂu ence: Wa r and Consequ ence 2:00 p.m. Phelps Mansion Museum $ 10 general public; f ree for BU students with ID (Call 607 722487 3 for reservations) Thu rsday. Feb ruary 26– MidDay Con cert – 1:2 0 p.m. – Casadesus Recital Hall free Thu rsday, February 26 – TriCities Ope ra prese nts Michael Ching’s “Speed Dati ng Ton ight!” – 8:00 p.m. – Ope ra Ce nter, 315 Clin ton Street, Bingham ton, NY – Cal l 607 7720400 for t ickets Friday, February 27 – TriCities Ope ra prese nts Michael Ching’s “Speed Dating Ton ight!” – 8:00 p.m. – Ope ra Cente r, 31 5 Cl inton Street, Binghamton, NY Call 607 7720400 for tickets Satu rday, February 28 – Join t Junior Reci tal: Brandon You ng, trum pet and Chris Beard, trombone 3:00 p.m . Casadesus Recital Hall free Satu rday. February 28 TriCities Ope ra prese nts Michael Ching’s “Speed Dati ng Ton ight!” 8:00 p.m. Ope ra Cente r, 31 5 Cl inton Street, Binghatmon, NY Call 607 7720400 for ticke ts. Sunday, March 1 – Sonata Masterp ieces for cello and piano wi th Stephen Stalke r and Stephen Zank – 3:00 p.m . – Anderson Cen ter C ham ber Hall $10 ge neral pu blic; $7 facu lty/staﬀ/seniors/al um ni; $ 5 for students Thu rsday, Ma rch 5 – M idDay Conce rt 1:20 p.m . Casadesus Recital Hall – free Friday, March 6 – Master’s Reci tal: N icholas F ollett, saxophone – 7:30 p.m . Casadesus Reci tal Hall free ﬁ s h ﬁ ﬁ n w é w ﬁ u ﬁ b é ﬁ M ﬁ M ﬁ ' ﬁ ﬁ ﬂ ﬁ ﬁ = [ = ] E ' . For tickets or to be added to our emai l list, visit anderson. binghamton.edu or call (60 7) 777ART‘S. F or a complete list of our concerts call (607) 7772 592. visit music.binghamton.edu or become a fan on Facebook. If you were inspired by this perfornulnce. conside r supporting the Department of M usic with a ﬁna ncial gift. Your support helps to conti nue the work of students, faculty. and guest a rtists and their contributions to our community. Please make your donation payable to the Binghamton University Music Depart ment, and send your check to B U Musi c Departmen t, P.O. Box 6000,Binghamton, NY 13902. � 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 2 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 40:22 42:25 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74871">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE74871</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 Gleb Ivanov recital, February 7, 2015 Subject The topic of the resource Concerts Instrumental music Live sound recordings Description An account of the resource Works by Schubert, Liszt. Held at 7:30 p.m., February 7, 2015, Year, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Ivanov, Gleb Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Schubert, Franz, 1797-1828 Liszt, Franz, 1811-1866 Date A point or period of time associated with an event in the lifecycle of the resource 2/7/15 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 53:44:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196832">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196832</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Glimmerglass Opera, Cooperstown, New York presents its young American artists in concert the world of Offenbach Recital Tape 5-9-2007 Description An account of the resource Held at 8:00 p.m., May 9, 2007, Casadesus Recital Hall. Works of Offenbach. Creator An entity primarily responsible for making the resource MacLeod, 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 2007-05-09 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID 331763b8-317b-4104-b53b-1392bd77c9ab https://omeka.binghamton.edu/omeka/files/original/9344bbc6efc74c143684e8d0a1292c7e.jpg e9ba045a7738f4440cb4188491efa667 https://omeka.binghamton.edu/omeka/files/original/f5e5a0abd198e8ca7b891f160df8cc95.jpg 47775cc800b7aac635bd2b3829f77618 https://omeka.binghamton.edu/omeka/files/original/2a836294bfc070d3a94d3f5aec8b41c3.jpg ab08600d03bd837a2240b4faca71c369 https://omeka.binghamton.edu/omeka/files/original/762d5e1be1d5cb165f8025ab9ce736e1.jpg aa9bf5d3a3bdf887e7b9132f07899eda https://omeka.binghamton.edu/omeka/files/original/6dc8c3876fb671ff8f7f4debc0956f3c.jpg 731fec9cfe1ea5ffabfdf681b9ad9e70 https://omeka.binghamton.edu/omeka/files/original/b5421e6c805d61d4fc83ee75656a4dcf.jpg 126e41051b179147e554fe39c3ac6d6f https://omeka.binghamton.edu/omeka/files/original/ef6209c8e7844485f080ef62f0a7ed3a.jpg b738d3fe82707c9fef0fad0b494d944c https://omeka.binghamton.edu/omeka/files/original/34642556d9571008893cc33b884440b8.jpg 568e82f42df9be868d47ea6b125367e4 https://omeka.binghamton.edu/omeka/files/original/78421e449b3238af836fb2a879fbc662.jpg 98a767f95034256954dddc7ec4ac22a2 https://omeka.binghamton.edu/omeka/files/original/4cdf3d866e98b00de0a987e137bc6fc0.jpg 4b3f0eb367f90185635d85a97c5006db 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 in fair condition, some pages loose, typewritten label on spine “Götz von Berlichingen.” All text in German. Promptbook split into three columns on each page labelled “A, B, C”- different versions. Reinhardt switches between versions throughout promptbook. Markings in black pen and blue pencil. Blue pencil mainly used to highlight which column is being followed or used for cross-outs. Black pen is used throughout for dialogue rewrites, notes, etc. Markings of note include extensive black pen and blue pencil notes for stage directions, sketches. No apparent markings from page 103 onwards. Collection Max Reinhardt Promptbooks Dimensions Physical dimensions of item 26cm x 19cm Earlier version Earlier version (dcterms:isVersion Of) Götz von Berlichingen mit der eisernen Hand Notes Located in Binghamton University Libraries Special Collections PT2635.E548P75 v.25 Production(s) October 1, 1916, Berlin -Supporting materials: Box 11 Folder 6: 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 Goethes Götz von Berlichingen : in dreifacher Gestalt [promptbook] Subject The topic of the resource Goethe, Johann Wolfgang von, 1749-1832. Götz von Berlichingen mit der eisernen Hand Promptbooks Stage directions Creator An entity primarily responsible for making the resource Goethe, Johann Wolfgang von, 1749-1832 Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1900s Contributor An entity responsible for making contributions to the resource Reinhardt, Max, 1873-1943 Language A language of the resource German Identifier An unambiguous reference to the resource within a given context R 3127 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. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 57:53 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149354">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149354</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Graduate recital, May 10, 2009 Recital Tape 2009-5-10 Description An account of the resource Works of Rameau, Rossini, Thomas, Strauss, Ives. Held at 7:30 p.m., May 10, 2009, Fine Arts Room 21. Creator An entity primarily responsible for making the resource Moots, Jonathan Schum, Jody Lundy,Barbara Tayga-Hromek, Hakan Moots, Jonathan 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 2009-05-10 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound