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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Reinhardt Promptbooks
Description
An account of the resource
<strong><em>Who is Max Reinhardt?</em></strong> <br />The celebrated <span>Austrian t</span>heater director <a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/">Max Reinhardt</a>, recognized in America primarily for his elaborate productions of Shakespeare’s A Midsummer Night’s Dream, Franz Werfel’s The Eternal Road, and Karl Vollmoeller’s The Miracle, was born in 1873 at Baden near Vienna, Austria and died in New York City in 1943. Reinhardt’s illustrious career takes on added significance because it coincides with a major shift in the evolution of the modern theater: the ascendancy of the director as the key figure in theatrical production. Reinhardt’s reputation in international theater history is secured by the leading role he played in this transformation, as well as by his innovative use of new theater technology and endless experimentation with theater spaces and locales, which together redefined traditional relationships between actor and audience toward a new participatory theater. <br /><br /><em><strong>What is a prompt book?</strong></em> <br />The prompt book is a master copy of the production script and contains a wealth of instructions and information alongside the basic text of the play. As well as the actors’ lines, you will often see cues for music, movement, light, and many other aspects of stage business. It may also contain sketches of how a piece of staging is supposed to look, or which costume a character should wear in a scene. <br /><br /><em><strong>Why are his important?</strong></em> <br />Reinhardt’s directorial prompt books reflect the ways in which he made plays by major playwrights, including Ibsen, Shakespeare and Wilder, his own. The prompt books contain notations denoting changes in the script, actor moves and technical cues, instructions on how sound, props and scenery were used, and stage drawings. They help us to reconstruct Reinhardt’s techniques and directions in productions. <br /><br /><em><strong>Acknowledgements</strong></em> <br />Thank you to the Gladys Kriebel Delmas Foundation who generously provided the funding to make this extraordinary project possible. Thank you also to the following individuals who helped make this project successful: Binghamton University Libraries’ Staff: Benjamin Coury, Nicholas Eggleston, Jean Green, Blythe Roveland-Brenton, Erin Rushton, David Schuster, Rachel Turner, Brandy Wrighter; Binghamton University Students: Madelynn Cullings, Kashawn Hernandez, Aanyah Jhonson-Whyte, Marisa Joseph, Bethany Maloney, Ashleigh Marie Sherman, Thomas Tegtmeier, Joseph Vitale.
Relation
A related resource
<p><a href="https://omeka.binghamton.edu/omeka/items/show/2877">Full Display and German Transcription of Max Reinhardt's</a><em><a href="https://omeka.binghamton.edu/omeka/items/show/2877"> Reigen Promptbook</a><br /></em><br /><a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/"><span>Max Reinhardt Archives and Library</span></a><br /><br /><a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,reinhardt&tab=DigitalCollections&search_scope=DigitalCollections&vid=01SUNY_BIN:01SUNY_BIN&offset=0">Max Reinhardt Collection Photographs</a></p>
<p></p>
<p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-timeline">The Life and Times of Theater Director Max Reinhardt</a></p>
<p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-theaters">The Theaters of Max Reinhardt</a></p>
Rights
Information about rights held in and over the resource
In copyright
Contributor
An entity responsible for making contributions to the resource
Jean Green, <br /><br />Binghamton University Students: <br />Madelynn Cullings<br />Kashawn Hernandez<br />Aanyah Jhonson-Whyte<br />Marisa Joseph<br />Bethany Maloney<br />Ashleigh Marie Sherman<br />Thomas Tegtmeier<br />Joseph Vitale
Promptbook
Description
Notes in black pencil and blue pencil. Most notes in black pencil. Consistent notes throughout entire promptbook, mostly short dialogue notes with an occasional extended note, rewrite. Stage directions, sketches, etc. also found consistently throughout.
Collection
Max Reinhardt Promptbooks
Dimensions
Physical dimensions of item
19cm x 14.5cm
Earlier version
Earlier version (dcterms:isVersion Of)
Aglavaine et Sélysette
Notes
Located in Binghamton University Libraries Special Collections
PT2635.E548P75 v.71
Production(s)
Not specified.
Accessibility
Copy/Paste below:
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Aglavaine und Selysette : Trauerspiel in fünf Aufzügen [promptbook]
Subject
The topic of the resource
Maeterlinck, Maurice, 1862-1949
Promptbooks
Stage directions
Aglavaine et Sélysette -- Translations into German
Creator
An entity primarily responsible for making the resource
Maeterlinck, Maurice, 1862-1949
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 3166
Rights
Information about rights held in and over the resource
Copyright undetermined. This image is provided for educational and research purposes only as is stipulated by U.S. and international copyright law. For more information, please contact speccoll@binghamton.edu.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Reinhardt Promptbooks
Description
An account of the resource
<strong><em>Who is Max Reinhardt?</em></strong> <br />The celebrated <span>Austrian t</span>heater director <a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/">Max Reinhardt</a>, recognized in America primarily for his elaborate productions of Shakespeare’s A Midsummer Night’s Dream, Franz Werfel’s The Eternal Road, and Karl Vollmoeller’s The Miracle, was born in 1873 at Baden near Vienna, Austria and died in New York City in 1943. Reinhardt’s illustrious career takes on added significance because it coincides with a major shift in the evolution of the modern theater: the ascendancy of the director as the key figure in theatrical production. Reinhardt’s reputation in international theater history is secured by the leading role he played in this transformation, as well as by his innovative use of new theater technology and endless experimentation with theater spaces and locales, which together redefined traditional relationships between actor and audience toward a new participatory theater. <br /><br /><em><strong>What is a prompt book?</strong></em> <br />The prompt book is a master copy of the production script and contains a wealth of instructions and information alongside the basic text of the play. As well as the actors’ lines, you will often see cues for music, movement, light, and many other aspects of stage business. It may also contain sketches of how a piece of staging is supposed to look, or which costume a character should wear in a scene. <br /><br /><em><strong>Why are his important?</strong></em> <br />Reinhardt’s directorial prompt books reflect the ways in which he made plays by major playwrights, including Ibsen, Shakespeare and Wilder, his own. The prompt books contain notations denoting changes in the script, actor moves and technical cues, instructions on how sound, props and scenery were used, and stage drawings. They help us to reconstruct Reinhardt’s techniques and directions in productions. <br /><br /><em><strong>Acknowledgements</strong></em> <br />Thank you to the Gladys Kriebel Delmas Foundation who generously provided the funding to make this extraordinary project possible. Thank you also to the following individuals who helped make this project successful: Binghamton University Libraries’ Staff: Benjamin Coury, Nicholas Eggleston, Jean Green, Blythe Roveland-Brenton, Erin Rushton, David Schuster, Rachel Turner, Brandy Wrighter; Binghamton University Students: Madelynn Cullings, Kashawn Hernandez, Aanyah Jhonson-Whyte, Marisa Joseph, Bethany Maloney, Ashleigh Marie Sherman, Thomas Tegtmeier, Joseph Vitale.
Relation
A related resource
<p><a href="https://omeka.binghamton.edu/omeka/items/show/2877">Full Display and German Transcription of Max Reinhardt's</a><em><a href="https://omeka.binghamton.edu/omeka/items/show/2877"> Reigen Promptbook</a><br /></em><br /><a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/"><span>Max Reinhardt Archives and Library</span></a><br /><br /><a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,reinhardt&tab=DigitalCollections&search_scope=DigitalCollections&vid=01SUNY_BIN:01SUNY_BIN&offset=0">Max Reinhardt Collection Photographs</a></p>
<p></p>
<p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-timeline">The Life and Times of Theater Director Max Reinhardt</a></p>
<p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-theaters">The Theaters of Max Reinhardt</a></p>
Rights
Information about rights held in and over the resource
In copyright
Contributor
An entity responsible for making contributions to the resource
Jean Green, <br /><br />Binghamton University Students: <br />Madelynn Cullings<br />Kashawn Hernandez<br />Aanyah Jhonson-Whyte<br />Marisa Joseph<br />Bethany Maloney<br />Ashleigh Marie Sherman<br />Thomas Tegtmeier<br />Joseph Vitale
Promptbook
Description
All typewritten pages are loose and housed in blue folder. Separate note pages found every page in Act I, none in Act II or III. Black pencil markings, red pencil markings, both unspecified. Not many markings in Act I, more markings in Act II and III. Stage sketches found on page 1 of both Act I and Act II.
