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                    <text>STATE UNIVERSITY OF NEW  YORK AT BINGHAMTON

HARPUR  COLLEGE
THE DEPARTMENT OF MUSIC

PAUL HERSH ­­ Pianist
Sunday, October 4, 1970 

8 :1 5 p.m. 

Don A . Watters Theater

PROGRA M

Partita No. 1  in B Flat 

J. S. Bach

Praeludium
Allemande
Corrente
Sarabande
Menuet I
Menuet II
G igue

Davidsbundle r, Opus 6 

Robert Schum ann

I.  Lebhaf t 
II.  Innig 
III.  Mit Humor 

X.  Balladenm’assig, Sehr ras ch
XI.  Einfach
XII.  Mit Humor

IV .  Ungeduldig 

XIII.  W ild and lustig

V .  Einfach 
VI.  Sehr rasch 
VII.  Nicht Schnell 

XIV .  Zart and sing end
XV .  F risch
XVI.  Mit gutem Hu mor

VIII.  F r isch 

XVII .  W i e a us der  F er ne ­ Coda

IX.  Lebhaft 

XVIII.  Nicht Schnell
Intermission

Sonta in A Flat, Opus 110 
Ludwig  van Beethove n
Moderato can tabile molto espressivo
Allegro molto
Adagio, ma n on troppo ­ A rioso dolente ­ Fuga, Alleg ro, ma non troppo
FUTURE EV ENTS
OCTOBER  15, 16, 17, 22, 23 and  24, 
Music Recital Ha ll 

8:15 p.m. 

LENOX STRING QUARTET
Beethoven Quar tet Series

TUESDAY, OCTO BER 27,  8 :15 p. m . 
Don A. Watters T heater 

COLLEGE WIND  ENSEMBLE
Albert Hamme, Director

TUESDAY, NOVE MBER 3,  8 :15 p. m . 
Don A. Watters T heater 

COLLEGE ORCH ESTRA CONCER T
David Buttolph, Director

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                    <text>STATE UNIVERSITY OF NEW YORK AT BINGHAMTON

HARPUR COLLEGE
THE DEPARTMENT OF  MUSIC

THE  NEW  YORK  WOODWIND  QUINTET
Thomas Nyfenger ,  ﬂute 
David Glazer, clarinet
Ronald Roseman, oboe 
Arthur Weisberg, bassoon
Ralph Froelich,  French  horn

Septem ber  27, 1970 

8 : 1 5 p. m . 

Don A . Watters Theate r

PROGRAM
Quintet  i n B  F lat, Opus 56 , No. 1 
A llegretto

F ranz Danzi

Andante con moto
Minuetto (Allegr etto)
Allegro

Quintet 
Lento
Moderato
Agi ta to

Gunther Sc huller

Inte rmission

Allegro and A r ioso 

Ingolf Da hl

Quintet, Opus 43 

Allegro ben mod era to
Menuet
Praeludium : Tema con varia zioni

Carl Nielsen

A  reception  honoring  tonight ’s  perfor mers  will  be  held  af ter  the per ­
f or mance i n the G reen Room .  The a udience is cordia lly invited.
(over)

�PROGRAM  NO TES
On August 7th of this yea r , while he was on sabba tical in Switzerland, Ingolf Dahl died.  Equally
accomplished as a com poser , per for mer , teacher and schola r , Mr.  Dahl , a facul ty mem ber at the
University of Southern California , was one of the m ost respec ted m usicians in America .  Born in
Ger many  in  1912,  he  was educa ted in Zurich, where he later wor ked as conductor of the Zurich
Opera.  In 1938 he came to the United Sta tes, settled on the West Coast, and beca me active in all
phases  of  m usical  life  there.  Besides  teaching  M r .  Dahl served as conduc tor and ar ranger  in
Hollywood ﬁl m studios, perfor med as pianist, composed a good deal of m usic , and served as one
of the prime notivating forces of musical life in the Los Angeles area.
His  m usic  is  prima rily of the c ha m ber va riety, the Al legro and A r ioso being one of his ﬁnest
pieces.  Written  in  1942  for  Adolph Weiss, this piece has been familiar  to the New York  Wood­
wind  Quintet for many years.  It is with a deep sense of loss for a great musician that  the mem­
bers of the Quintet have asked tha t this concert be dedicated to the memory of Ingolf Dahl .