Collection
Max Reinhardt Promptbooks
Dimensions
Physical dimensions of item
29.25cm x 24.5cm
Notes
Located in Binghamton University Libraries Special Collections
PT2635.E548P75 v.20
Production(s)
Not specified.
Accessibility
Copy/Paste below:
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Aimée : Schauspiel in 3 Aufzügen [promptbook]
Subject
The topic of the resource
Géraldy, Paul, 1885-1983
Promptbooks
Stage directions
Creator
An entity primarily responsible for making the resource
Géraldy, Paul, 1885-1983
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 3121
Rights
Information about rights held in and over the resource
Copyright undetermined. This image is provided for educational and research purposes only as is stipulated by U.S. and international copyright law. For more information, please contact speccoll@binghamton.edu.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Reinhardt Promptbooks
Description
An account of the resource
<strong><em>Who is Max Reinhardt?</em></strong> <br />The celebrated <span>Austrian t</span>heater director <a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/">Max Reinhardt</a>, recognized in America primarily for his elaborate productions of Shakespeare’s A Midsummer Night’s Dream, Franz Werfel’s The Eternal Road, and Karl Vollmoeller’s The Miracle, was born in 1873 at Baden near Vienna, Austria and died in New York City in 1943. Reinhardt’s illustrious career takes on added significance because it coincides with a major shift in the evolution of the modern theater: the ascendancy of the director as the key figure in theatrical production. Reinhardt’s reputation in international theater history is secured by the leading role he played in this transformation, as well as by his innovative use of new theater technology and endless experimentation with theater spaces and locales, which together redefined traditional relationships between actor and audience toward a new participatory theater. <br /><br /><em><strong>What is a prompt book?</strong></em> <br />The prompt book is a master copy of the production script and contains a wealth of instructions and information alongside the basic text of the play. As well as the actors’ lines, you will often see cues for music, movement, light, and many other aspects of stage business. It may also contain sketches of how a piece of staging is supposed to look, or which costume a character should wear in a scene. <br /><br /><em><strong>Why are his important?</strong></em> <br />Reinhardt’s directorial prompt books reflect the ways in which he made plays by major playwrights, including Ibsen, Shakespeare and Wilder, his own. The prompt books contain notations denoting changes in the script, actor moves and technical cues, instructions on how sound, props and scenery were used, and stage drawings. They help us to reconstruct Reinhardt’s techniques and directions in productions. <br /><br /><em><strong>Acknowledgements</strong></em> <br />Thank you to the Gladys Kriebel Delmas Foundation who generously provided the funding to make this extraordinary project possible. Thank you also to the following individuals who helped make this project successful: Binghamton University Libraries’ Staff: Benjamin Coury, Nicholas Eggleston, Jean Green, Blythe Roveland-Brenton, Erin Rushton, David Schuster, Rachel Turner, Brandy Wrighter; Binghamton University Students: Madelynn Cullings, Kashawn Hernandez, Aanyah Jhonson-Whyte, Marisa Joseph, Bethany Maloney, Ashleigh Marie Sherman, Thomas Tegtmeier, Joseph Vitale.
Relation
A related resource
<p><a href="https://omeka.binghamton.edu/omeka/items/show/2877">Full Display and German Transcription of Max Reinhardt's</a><em><a href="https://omeka.binghamton.edu/omeka/items/show/2877"> Reigen Promptbook</a><br /></em><br /><a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/"><span>Max Reinhardt Archives and Library</span></a><br /><br /><a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,reinhardt&tab=DigitalCollections&search_scope=DigitalCollections&vid=01SUNY_BIN:01SUNY_BIN&offset=0">Max Reinhardt Collection Photographs</a></p>
<p></p>
<p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-timeline">The Life and Times of Theater Director Max Reinhardt</a></p>
<p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-theaters">The Theaters of Max Reinhardt</a></p>
Rights
Information about rights held in and over the resource
In copyright
Contributor
An entity responsible for making contributions to the resource
Jean Green, <br /><br />Binghamton University Students: <br />Madelynn Cullings<br />Kashawn Hernandez<br />Aanyah Jhonson-Whyte<br />Marisa Joseph<br />Bethany Maloney<br />Ashleigh Marie Sherman<br />Thomas Tegtmeier<br />Joseph Vitale
Promptbook
Description
Extensive markings throughout. Includes various stage sketches, rewrites, chorus/choir leader notes, music notes, and markings regarding different performances.
Supplement folder includes the “ Eumeniden” scene with handwritten notes and one addendum to “Agamemnon” (found pg. 28 of promptbook) with pencil notes.
Collection
Max Reinhardt Promptbooks
Dimensions
Physical dimensions of item
19.5cm x 13.5cm
Earlier version
Earlier version (dcterms:isVersion Of)
Oresteia
Notes
Located in Binghamton University Libraries Special Collections
PT2635.E548P75 v.1
Production(s)
August 8, 1911, Tutzing
August 11, 1911, Tutzing
November 24, 1916, Berlin
September 19, 1919, Leopoldskron (For the opening of the Grand Theater)
November 28, 1919, Berlin.
-Supporting materials: Box 1 Folders 2-3: Programs and designs, characters
Box 13A Folder 8: Else Heims roles
Oversized mounted 16
Accessibility
Copy/Paste below:
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Aischylos Oresteia [promptbook]
Subject
The topic of the resource
Aeschylus. Oresteia -- Translations into German
Creator
An entity primarily responsible for making the resource
Aeschylus
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 3101
Rights
Information about rights held in and over the resource
Copyright undetermined. This image is provided for educational and research purposes only as is stipulated by U.S. and international copyright law. For more information, please contact speccoll@binghamton.edu.
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Reinhardt Promptbooks
Description
An account of the resource
<strong><em>Who is Max Reinhardt?</em></strong> <br />The celebrated <span>Austrian t</span>heater director <a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/">Max Reinhardt</a>, recognized in America primarily for his elaborate productions of Shakespeare’s A Midsummer Night’s Dream, Franz Werfel’s The Eternal Road, and Karl Vollmoeller’s The Miracle, was born in 1873 at Baden near Vienna, Austria and died in New York City in 1943. Reinhardt’s illustrious career takes on added significance because it coincides with a major shift in the evolution of the modern theater: the ascendancy of the director as the key figure in theatrical production. Reinhardt’s reputation in international theater history is secured by the leading role he played in this transformation, as well as by his innovative use of new theater technology and endless experimentation with theater spaces and locales, which together redefined traditional relationships between actor and audience toward a new participatory theater. <br /><br /><em><strong>What is a prompt book?</strong></em> <br />The prompt book is a master copy of the production script and contains a wealth of instructions and information alongside the basic text of the play. As well as the actors’ lines, you will often see cues for music, movement, light, and many other aspects of stage business. It may also contain sketches of how a piece of staging is supposed to look, or which costume a character should wear in a scene. <br /><br /><em><strong>Why are his important?</strong></em> <br />Reinhardt’s directorial prompt books reflect the ways in which he made plays by major playwrights, including Ibsen, Shakespeare and Wilder, his own. The prompt books contain notations denoting changes in the script, actor moves and technical cues, instructions on how sound, props and scenery were used, and stage drawings. They help us to reconstruct Reinhardt’s techniques and directions in productions. <br /><br /><em><strong>Acknowledgements</strong></em> <br />Thank you to the Gladys Kriebel Delmas Foundation who generously provided the funding to make this extraordinary project possible. Thank you also to the following individuals who helped make this project successful: Binghamton University Libraries’ Staff: Benjamin Coury, Nicholas Eggleston, Jean Green, Blythe Roveland-Brenton, Erin Rushton, David Schuster, Rachel Turner, Brandy Wrighter; Binghamton University Students: Madelynn Cullings, Kashawn Hernandez, Aanyah Jhonson-Whyte, Marisa Joseph, Bethany Maloney, Ashleigh Marie Sherman, Thomas Tegtmeier, Joseph Vitale.
Relation
A related resource
<p><a href="https://omeka.binghamton.edu/omeka/items/show/2877">Full Display and German Transcription of Max Reinhardt's</a><em><a href="https://omeka.binghamton.edu/omeka/items/show/2877"> Reigen Promptbook</a><br /></em><br /><a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/"><span>Max Reinhardt Archives and Library</span></a><br /><br /><a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,reinhardt&tab=DigitalCollections&search_scope=DigitalCollections&vid=01SUNY_BIN:01SUNY_BIN&offset=0">Max Reinhardt Collection Photographs</a></p>
<p></p>
<p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-timeline">The Life and Times of Theater Director Max Reinhardt</a></p>
<p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-theaters">The Theaters of Max Reinhardt</a></p>
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In copyright
Contributor
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Jean Green, <br /><br />Binghamton University Students: <br />Madelynn Cullings<br />Kashawn Hernandez<br />Aanyah Jhonson-Whyte<br />Marisa Joseph<br />Bethany Maloney<br />Ashleigh Marie Sherman<br />Thomas Tegtmeier<br />Joseph Vitale
Promptbook
Description
Written note in purple ink inside cover - handwriting illegible - not Reinhardt's handwriting. No markings throughout.
Collection
Miscellaneous Promptbooks
Dimensions
Physical dimensions of item
20cm x 14cm
Earlier version
Earlier version (dcterms:isVersion Of)
Alles um Geld
Notes
Located in Binghamton University Libraries Special Collections
PT2635.E548 P752 v.5
Production(s)
Not specified.
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Title
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Alles um Geld [promptbook]
Subject
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Eulenberg, Herbert, 1876-1949
Promptbooks
Stage directions
Creator
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Eulenberg, Herbert, 1876-1949
Publisher
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Binghamton University Libraries
Date
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1900s
Contributor
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Reinhardt, Max, 1873-1943
Language
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German
Identifier
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R 8297(0)
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Copyright undetermined. This image is provided for educational and research purposes only as is stipulated by U.S. and international copyright law. For more information, please contact speccoll@binghamton.edu.
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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. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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2 sound tape reel
Duration
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06:21
14:01
Streaming Audio
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE52592">Alma Mater Harpur College Recital</a>
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Alma Mater Harpur College, January 21, 1960
Recital Tape 1960-1-21
Subject
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Concerts
Instrumental music
Live sound recordings
Publisher
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Binghamton University Libraries
Date
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1960-01-21
Rights
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In copyright
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sound
Identifier
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39091019618986
39091019619034
-
https://omeka.binghamton.edu/omeka/files/original/5aa4741e22c1dae3940758fce648fb4f.pdf
ab24d69d7aeb83dca2f1e5be200cf01f
PDF Text
Text
BINGHAM TON
UN I V E R S I T Y
S T A T E U N I V E R S I T Y O F N E W Y O R K
wodec
[4
B E E P A R T M E N T
A L M O S T A L L AMERICAN
TRIO
Janey Choi, Violin
Ha kan TaygaH romek, Cello
ChaiKyou Mallinson, Piano
Saturday, Jan uary 31, 2009
8:00 p.m.
Anderson Center Chamber Hall
�PROGRAM
I
J
Piano Trio in G major,
Andanti no con m oto allegro
Claude Debussy
(18621 918)
Café Music
Allegro
Andante moderato
Presto
Paul Schoenfipld
(b. 1947)
Scherzo * Intermezzo: Moderato con brio
Andante espressivo
Finale : Appassionato
WINTERMISSIONC3
Roots II (selected movements)......
Incantation
Dance in Congo Square
Sorrow Song
Jubflee
.......David N. Ba ker, Jr.
(b. 1931 )
This concert is sponsored by the Broome County Arts Council in
addition to Binghamton University Music Department sponsorship.
�ABOUT TH E MUSIC
One could not find a more celebrated AfricanAmerican composer on the
The title “Almost All American Trio” refers both to the program content and to
the background o f the performers (see “About the Performers” below). We
wanted to emphasize contemporary American composers representing diverse
cultures, but of course an earlier Eu ropean work was needed for balance.
The G Ma jor Piano Trio is the only work Debussy wrote in this form, written
at the age of eighteen, when he was still groping to discover his eventual very
distinctive style. At the time, he was in service to M me. Nadejda von Meck,
Tchaikovsky’s patroness, upon the recommendation of his piano teacher,
Antoine Marmontel. He was hired to join Madame and her children on their
travels, give piano lessons to her chi ldren, accompany the singing of her twenty
sevenyearold daughter, and play d uets with herself. Not long later, a violinist
and cellist joined the entourage at the Villa Oppenheim in Florence, and this trio
was required to pe rform nightly, which gave Debussy the impetus to compose in
this form. Madame ended his employment when, as a brash twentyyearold, he
proposed marriage to her fifteenyearold daughter.
academic scene than the composer of Roots II, David Nathaniel Ba ker, Jr., a
native of Indianapolis, IN. At the School of Music at Indiana University, he
holds the title of Distinguished Professor, where for years he has chaired the
l
l’
former vice president o f th e International Association of Jazz Educators,
president of the National Jazz Service Organization, and senior consultant for
music programs for the Smithsonian Institution, and has given past service to
many other music organizations. His awards inc lude Down Beat Magazine’s
New Star Award (for tromboneplaying) and Lifetime Achievement A ward, Jazz
Education Hall of Fame Award, the National Association of Jazz Educators Hall
of Fame Award, and the National Endowment for the Arts American Jazz
Masters Award.
Roots II (1992) is an outgrowth of Roots (1978), both of which were composed
for the Beaux A rts Trio. Roots II comprises a wide variety of styles which
Portions o f the score remained in autograph in private hands (some portions
evidently revisions) until the 1980 ’s when they came to the Pierpont Morgan
Library (New York) and the University of Michigan School of Music (Ann
Arbor). These have been assembled to prod uce the present score, now available
for general use (for more detail, see the Preface to the Henle edition). In this
work one finds intermittent flashes of what finally emerged as Debussy ’s mature
style, against a background showing influences of Schumann, Franck, and
Delibes.
Paul Schoenfield, composer of Ca fé Music, began studying piano at age six,
and wrote his first composition the following year. At age 22, he received the
Doctor of Musical Arts from the University of Arizona where he studied
composition with Robert Muczynski. He has won many awards from such
organizations as the National Endowment for the Arts, the Rockefeller Fund, the
Bush Foundation, the Ohio Arts Council, and Chamber Music America, to name
a few, and he has received numerous commissions from orchestras and artists
around the world. He currently resides in Israel. About Café Music he writes:
“The idea to perform Café Music first came to me in 1985 afier sitting in one
night for the pianist at Murray’s restaurant in Minneapolis. Murray’s
employs a house trio which plays entertaining dinner music in a wide variety
o f s tyles. My intention was to write a kind o f highclass dinner music which
could be played at a restaurant, but might also (just barely) find its way into a
concert hall. The work draws on many types of music played by the trio at
Murray’s. For example, early 20” century American, Viennese, light
classical, gypsy, and Broadway styles are all represented. A paraphrase of a
beautiful Hasidic melody is incorporated in the second movement. Café
Music was commissioned by the St. Paul Chamber Orchestra and was
premiered in January 1987.”