Franz  Danzi  (1763­1826)  was  a “ third generation ” Mannheim  musician, who, although he out­
lived  the  fa mous  Mannheim  orchestra ,  was  inevitably  inﬂuenced  by  the musical style and
philosophy  which  sur rounded  it.  Though  best  known  to  modern audiences for  his chamber
music  (especially  tha t  written  for  winds)  Danzi was at home in all genres and has to his credit
a  respectable  output  of  symphonic  and  sacred  music.  In  the history of opera Danzi holds a
little known but important place as the forerunner of Weber and  romanticism (Danzi was Weber ’s
teacher).
The  nine  woodwind  quintets ,  of  which  this  one  in B Flat is per haps the best known , are not
of  Danzi ’s  m ost  profound  output,  and  are  indica tive  of the Mannheim inﬂuence through their
polish  and  notica ble  lack  of  content.  Danzi  re ma ins ,  however , one of the founding fa the rs and
most i m por tant contributors of the woodwind quintet literature.
The woodwind quinte t of G un the r Sc huller was wr i tten for  the New Y or k Woodwind Quin te t, and
was given i ts wor ld pre m iere in 1958 a ta  radio concer t in Cologne , Ge r many d ur ing a  tour  by the
quintet.  Sc huller  is  one  of  the  m ost  br illiant  m usic ians of his genera tion .  He has been ac tive
as  a  F rench  hornist,  conduc tor ,  lec turer ,  jazz  critic  (he is c redited with the invention of the
“ third  strea m ”  concept)  and  director  of  the  New  England Conservatory in Boston, as well as
being an ac tive composer . 
E S bySamuel p
 
a—

The  ou tstanding  Danish  com poser ,  Carl  Nielsen,  studied  at  the Conservatory of Copenhagen
wi th  V.  Tofte  (violin) and O. Rosenhoﬀ (composi tion).  His studies there led him into conduc ting
and  while  thus  engaged he continued to compose most industriously.  His early style was deter ­
m ined  by  the  com bined inﬂuences of Gade, Grieg and Liszt, whereas Nielsen ’s later wor ks dis­
play  the  powerful  impac t  of  the moder n idiom , and orchestral writing which is opulent and rich
in instrumental color.  The quintet, composed in 1922, shows many of these inﬂue nces in i ts com­
posi tion  and  sound.  Nielsen  ranks  wi th  Jean  Sibelius  of Finland not only as the greatest sym ­
phonist of  the Nor thern countries, bu t as one of the few sym phonists of the pat ﬁf ty years.
note by Ronald Roseman

FUTURE EVENTS
SATURDAY, OCTOBER 3,  8:15 PM 
PAUL HERSH, PIANIST
Don A . Wa tters Thea ter 
Cha m ber  Music Series
PLEASE NOTE THAT THIS IS  A C H A N G E O F D A T E  FROM THAT PRINTED ON YOUR TICKETS!
TUESDAY, OCTOBER 13,  8:15 PM 
Music  Recital Hall , Adm ission Free 

PETER MARSH, VIOLINIST
Lec ture/Reci tal on Beethoven Qua r tets

OCTOBER 15, 16, 17, 22,  23, 24, 
Music Recital Hall 

LENOX STRING QUARTET
Beethoven Quar tet Series

8:15  PM 

TUESDAY, OCTOBER 27,  8:15 PM 
Don A.  Wa tters Thea ter 

COLLEGE WIND ENSEMBLE
Directed by Alber t Ha m me

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                    <text>BACH
PARTITAS FOR
PARTITAS FOR
SOLO VIOLIN
SOLO VIOLIN

PETER MARSH,
PETER MARSH,
VIOLIN
VIOLIN
SEPTEMBER
and 25th. 8:15 pm
8:15 pm
4 t h  and 25th. 
SEPTEMBER 224th
MUSIC RECITAL HALL
MUSIC RECITAL HALL

STATE
UNIVERSITY OF NEW YORK AT BINGHAMTON
STATE UNIVERSITY OF NEW YORK AT BINGHAMTON
THE
DEPARTMENT OF MUSIC
THE DEPARTMENT OF MUSIC

�LECTURE -- RECITAL
THURSDAY, SEPTEMBER 24, 1970

RECITAL
FRIDAY, SEPTEMBER 25, 1970
PROGRAM

J. S. Bach

Partita No. 1 in b minor
Allenmande
Double
Corrente
Double (Presto)
Sarabande
Double
Bourée
Double