Jazz Department. He has written more than 2000 compositions, of which more
than 500 were commissioned. Mr. Baker serves as the conductor and artistic
director o f the Smithsonian Jazz Masterworks Orchestra. He i s president and
Baker describes: “Work songs, field hollers, blues, ragtime, boogie woogie,
rhythm & blues, spirituals, gospel songs, calypso, rock & roll, rap and of course
jazz . . . In composing this work, I made use of some of the musical features
common to these varied styles, among them rhythmic preeminence, the spirit
and attitude of the blues call and response, the ostinato, and certain musical
forms, harmonic and melodic materials.” The first and third movements are
borrowed from the original Roots.
“Incantation” evokes the sinister and mesmerizing quality of voodoo rites.
“Dance in Congo Square” is essentially a calypso. Congo Square refers to Place
Congo, where slaves gathered to celebrate their holidays, denying for the
moment with thei r gaiety the harsh reality of their ex istence.
[
\
“Sorrow song” grew out of “spirituals, laments, and church house moans. It is
the plaintive cry of a downtrodden people”. But at the end you will hear the
gently dissonant music evaporating into thin air, as if we are liberated from the
sorrow.
The fourth movement, “Boogie Woogie”, is omitted from this performance.
The finale, “Jubilee", refers to a C hristmas time dance, clearly expressing pure
joy. After extensive jazz improvisation, the opening theme returns, building up
to a frenzied outburst.
�ABOUT THE PER FORMERS
Canadianborn violinist JANEY CHOI joined the faculty of
Binghamton University in 2006. Dr. Choi attained her Doctor of Musical
Arts degree at Rutgers Un iversity, studying with Arnold Steinhardt, and
holds her Bachelor and Masters degrees from The Juilliard School where
her major teachers were Joseph Fuchs and Joel Sm irnoff. She gave her
Carnegie Hall recital debut in 1997 as a winner of the Artists
International Auditions a nd continues an active perform ing career as a
recitalist, chamber, and orchestral musician throughout the country and
abroad. She is the recipient of numerous awards including the Ontario
Arts Council’s Chalmers Performing Arts Training G rant, and First Prize
in the National Finals of the Canadian Music Competition. Ms. Choi has
participated in such festivals as Mostly Mozart, Juilliard’s Focus Festival,
Norfolk, Taos, the Spoleto Festivals, Festival Musical de Santo
Domingo, the Santa Fe Opera and the Sarasota Ope ra. An avid interarts
and crossgenre collaborator, she is the Music Director of Thomas/Ortiz
Dance, and has performed numerous times with the Parsons Dance Co. at
the Kennedy Center in Washington, D.C. She has recorded and appeared
with such mainstream performers as Bono and Quincy Jones, Enya,
Elton John, Sarah McLachlan, Lisa Loeb, Kanye West, JayZ and
Beyoncé. Ms. Choi is a Teaching Artist for the New York Philharmonic,
Lincoln Center Institute, C hamber Music Society of Lincoln Center and
the Bloomingdale School of Music in New York City.
Cellist HAKAN TAYGA HROMEK was trained in music performance
at Ithaca College, SUNY Purchase, and Binghamton University. His
teachers include Peter Wiley, Marion Feldman, Daniel Phillips, Stephen
Stalker, Einar Jeff Holm, and Fritz Wallenberg. He has attended the
International Congress of Strings, Round Top International Festival,
Chamber Music at the 92nd Street YNYC, Spoleto Music Festival,
Skaneateles Festival, and the Kenai Penninsula Music Festival In Alaska.
An active performer, Mr Hromek is principal cellist of the Binghamton
Philharmonic, TriCities Opera Orchestra, and The Orchestra of the
Southern Finger Lakes. He has also performed with the Cayuga Chamber
Orchestra, Bach Works in NYC, and the Syracuse Symphony. During the
summer of 2006, Mr. Hromek completed his fourth season as cellist in
the DeVere Quartet, which serves as resident quartet for the Kenai
Peninsula Festival in Alaska and at present is cellist for the Novo
Quartet. An avid chamber musician, Mr. Hromek enjoys collaborating in
a cello and piano duo on a regular basis with Margaret Reitz and various
local artists in the Central New York area.
CHAIKYOU MALLINSON, currently on the faculty of the
Department of Music at Bingharnton University, received a B.M.degree
in Piano from Julliard, Li cence d ’Enseignement from Ecol e Normale de
Musique de Paris, France and a M.A. degree from Binghamton
University. Her teachers include Jean Casadesus, JeanMichel Damase,
Jules Gentil and Alton Jones. She also performed in Master Classes by
Robert Casadesus. A prize winner in the Korean National Music
Competition, she was awarded the French Government Scholarship,
Tanglewood Summer School Full Scholarship and the Fontainebleau
American Conservatory Full Scholarship. She gave a debut Recital in
Carnegie Recital Hall and has been active as a recitalist, vocal coach,
accompanist, and chamber music performer, as well as an active
adjudicator of piano auditions and competitions. She is a member of the
Music Teachers National Association, and of the board of judges for the
National Guild of Piano Teachers Association.
She has premiered compositions of contemporary composers including
Ezra Laderman, Paul Goldstaub, Meyer Kupferman and William Klenz.
Among many concerts she performed, three were sponsored by the New
York State Council on Arts. She appeared in a performance with the
Seoul Philharmonic Orch estra, which Eumag Choonchu, one of Korea’s
most respected music magazines, described as “of rare quality, moving
and lyrical.” She was awarded an Individual Artist Award 20082009 by
the Broome County (NY) Arts Council.
Among many concerts at BU that she has proposed, organized and
performed (in collaboration with other artists) are a concert celebrating
the works of former Binghamton University Composer in Residence
Ezra Laderman in anticipation of his receipt of an h onorary Doctorate in
2004 (for which she had recommended him), a concert of songs (2006)
with Tim LeFebvre, with interpretations choreographed and danced by
Galumpha, “Homage a Casadesus” (2008), a conce rt honoring the “First
Family of Piano”, the Casadesus family, and commemorating Jean
Casadesus’ years at BU, and three concerts for piano trio. As a
performer she appeared twice with the Binghamton University Orchestra,
as harpsichordist in the Bach Fifth Brandenburg Concerto (2000), and as
pianist in the Mozart Concerto for Two Pianos, K. 365 (2004).
�Sunday, February 1 % Friedheim Memorial Lecture/Recital:
Schubert Wanderer Fantasy, Casadesus Recital Hall, 3:00 PM, $$
Sunday, February 1 5% Musica Nova: Sing a New Song,
Anderson Center Chamber Hall, 3:00 PM, $$
Saturday, February 21% A Russian Fantasy for Two Pianos with
Ewa MackiewiczWolfe and Michael Salmirs, pianists, 8:00 PM, $$,
Anderson Center Chamber Hall
Sunday, February 22™ Organist Jonathan Biggers A Bach
Celebration!! Series, Fine Arts Room 21, 4:00 PM, $$ (Sold Out)
rganist Jonathan Biggers – A Bach
Tu esday, February 2 4 ” O
Celebration!! Series, Fine Arts Room 21, 8:00 PM, $$
cert, 1:20 PM FREE
Thursday, February 2 6 MidDay Con
Casadesus Recital Hall
: Dr. Hal Reynolds, trombone,
Thursday, February 2 6 Guest Artist
Casadesus Rectal Hall, 8:00 PM, FREE
Friday, February 27°" Organist Jonathan Biggers A Bach
Celebration!! Series, Fine Arts Room 21, 8:00 PM, $$
Thursday, March 5 MidDay Concert, 1:20 PM FREE
Casadesus Recital Hall
Thursday, March 5% Counterpoint: Celebrating Women in the Arts,
Casadesus Recital Hall, 7:30 PM, $$
ymphony Orchestra: Hearing the
Saturday, March 7 ” University S
Orient, Osterhout Concert Theater, 8:00 PM, $$
ind Symphony, 3:00 PM, FREE
Sunday, March 8 ” University W
Anderson Center Chamber Hall
For ticket information, please call the
Anderson Center Box O ffice
at 777ARTS.