J . S. Bach

Partita No. 2 in d minor
Allemande
Corrente
Sarabande
Giga
Ciacona

FUTURE EVENTS
SUNDAY, September 27 at 8: 15 PM in the Don Watters theater the second of the
Fall Chamber Music Series concerts will feature the NEW YORK WOODWIND
QUINTET.
SATURDAY, October 3 at 8:15 PM in the Don Watters theater the Fall Chamber
Music Series will present PAUL HERSH in a concert of piano music.
On October 15, 16, 17 and October 22, 23 and 24 the LENOX STRING QUARTET
will present a special series of performances of the Beethoven string quartets.
The concerts wi 11 be held in the Music Recital Hal I at 8: 15 PM . Tickets wi 11 be
on sale the week preceeding the first concerts. Watch the local newspapers and
the Campus newspaper for further information about tickets.

Intermission

Partita No. 3 in E major
Preludio
Louré
Gavotte en Rondeau
Menuet I
Menuet 11
Bourée
Gigue

J. S. Bach

�</text>
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                    <text>STATE  UNIVERSITY OF  NEW YORK AT BINGHAMTON

HARPUR  COLLEGE
THE  DEPARTMENT OF  MUSIC

THE  LENOX  STRING  QUARTET
in residence
Peter  Marsh,  violin 
Delmar Pettys, violin, viola 

Paul Hersh, viola, piano
Donald  McCall,  cello

8:15 p.  m . 

Sunda y, September  20, 1970 

Don A. Wa tters Thea ter

P R OG R A M

Joseph Ha ydn

Qua r te t in C  Ma jor , Opus 20,  No. 2 

Moderato

Adagio
Menuetto (Allegretto)
F uga a Soggetti (Allegro)

Maurice Ravel

Quartet i n F 
Al legro Mode ra to (T r és doux)
Assez vi f (T r és r ythm é)
Tres Lent
V i f e t agi té
Intermission

Robe r t Schumann

Piano Qua r te t i n E  F la t Ma jor , Opus 47 
Sostenuto a ssa i (Allegro ma non t roppo)

Scherzo (Molto vivace)
Andante canta bile
Finale (viva ce)

F U T U R E  E V E N T S
P E T E R  MARSH, VIOLIN
Lecture Recital

THURSDAY, S E P T E M B E R  24,  8 :15 p. m . 
Music  Recital  Ha ll 

P E T E R  MARSH, VIOLIN

FRIDAY, S E P T E M B E R  2 5, 8 :15 p. m . 

Music  Recital  Hall 

Recital

SUNDAY,  S E P T E M B E R   27, 8:15 p.m. 

N E W  YORK  WOODWIND Q UINTET

SUNDAY,  OCTOBER  4, 8:15 p.m. 

PAUL HERSH, PIANO

Fall  Chamber  Music Series

Don  A.  Watters Theater 

F a ll C ha m be r  M usic Se r i es

Don  A.  Wa tte rs Thea te r 

(over)

�On  Oc tobe r  15,  16,  17 a nd Oc tobe r  2 2,  23,  24  the  Lenox St r in g Qua r te t  wi l l  p resent  a se r i es
of  concerts on which  they  will pe rfor m the enti re set of string qua r te ts by  Ludwig von  Beethoven.
The  conc e r ts  wi l l  be  held  i n  the  M usi c  Rec i ta l Ha l l a t 8 :15 p. m .  on  ea c h of  the a bove dates.
Ti c kets  wi l l  be  o n  sa le  o n  da tes  to  be a nnounced sho r tl y .  The  ti c kets  will  be  sold  as a sub­
sc r i p tion  se r i es ,  a t  the  sa m e  p r i ce  pe r  conc e r t  a s  the  C ha m be r  M usi c Ser ies .  Individua l
ti c kets  wi l l  be  sold  the  n igh t  of  the  conc e r t i f a n y a r e a va ila ble.  Wa tc h  the loca l  newspa pers
and the  pi pe d ream for fu r the r infor ma tion .

There  will  be  a  reception i n honor  of tonigh t ’s pe rfor m e rs,  im m edia tel y after  the  concert,
i n the cou r t ya rd next to the ba lcon y .  In  case of poor  wea the r , the  reception  will  be i n the  G reen
R oom .