�
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Coverage
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1960's - present
Title
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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. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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1 audiocassette
1 audio disc
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53:36
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152242">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE152242</a>
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Title
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Almost All American Trio, January, 31, 2009
Recital Tape 2009-1-31
Description
An account of the resource
Works of Debussy, Schoenfield, Baker. Held at 8:00 p.m., Jan., 31, 2009, Anderson Center Chamber Hall.
Creator
An entity primarily responsible for making the resource
Choi, Janey
Tayga-Hromek, Hakan
Mallinson, Chai-Kyou
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
2009-01-31
Rights
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In copyright
Type
The nature or genre of the resource
sound
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Reinhardt Promptbooks
Description
An account of the resource
<strong><em>Who is Max Reinhardt?</em></strong> <br />The celebrated <span>Austrian t</span>heater director <a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/">Max Reinhardt</a>, recognized in America primarily for his elaborate productions of Shakespeare’s A Midsummer Night’s Dream, Franz Werfel’s The Eternal Road, and Karl Vollmoeller’s The Miracle, was born in 1873 at Baden near Vienna, Austria and died in New York City in 1943. Reinhardt’s illustrious career takes on added significance because it coincides with a major shift in the evolution of the modern theater: the ascendancy of the director as the key figure in theatrical production. Reinhardt’s reputation in international theater history is secured by the leading role he played in this transformation, as well as by his innovative use of new theater technology and endless experimentation with theater spaces and locales, which together redefined traditional relationships between actor and audience toward a new participatory theater. <br /><br /><em><strong>What is a prompt book?</strong></em> <br />The prompt book is a master copy of the production script and contains a wealth of instructions and information alongside the basic text of the play. As well as the actors’ lines, you will often see cues for music, movement, light, and many other aspects of stage business. It may also contain sketches of how a piece of staging is supposed to look, or which costume a character should wear in a scene. <br /><br /><em><strong>Why are his important?</strong></em> <br />Reinhardt’s directorial prompt books reflect the ways in which he made plays by major playwrights, including Ibsen, Shakespeare and Wilder, his own. The prompt books contain notations denoting changes in the script, actor moves and technical cues, instructions on how sound, props and scenery were used, and stage drawings. They help us to reconstruct Reinhardt’s techniques and directions in productions. <br /><br /><em><strong>Acknowledgements</strong></em> <br />Thank you to the Gladys Kriebel Delmas Foundation who generously provided the funding to make this extraordinary project possible. Thank you also to the following individuals who helped make this project successful: Binghamton University Libraries’ Staff: Benjamin Coury, Nicholas Eggleston, Jean Green, Blythe Roveland-Brenton, Erin Rushton, David Schuster, Rachel Turner, Brandy Wrighter; Binghamton University Students: Madelynn Cullings, Kashawn Hernandez, Aanyah Jhonson-Whyte, Marisa Joseph, Bethany Maloney, Ashleigh Marie Sherman, Thomas Tegtmeier, Joseph Vitale.
Relation
A related resource
<p><a href="https://omeka.binghamton.edu/omeka/items/show/2877">Full Display and German Transcription of Max Reinhardt's</a><em><a href="https://omeka.binghamton.edu/omeka/items/show/2877"> Reigen Promptbook</a><br /></em><br /><a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/"><span>Max Reinhardt Archives and Library</span></a><br /><br /><a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,reinhardt&tab=DigitalCollections&search_scope=DigitalCollections&vid=01SUNY_BIN:01SUNY_BIN&offset=0">Max Reinhardt Collection Photographs</a></p>
<p></p>
<p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-timeline">The Life and Times of Theater Director Max Reinhardt</a></p>
<p><a href="https://omeka.binghamton.edu/omeka/max-reinhardt-theaters">The Theaters of Max Reinhardt</a></p>
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In copyright
Contributor
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Jean Green, <br /><br />Binghamton University Students: <br />Madelynn Cullings<br />Kashawn Hernandez<br />Aanyah Jhonson-Whyte<br />Marisa Joseph<br />Bethany Maloney<br />Ashleigh Marie Sherman<br />Thomas Tegtmeier<br />Joseph Vitale
Promptbook
Description
Extensive markings found consistently throughout entire promptbook. Markings found in black pen, black pencil, red pencil, blue pencil. Extensive written notes are very common, alongside cross-outs in red pencil and short dialogue remarks. Includes cast lists and stage drawings and instructions.
Collection
Max Reinhardt Promptbooks
Dimensions
Physical dimensions of item
20.75cm x 16.5cm
Earlier version
Earlier version (dcterms:isVersion Of)
Der Alpenkönig und der Menschenfeind
Notes
Located in Binghamton University Libraries Special Collections
PT2635.E548P75 v.95
Production(s)
November 11, 1914 (Berlin, Deutsches Theater zu Berlin)
January 3, 1915 (city unspecified, likely Berlin)
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Alpenkönig und der Menschenfeind : romantisch-komisches Märchen in drei Akten [promptbook]
Subject
The topic of the resource
Raimund, Ferdinand, 1790-1836
Promptbooks
Stage directions
Deutsches Theater zu Berlin -- Germany
Creator
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Raimund, Ferdinand, 1790-1836
Publisher
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Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
1900s
Contributor
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Reinhardt, Max, 1873-1943
Language
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German
Identifier
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R 3189
Coverage
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Deutsches Theater zu Berlin
Rights
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Copyright undetermined. This image is provided for educational and research purposes only as is stipulated by U.S. and international copyright law. For more information, please contact speccoll@binghamton.edu.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
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1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
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Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
Template: Universal Viewer / Rosetta
Rosetta audio media
Original Format
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4 audiotape reels
Duration
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47:48
25:01
45:54
Streaming Audio
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE85297">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE85297</a>
Accessibility
Copy/Paste below:
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
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Amahl and the night visitors, December 15, 1973
December 15, 1973
Recital Tape 1973-12-15
Publisher
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Binghamton University Libraries
Date
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1973-12-15
Rights
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In copyright
Type
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sound
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https://omeka.binghamton.edu/omeka/files/original/8c4fde6e8ebdf5b35a2054f3eafac04a.pdf
e256969310a423c24455ee214fe170d2
PDF Text
Text
BINGHAMTON
U N E V E R S I T Y
STATE U N I V E E S I T Y O F NEW Y O R K
v de o
[4
D E P A R T M E N T
Master ’s Kecit d
flmancfa Chmela, soprano
with
Dan Ibeling, tenor
and
Margaret Reitz, piano
Saturday, February 20, 2010
8:00 p.m.
Casadesus Recital Hall
�George Frideric Handel’s opera, Alciria, premiered in London at the new theatre at
Covent Garden in 1735. It ran for two seasons, but was not performed again until 1957,
when Franco Zeffirelli revived the work for Joan Sutherland. Many arias from early
Program
Tornami a vagheggiar
from Alcina.
.George Friderick Handel
(16851759)
Villanelle, Op. 7, no.1 ..
Sérénade ..
Hector Berlioz
(18031869)
Victor Hugo
Le Charme, Op.2, no.2.
Extase .
Four Moravian Duets, Op.20.
I. Promeny
II. Rozlouéeni
III. Chudoba
IV. Vufe sohaj, vuie
(18021885)
Ernest Chausson
(18551899)
........Henri Duparc
(18481933)
.Antonin Dvordk
(18411904)
Selige Nacht .
Six Elizabethan Songs .
I. Spring
II. Sleep
III. Winter
IV. Dirge
V. Diaphenia
VI. Hymn
Tornami a vagheggiar
Tornami a vagheggiar
Tornami a vagheggiar
Te solo vuol ulnar
Quest’ anima delel
Caro mio bene
Return to me to look upon (me) with love
My faithful soul wishes to love only you
G i l t i donai il mio cor
Fido sara ‘I mio amor
Mai ti sard crudel
Cara mia speme
(Return to me to look upon w ith love)
My dear beloved
Already to you I gave my heart
Faithful will be my love
1 will never be cruel to you
My dear hope
These French songs descri be love in four ways. “Villanelle” is from the larger work titled
Les Nuits d'été (Summer Nights) with poetry by Théophile Gautier (181 11872). Berlioz
wrote this cycle between 18401841 for voice and piano. While he wrote orchestration
for one of the pieces in 1843, he didn‘t begin orchestrating the remaining three until
1856. “Sérénade” was composed by Gounod in 1857 with text by Victor Hugo (1802
1885). “Le Charme” is from Chausson’s Sept Melodies, Op.2 (7 melod ies for voice and
piano), composed from 18791882, with the text for “Le Charme” written by Armand
Silvestre (18371901). “Extase” was composed by Duparc in 1874 with text by Jean
Lahor (18401909). Dupatc was extremely sel fcritical and destroyed many of his works
before they were released to public. Only 16 of his songs remain in circulation today, all
of them composed between 1868 and 1884.
Villanelle
Quand viendra Ia saison nouvelle,
Quand auront disparu les froids,
Tous les deux nous irons, ma belle,
wINTERMISSIONoa
Nocturne.
operas are not integrated into the plot and thus can be moved around, exchanged, and
even removed from a production without affecting the plot. A director would assign arias
based on a singer’s strengths. “Tornami a vagheggiar” has been sung by both the title
role, Alcina, and also by the character Morgana. While the stories were important, more
attention was given to the instrumentation.
. Joseph Marx
(18821964)
Joseph Marx
(18821964)
.Dominick Argento
(b. I 927)
Pour cueillir le mugue aux bois
Sous nos pieds égrénant les perles
Qie I’on voit au matin trembler,
Nous irons écouter lea merles siffler.
Le printemps est venu, ma belle,
C’ast le mois des amants beni.
Et I’oiseau satinmt son aile,
Dit sea vers au rebord du nid.
Oh! Viens donc sur ce banc de mousse
Pour parler de nos beaux a mours,
et dismoi de la voix si deuce, toujours!
Loin, bien loin égarant nos courses,
Faisons fuir Ie lapin cache,
Et le daim, au miroir dea sources
Admirant son grand bois penche;
Puis chez nous, tout heureux, tout aises,
En panniers, en lacant nos doigts
Revenons. rapportant des
fraises des boisl
Villanelle
When comes the season new,
Whai vanished the cold,
We shall go together, my beautiful,
To ytha the lilies inthe woods.
Our feet scattering pearls of dew
That are seen at morning trembling,
We shall go to hear the blackbirds warblmg
The spring has come, my beautiful,
I t is the month otloveis blessed,
And the bird preening its wing,
Sings a refrain on the edge of the nest.
OhI Come then to this bank ofmoss
To talk of the delights of our love,
And say to me in your sweet voice, forever!
Far, very far, straying from our paths,
Let us put to flight the hidden rabbit,
And the deer, in the mirror ofthe springs
Adminng its great bending antlers, Then
towards home, quite happy, quite contented,
With interlaced fingers for baskets
Let us return, bringing the strawberries from
the woods!
�Sérénade
Quand tu chantes bercee
Le soir entre mas bras
Entendstu ma paisee
Qui te repaid tout bas
Ton doux chant me rappelle
Les plus beaux de mesjours
Ah! Chantez ma belle toujours!
Quand tu ris sur ta boudte
L’amour s’epnouit
SWltalyousinguiled
érénade (Seernade)
lntheevminginmylrm
Doyouhearmythoudus
Thatanswerywverysoftly
Yoursweetsongranindsmeof
“fliemostbeauiful ofmydays
Ah! Singmybeautihilt‘weval
When you laugh, on your lips
The love blossoms
Et soudain le farouche
Soupgon s’evanouit
Ah! Le rire fidéle
Prouve un coeur sans detours
Ah! Riez ma belle toujours!
And suddenly the bitter
Suspicion vanishes
Ah! The laughter faithful
Shows a heart without guile
Ah! Laugh my beautiful forever!
Quand tu dors calme et pure
Duns I’ombre sous mes yeux
Ton haleine murmure
Des mots harmonieux
Ton beau corps se révéle
What you sleep, calm and pure
In the shade beneath my gaze
Your breath murmurs
With words harmonious
Your lovely body is revealed
Without veil and without finery
Ah! Sleep my beautiful forever!
Le Charme
Quand ton sourire me surprit,
Je sentis frémir tout mon étre,
Mais ce qui domptait mon esprit,
Je ne puis d’abord Ie connaitre.
Le Charme (T he Charm)
Sans voile et sans atours
Ah! Dormez ma belle toujours!
Quand ton regard tombs sur moi,
Je sentis mon ame se fondre,
Mais ce que serait cet emoi,
Je ne pus d’abord en repondre.
Ce qui me vainquit d jamais,
Ce fut un plus douloureux charme;
Et je n’ai su queje t’aimais,
Qu’en voyant ta premiere latme
Extase
When your smile surprised me,
1 felt quiver all my being,
But that which tamed my spirit,
1 could not at first recognize.
When your glance fell on me,
1 felt my soul melt,
But that which was this emotion.
I could not at first reply.
That which me vanquished forever,
That was a more sorrowful charm;
And I only knew that I loved you,
When I saw your first tear.
[Extase (Ecstasy)
Sur un lys pale
Mon coeur dort
D’un sommeil doux
Comme la mort
On a lily pale
My bean is sleeping
In a sleep sweet
As the death. ..
Mort exquise
Death exquisite,
Mort parfumee
Death perfumed
Du souffle de la bienaimée
By the breath ofthewell loved
Sur ton sein pale
Onyoursweetbruslpale
Myheartsleeps
Mon coeur dort
D’un sommeil doux
Comme la mort
lnasleepsweet
Aslheduth
Antonin Dvol‘ik‘s Moravian Duets, op. 20 was written during 18751876 for soprano (or
alto), and tenor. The texts for each of the four songs are drawn from traditional Czech
folk songs. In each ofthese, the text is a dialogue between a boy and a girl but is sung as
one continuing line of text by both singers, rather than exchanged as a dialogue.
No.1 Promény
Darmo se ty trapis,
mfij mily synetku,
Nenosim tebe,
No.1 Transformations
In vain you pine,
My clear sweaheart,
[don‘t carry you,
A j i tvoja nebudu
ani jednu hodini.
[don’t carry you in my heart;
And I won’t beyours
For even one hrmr.
copak sobe mysli3,
ma mila panenko,
Whatevuareyouthinking
Mydeargirl,
Rozmilé srdenko;
Darlingsweethfltt;
Nenosim v srdeelru,
Dyt ’ sit ty to moje
Foryouaremy
A ty musi§ byt ma
Lebo mi t& Pan Bah da
Andyoumuflbemine,
(khlordfiodwillgiveywtome
No2
. Rozlouceni
NaISvlg Farewell
Zatot‘. se mng, galanetko,
Na dobro noc do kola!
A ja se ti nezatotim,
Ja musim j lt do pola.
Do poletka sireho,
Nevidét tam Zidného.
Jenom vtaeka sokolitka,
Pana Boha sameho
Zatoe sat ty, galanetko,
Zatoc sa okolo miia,
Jako vtatek
larabuek okolo pha!
Udéel j koel tko,moaj,
Moaj, gaalnetko,
Bude$ moja
No.3 Chudoba
Ach, co je to za slavitek,
Co talr pelove, p&kné zpiva?
Ach, to je muj najmilejsl,
Ze mne se vysmiva.
Ty se ze mne nevysmivej,
Z chudobnej siroty.
Twirl around me, sweahean.
In a circle as a ‘good night!
And I won‘t twirl around you.
I must go to the field.
To the wide little field,
Where no one is in sight;
Only a little falcon
And the Lord God himself.
Twirl, sweetheart,
Twirl around me,
Like a little hawk
Around a tree trunk!