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                    <text>STATE  UN I VE RSITY  OF  NEW  YORK  AT  BINGHAMTON

HARPUR  COLLEGE
THE  DEPARTMENT  O F  MU S I C

p resen ts

STUDENTS  o f

THE  NEW  YORK  WOODWIND  QUINTET

i n  a  program  of
WIND  ENSEMBLE  MUSIC

Wednesday,  J u ly  2 9 ,  1970

8 : 30  p . m .
S o c i a l  Room,  S t uden t  Cen te r

�‘ r /

P  R  O  G  R  A  M

Serenade  f o r  Winds  i n   EP  ma jo r  Op .  7

Horns

Susan  Kap lan
Richard  S chwar t z

Ma r t in  G i g le r
Karen  Moore
S teven  Ri chman
Richard  R i ghtn o u t
Ch r i s t ie  Ro l las on

S t rauss

Cond uc te d  by  Ar t h ur  We isbe rg
Qu in te t  f or  P i ano  and  W inds  i n   E‘j mino r  Op .  16
G ra ve :  A l l e g r o ,  ma  non  t rop p o
Andan te  c a n t a b i l e
Rondo :  A l l e g r o ,  ma  non  t rop p o

Flu tes

Oboes

Beethoven

S tephen  Berke lhammer
V i r g in i a  Brewer
James  Mose ley

Clarinets
INT E RMISS ION

Jane t  E l i a s  ,
Deborah  Hanks
Sara  S impson
Ibrook  Tower

ce l lo
Na than  Haks

P iano
Ange la  Lou ise  Manso

Oud

Serenade  i n  D minor  f or  Winds  Op .  44
Modera to  q uas i  Ma r c ia
Mennue t t o
Andante  con  mote
F in a l e ;  A l le g ro  mo l t o

Dvorak

Bassoons
Laureen  Hayes
Lew is  L i pn i c k
Karen  Sargean t

Conduc ted  by  S teven  Ri chman
Con t ra  Fago t t o
Thomas  Classe r

I gnaz  Me cho in ia  M i s hp i v i s

�</text>
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HARPUR COLLEGE
THE DEPARTMENT OF MUSIC

THE  NEW  YORK  WOODWIND  QUINTET
Thomas  Nyfenger,  ﬂute 
David Glazer, clarinet
Ronald Roseman, oboe 
Arthur Weisberg, bassoon
Ralph Froelich, French  horn

P R OG R A M

Allegro and A rioso 

Ingolf Dahl

La Cheminee du Roi Rene 

Darius Milhaud

Cortege
Aubade

Jongleurs
La Maousinglade
Joutes sur L’arc

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Chasse a Valabre
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Rossini

Andante

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William Sydeman

Allegro

Allegro
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Allegro
Friday, July 24, 1970
8:30 p.m.
Social Room, Student Center

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HARPUR COLLEGE
THE DEPARTMENT OF MUSIC

THE  NEW  YORK  WOODWIND  QUINTET
Thomas Nyfenger,  ﬂute 
David Glazer, clarinet
Ronald Roseman, oboe 
Arthur Weisberg, bassoon
Ralph Froelich, French  horn

PR OGRA M

Fantasie in F Minor, KV 594 

Adagio
Allegro
Adagio

W. A .  Mozart
Transcribed by Wolfgang Meyer

Eight Etudes and a Fantasy 

Elliott Carter

Maestoso

Quietly
Adagio possibile

Vivace
Andante
Allegretto leggero

Intensely

Presto
Fantasy, tempo guisto

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Quintet, Op. 28 
Allegro
Grazioso Amabile
Moderato ; Allegro Guisto
Trois pieces breves 
Allegro
Andante
Assez lent

Heinz Caspar Schmid

Jacques Ibert

Friday, July 17, 1970
8:30 p.m.

Social Room, Student Center

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                    <text>S t a te  Un ive rs i t y  of  New  York  a t  Bin ghamt on
Harpur  Co l le ge
The  Depar tmen t  of  Mus i c

VOICE  STUDIO  RECITAL
by  the  s t uden ts  of  Rober ta  Schlosser  and  W i l l i am  Lewis

May  19,  1970 

8 : 1 5  p . m. 