Make a little c ircle,
Circle, my sweetheart,
You will be mine
No.3 Poverty
Ah, what is that, like a nightingale,
What so nicely, nicely sings?
Ah, that is my cleared,
At me he mocks.
Don’t mock me,
Chot’ ja oerrum hdnych pawl,
Ani bdne Saty.
A poor orphan,
For I don’t have any money,
Nor any clothes.
Ty se ze mne nevysmivej,
Z chudobnej siroty,
Don‘t mock me,
a poor orphan,
Ani zadne Saty.
Not any clothes.
Jenom ten vinek zeleny,
Kery mam na hlavé,
Only this wreath green,
Kery mam na sob!
Which I have on myself.
Chot‘ ja nernarn hdnych penéz,
A etn jeden Suranedek,
For I don’t have any money,
Which I have on my head,
And this one dress,
�No.4 Vure Sohaj, vure
Vule sahaj, vule
V zelenym hohote,
Pohani’ konieka
Po hedbavne Knife
No.4 H e plows, the belavedplmvx
(The Last Wish)
He plows, the beloved plows
In green hill,
He drives little horse
With silk reins.
Ta snare hcdbavné
na pole strhand,
nevet, mila, nevel‘,
sak je laska plana.
That rein of silk
Rips on the field,
Don ’t believe, dear,
For his love is false
Never, milé, never,
Don’t believe, dear, don‘t believe
For you shouldn‘t believe
A false boy
who will go to the army.
(Der letzte wunsch)
A Sak nemas kerno
Suhajek falesné
Pojede na vojno.
Debech mela kona,
Sama bech s hemjela,
Aspon bech vidéla,
Kde bech zahynula.
ad a horse,
lrlh
I would go alone with him,
At least I would see
Where I would die.
A zahynuli ja,
Zahyneme vobé,
Jenom nas poloite
ill die,
And i fl w
we will both die,
Just put us
in one grave.
Do jedneho hroba,
Do jedné trohlice,
Bodé vo nas plakat
In one grave,
In one coffin,
The girls from Bystrc
will weep for us
Do jednoho hmbat
Bestrcké devcice.
Selige Nacht
lm Arm der Liebe
schliefen wir selig ein.
Am offnen Fenster
lauschte der Sommerwind,
und uns’rer Atemzuge
Frieden trug er hrnaus
in die helle Mondnacht.
Und aus dem Garten
tasteie zagend
sich ein Rosenduft
an uns’rer Liebe Bett
l
l
Sflfl duflende Lindenblnte
in quellender Juninacht.
Eme Wonne aus meinem Gemilite
ist mir in Sinnen erwacht.
Als klange vor meinen Ohren
Spring, the sweet Spring, is the year’s
pleasant king;
Then blooms each thing, then maids dance
in a ring.
Cold, doth not sting, the pretty birds to sing,
Cuckoo, jugjug, puwee, towittzwoo’
The palm and may make country houses
GAY,
Lambs frisk and play,the shepherd pipes all
Sweetly fragrant lindenblossoms
In the flowing Junenight.
A feeling of delight in my heart
Is awakened in my consciousness
als tone, die lange verloren,
die Jugend leise mn’lck
Sflfl duftende Lindenblilte
in quellender luninacht
Eine Wonne aus meinem Gemme
ist mir zu Schmerzen erwacht
Sweetly fragrant lindenblossoms
In the flowing Junenight.
A feeling ofdelight in my heart
Turns to pain within me
day.
And we hear ay birds tune this merry lay,
Cuckoo,jugjug, puwee, towittawoo!
.
i
I
Asleep we blissfully fell.
At the open window
Listened the summer wind,
And out breaths
Peacefulness carried it out
Into the bright moon light.
And out of the garden
Crept cautiously
A scent o f r oses
To our love bed
And gave us wonderful dreams.
Dreams of intoxication
So rich with yearning.
Dominick Argento earned his Bachelor’s and Master’s degrees at Peabody Conservatory
and went on to fulfill a Ph.D. from the Eastman School of Music. In 1957, Nicholas
DiVirgiIio, a friend and fellow student of Argento’s from Eastman, wrote Argento asking
him to compose some songs for his graduation recital. “I went to the bookstore...and
from the limited number of volumes of English poetry they had, I chose a group of six
poems of the Elizabethan era to set. The Elizabethan Songs – the very first work I
composed upon finishing graduate school – has turned out to be my most performed
piece. At present there are at least seven recordings (four American, one English, one
German, and one Australian), several of them done with the baroque ensemble
arrangement (which I prefer) instead of the original piano accompaniment.”
Thomas Nash (15671601)
Nocturne
in my ears
As i f rang
softly the song cfhappiness,
echoing softly,
the long lost song ofyouth
leise das Lied vorn G lick,
Traume des Rausches
So reich an Sehnsucht.
1. Spring
By the time ofhis death at age 82, Joseph Marx had written 150 Lieder in addition to his
many orchestral, chamber, choral, piano, and organ works. Marx spent 43 years as a
professor, during which he taught 1255 students composition, harmony and counterpoint.
In an interview, Marx stated that he wrote lieder because “it was the fashionable thing to
do.” He wrote “Nocturne” in 1911 and “Selige Nacht” in 1912, both set to text by the
German poet and dramatist, Otto Erich Hartleben (1 8641 905).
Nocturne
und gab uris wundervolle Trnume
Selige Nacht (Blessed Night)
In the arm of love
The fields breath sweet, the daisies kiss our
feet
Young lovers meet, old wives asunning sit,
In every street these tunes our ears do greet
Cuckoo, jujug, puwee, Towittawoo!
Spring‘ the sweet Spring’
11. Sleep
Sam uel Daniel (15621691)
From Delia
Sonnet XLV.
Carecharmer sleep, son of the sable Night,
Brother to Death, In si ent darkness born,
Relieve my anguish and restore thy light;
With dark forgetting of my care return
And let the day be time enough to morn,
The shipwreck of my illadventured youth:
Let waking eyes suffice to wail their scorn,
Without the torment of the night’s untruth
Cease, dreams, the images of daydesires,
To model forth the passions of the morrow:
Never let rising Stm approve you liars,
To add more grief to aggravate my sorrow:
Still let me sleep, embracing clouds in vain;
And never wake to feel the day’s disdain.
111. Winter
Wllliam Shakespeare
(15681616)
From “Love’i Labour’s Lost”
When icicles hang by the wall,
And Dick the shepherd blows his nail,
And Tom bears logs into the hall,
And milk comes frozen home in pail;
When blood is nipt and ways be foul,
Then nightly sings the starring owl,
Tuwhitl Tuwhoo! A merry note!
While greasy Joan Doth keel the pot
When all aloud the wind doth blow,
And coughing drowns the person’s saw,
And birds sit brooding in the snow,
And Marian’s nose looks red and raw,
When roasted crabs hiss in the bowl,
Then nightly sings the starring owl,
Tuwhit! Tuwhool A merry note!
While greasy Joan doth keel the pot
�IV. Dirge
‘Wiliam Shakespeare
(15681616)
Come away, come away, Death
Andin udcypvuslemebeln id;
Fly away, Fly away, breath
Iam slain by a fair cruel maid.
My shroud ofwhite stuck all with yew,
O prepare it!
Mypcrtot’death,monesomie
Did share it
Not a flower, not a flower sweet
On my black coffin let there be strown;
Not a friend, not a friend greet
My poor corpse where by bones shall be
thrown
A thousand thousand sighs to save,
Lay me, o where
Sad true lovers never find my grave
To weep there!
V. Diaphenia
Henry Constable (1555216102)
Diaphenia, like the dnffidown dilly,
Whiteas lhesulL fairas Ihelily,
Heigh ho, how do I love thee!
I do love thee as my lambs
Are beloved of their damns!
How blest were I if thou would’st prove me!
Dinpheniu like the spreading roses,
That in thy sweets all sweets encloses,
Fair sweet, how I do love thee!