Music  Re c i t a l  Ha l l

PROGRAM
O  CESSATE  D I  P IAGARMI 
0  M10  BABBINO  CARO  (G i ann i  S ch ic ch i ) 
Gaye  But le r
IL  MIO  BEL  FOCO 

S ca r la t t i
P uc c in i
Mar c e l lo

Kathryn  Bas s in

AMINTE 
JEUNE  FILLETTE

Wecker lin

Norma  Schlesinger

AT  THE  WELL 

Hageman

Judy  Coye
PACE,  PACE  MIO  DIO  (La  Forza  de l  des t ino) 
AVE  MARIA  (O te l lo ) 
Joy  Edwardsen 
BUT  WHY,  WHY  MAKE  ME  SUFFER 
(The  Marr iage  of  Fi garo) 
Z 
t 
TCHEN  AM  SP INNRADE 

I N   Q U E L L E   T R I N E  M O R B I D E  

A l id a  S t ah l
Terrance  Howe l l  “ 

8

Moz a r t
1

(Manon  Lescaut) 
Susan  Ba l l

DER  VERLASSENE  MAGDELEIN 
ER  IST ’ S 

Grace  Mar t in
­=ﬂd=d==§=aﬁeﬁ ___

\

AH  FORS ’  E  LU I  (La  Travia ta) 
AH!  MON  F I LS!  (Le  Pr ophEt e) 

Verdi

Donna  R ibb le

Ka t h leen  Ty r re l l

CANDIDE 
YOU  WERE  DEAD ,  YOU  KNOW
OH,  HAPPY  WE

Schuber t
P ucc in i

Wolf

‘5==5!!.usg~
Ve rd i
Meyerbeer

Be rns t e in
A l i d a  S t ah l
James  Osborne

Barbara  Gar ges  and  Cha i  kyou  K im ,  accomp an is ts

�</text>
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                    <text>STATE  UNIVERSITY OF  NEW  YORK AT BINGHAMTON

HARPUR  COLLEGE
THE  DEPARTMENT OF  MUSIC

Mozart’s

THE  MARRIAGE  OF  FIGARO

by
Students of the Opera Workshop

Thursday, May 14, 1970
Friday, May 15, 1970
8 :15 p. m.

Recital Hall

�PROGRAM
CAST

Act. 1  Scene 1.
(An upstairs bedroom)
Duettino 
Duettino 
Cavatina 

Figaro and Susanna
Figaro and Susanna
Figaro

Aria 
Duettino 
Aria 
Terzetto 

Bartolo
Marcellina and Susanna
Cherubino
Count, Basilio and Susanna

Aria 

Figaro
Act 1.  Scene 2.
(Boudoir of the Countess)

9.
10.
11.
12.

Cavatina 
Arietta 
Terzetto 
Duettino 

Countess
Cherubino
Count, Countess and Susanna
Susanna and Cherubino

Tinie — Now
Place  –  A manor hous e in Spain
COUNT ALMAVIVA 

Baritone 

COUNT ESS ALMAVIVA 

Soprano 

Beverly Pe nn
Toby  Jean Manker

SUSANNA,  her chambermaid 

Soprano 

Alida Stahl
Grace  Martin

FIGARO, valet to the Count

Bass–baritone 

CHERUBINO, the Count’s page

Mezzo–soprano 

Ter rence Howell

James Osborne
Nancy Carlson

BASILIO, music master 

Tenor

Charles Seltzer

DON CURZIO,  a  judge 

Tenor

Charles Seltzer

BARTOLO, a doctor from Seville 

Bass

Thomas Strain

BARBARINA, his daughter 

Soprano 

Stage Director 

Donna Ribble

(Conductor, Thursday performance)

William Lewis

Musical Preparation 
Roberta Schlosser
(Conductor, Friday performance)

Intermission

Coach and Accompanist 

Barbara Garges

Act II.  Scene 1.
(Count ’s chambers)
13. Recitative and Aria 
14. Sestetto 
1 5. Recitative and Aria 
16. Duettino 

Count
Mnrcellina, Figaro, Bartolo,
Don  Curzio, Count and Susanna
Countess
Susanna and Countess

PROGRAM  NOTES
Mozart’s  “Marriage  of  Figaro”  should  be  executed  with  elaborate
costumes,  scenery  and  orchestra  to completely do  i t  justice.  We have
neither  the  time  nor  the  resources  at  the  moment for such a venture ;

so we decided to experiment.

Act II.  Scene 2.
(The garden)
1 7. Cavatina 
1 8. Recitative and Aria 

1 9. Recitative  and  Aria 
20. Finale  of  Act IV 

Bar barina
Figaro
Susanna
Cherubino, Countess, Count
Susanna, Figaro, Barbarina,
Marcellina, Bartolo, Don Curzio

Our young artists f unctionbestinafa rnilia r environment ; so we decided
to  perform  the  work  in the present, in contemporary dress allowing the
player  to develop  his  or  her character naturally and easily relate to an
acting  situation without slighting the vocally ma jestic Mozartan line.
We  have  inserted  a  minimum of spoken dialogue to establish the con­
tinuity of an ext remely complicated plot and enable us to reach the ma jor
arias,  duets  and  ensembles  with  alacrity.  Certain  details  of the story
are  omitted  purposely so  that  we  all  will  have again the opportunity to
hear and enjoy the musical heart of the “Marriage of  Figaro” in one­third
its usual performance time.
William L . Lewis, Director
Opera Workshop

�P rogram of  Le Marriage de Figaro — Beaumarchais
Figaro,  steward  at  the  castle  of  Aguas  Frescas,  has borrowed ten
thousand f rancs f rom Marceline, housekeeper of the same castle, and has
given  her  a  note  promising  to  repay  the  money at a certain time or to
marry  her  if  he  should  default.  Meanwhile,  very  much in love with
Suzanna, Countess Almaviva’s young chambermaid, he prepares to marry
her ; for  the Count, himself enamored of young Suzanna, has favored this

marriage in the hope that a dowry he has promised to give her would en­
able him to obtain from her in secret her yielding to the droit du seigneur,
a  right that he had renounced for the beneﬁt of  his servants when he was
married.  This little domestic intrigue is conducted on behalf of the Count
by the  rather  unscrupulous Basile, music­master of the castle.  But the
young  and  virtuous Suzanne believes herself obliged to apprise her mis­
tress and her betrothed of the Count’s gallant intentions, and the Countess,
Suzanne,  and  Figaro  band  together  to foil  the  plans of the lord of the
manor.  A small page, beloved by everyone at the castle but mischievous
and  overheated,  like  all  precocious  lads  of  thirteen  or fourteen, slips
saucily away from his master and by his liveliness and perpetual thought­
lessness  more  than once involuntarily places obstacles in the way of the
Count’s  progress, at the same time getting himself into hot water, which
leads to some very eﬀective incidents inthe p iece  .  .  .  The Count, ﬁnally
perceiving that he is being made the  victim, but unable to imagine how it
is  being  done,  resolves  upon vengeance by favoring Marceline’s claims.
Thus,  desperate  because he cannot make the young woman his mistress,
he tries to marry the old one to Figaro, who is disgusted by all this.  But
at  the  moment  when  Almaviva  believes  himself avenged, when, as ﬁrst
magistrate of  Andalusia, he condemns Figaro to marry Marceline that day
or pay the ten thousand francs —which Figaro cannot possibly do ­–, it is
revealed that Marceline is Figaro’s unknown mother.  This ruins all of the
Count’s  plans  and he cannot ﬂatter himself that he is either fortunate or
avenged.  During this time, the Countess, who has not given up the hope of
winning back her unfaithful spouse by catching him at fault, has arranged
with Suzanne that the latter pretend to grant the Count a rendezvous at last
in the garden, and that the wif e appear there in place of  the mistress.  But
an  unforeseen  incident apprises Figaro of the rendezvous granted by his
ﬁancée.  Furious because be believes himself deceived, he hides at the ap­
pointed  spot,  in  order  to  surprise  the  Count with Suzanne.  While he is
still raging, he is himself pleasantly surprised to discover that the whole
aﬀair  is only a game between the Countess and her chambermaid for the
purpose of fooling the Count ; he ﬁnally joins in the game good­humoredly ;
Almaviva,  convicted  of  unfaithfulness by his wife, throws himself at her
feet,  begs  her  forgiveness, which she laughingly grants him, and Figaro
marries Suzanne.’
7Eugene Lintihac,  Histoire générale du theatre en F rance , Pavis,  n.d., IV,
414–16

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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 &lt;a href="mailto:orb@binghamton.edu"&gt;orb@binghamton.edu&lt;/a&gt;.</description>
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