I do love thee as each flower
loves the sun’s livegiving power,
For dead, thy breath to life might move me.
Diaphenia like to all things blessed
When all thy praises are expressed
Dear joy, how I do love thee!
As the birds do love the spring,
Or the bees their careful king:
Then in requite, sweet virgin, love me!
Abou t the Performers:
VI. Hymn
Ben Joh nson (15721637)
Queen and huntress, chaste and fair,
Now the sun is laid to sleep,
Seated in thy silver chair,
State in wonted manner keep
Hesperus entreats thy light,
Goddess excellently bright
Earth, let not thy envious shade
Dare itself to interpose;
Cynthia’s shining orb was made
Heaven to clear when day did close
Bless us than with wished sighL
Goddess excellently bright.
Lay thy bow of pearl apart,
And thy crystalshining quiver,
Give unto the flying hart
Space to breathe, how shun soever,
Thou that mak’st a day ol’nighL
Goddess excellently bright.
flmanda Chmela, soprano
Originally from Lindenhurst. New York, Ms Chmela is currently pursuing a
Master’s in Opera Performance under the direction of Mary Burgess. She is also
a member of the TriCities Opera Resident Artist Training Program. Roles with
TriCities include Gretel (Hansel and Gretel), Barbarina (Le Nozze di Figaro),
Ms. Pinkerton (The Old Maid and the Thief), Page (Amalfl and the Night
Visitors), and Page (Rigoletto). Upcoming performances include the role of
Ciesca (Gianni Schicchi), and as the soprano soloist in Honegger’s King David
with the Binghamton University Chorus and Orchestra. During the summer of
2009, she performed with the CRS Barn Studio as Edith (Pirates of Penzance)
and with the Summer Savoyards as Josephine (H MS Pinafore).
Ms. Chmela received her undergraduate degree in Musical Theatre from SUNY
Fredonia where she stud ied under Julie Newell. She performed the roles of Ann
(A Little Night Music), the Sandman (Hansel and Gretel), and Mrs. Cratchit (A
Christmas Carol), in addition to several scenes programs, a commence ment eve
concert, and performance trips to both Italy (2008) and Japan (2006).
Dankflfieling, tenor
Dan Ibeling is from Roselle, Illinois, and is currently pursuing his Masters of
Opera degree with Binghamton University under the direction of Profs.
Skrabalak and Sicilian, and is also a member of the TriCities Opera Resident
Artist Training Program . Over the last two seasons, he has appeared as Borsa in
Rigaletta, Kaspar in Amahl and the Night Visitors, Don Curzio in Le nozze di
Figaro, and Spoletta in Tosca. Upcoming performances include the title role in
Honegger’s King David with the Binghamton University Chorus and Orchestra,
and Gherardo in Gianni Schicchi at TCO. Dan has also been an apprentice with
the Des Metro Opera, and spent a summer in Graz, Austria studying at the
American Institute of Musical Studies. Dan received his B.A. in Music from the
evada, Las Vegas.
University o fN
Margaret Reitz, pianist
Ms. Reitz is a native of the Binghamton Area. She received her Bachelor and
Master of Music degrees in piano performance with accompanying emphasis.
She attended Boston University, New England Conservatory and Binghamton
University. She has studied piano with Jean Casadesus, Victor Rosenbaum,
Seymour Fink and Walter Ponce and accompanying with Allen Rogers. She has
accompanied throughout the United States, in England, South America, Spain
and at the American Institute of Musical Studies in Graz, Austria. She was a
winner of the Artistic Ambassadors Program by the United States Information
Agency in partnership with the John F. Kennedy Center for the performing arts.
She was an official accom panist for the MTNA State and Eastern Divrsion
Competition held at Ithaca College. She has bee n a guest chamber music artist in
�Morges, Switzerland. She also was selected to attend the Accompanying
Workshop for Singers and Pianists held at Northwestern University with
Chicago Lyric Opera Faculty and Coaches. She was recently invited to the
International Clarinet Con ference to play a recital in Tok yo, Japan. She was a
guest artist on the Cornell Summer Series. She was an official pianist at the
lntemational Double Reed Competition and Convention in 2007 at Ithaca
College and was invited to play the 2009 Convention in Birmingham, England
with the Glickman Ensemble. She was selected to accompanying at the
Interpretation o f Spanish Music in conjunction with University o f Madrid in
Grenada, Spain coached by Teresa Berganza and at Marines School o f Music
summer 2008. She was a Guest Artist playing two concerts in Granada, Spain
this past summer and accom panied the Barcelona Song F estival in July. She is
the pianist for Theater Street Productions performing concerts in Lenox, Mass
and Newport Rhode Island this fall.
She is currently on the faculty at Binghamton University since 1991 and Ithaca
College School of Music since 1999. She is on the Executive Board of the New
York District MTNA organization, She is President of the local District VII
Music Teachers Association and is an active adjudicator for the National Piano
Guild Organization.
Musica Nova
Coordina ted by Mary Burgess and Timothy LeFebvre
w ith pianis ts Margaret Reitz and William J a mes La w son
N
ew Composto
ins for Vocie
Binghamton University Music Department ’s
UPCOMING E V E N TS
aS D e a s
Sunday, February 21” Mus/ca Nova: New Combos/hons for Voice
3:00 PM, Anderson Center Chamber Hall, $$
Satur day, February 2 7 ” Master’s Rec/[ah Daniel [be/lug, tenor,
8:00 PM, Casadesus Recital Hall, FREE
Thursday, March 4 ” MidDay Concert, 1 :20 PM – FREE
Casadesus Recital Hall
Thursday, March 4 ” Friedheim Memonla/ Lecture/Recital Series:
Schumann (Mobius), 8:00 PM, Casadesus Recital Hall, $$
(FREE for students, 100 maximum tickets)
Satur day, March 6 ” University Symphony Orchestra: Concerto &
Aria Concert, 8:00 PM, Osterhout Concert meater, $$ (FREE for
students)
Sunday, M arch 7 ” ' Wind Symphony, 3:00 PM FREE
Anderson Center Chamber Hall
Thursday, March 11‘" MidDe y Concert, 1 :20 PM – FREE
Casadesus Recital Hall
Sunday, March 1 4 ” Ewa Mackiewla Wolfe: 1810 – 2010, A Chop/n
Celebration, 3:00 PM, Anderson Center Chamber Hall, $$
Thursday, March 1 8 ” Mid0a y Concert, 1:20 PM FREE
Casadesus Recital Hall
7
Thursday, March 1 8 ” Harpur Chorale and Women s’ Chums,
8:00 PM, Anderson Center Chamber Hall, FREE
Sun, Fepruarrill
y at 30m
BINGHAMTON
” " ‘ " ‘ ‘ ‘ ‘ ' '
Anderson Center Chamber Hall
For tickets. call (607) 777ARTS.
S
u
a
For ticket information, please call the
Anderson Center Box Office at 777ARTS
To see all events, please visit music. binghamton. edu
Become a fan on Facebook by visit/fig
Binghamton University Music Department
�
Dublin Core
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Coverage
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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. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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1 audio disc
Duration
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55:19:00
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145162">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145162</a>
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Title
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Amanda Chmela, master's recital, February 20, 2010
Recital Tape 2010-2-20
Description
An account of the resource
Works by Handel, Berlioz, Hector, Hugo, Chausson, Duparc, Dvorak, Marx, Argento. Held at 8:00 p.m., February 20, 2010, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Chmela, Amanda
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
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2010-02-20
Rights
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In copyright
Type
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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. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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2 audiotape reels
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40:29
40:53
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243584">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243584</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
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Title
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Amici Quartet, recital, March 17, 1973
Recital Tape 1973-3-17
Description
An account of the resource
Works of Mozart, Marisi, Webern and Beethoven. Held at 8:15 pm, March 17, 1973, Recital Hall.
Creator
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Amici Quartet
Publisher
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Binghamton University Libraries
Date
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3/17/73
Rights
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In copyright
Type
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sound