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The place to see what's new at the Sarah Lawrence College William Schuman Music Library. Updated by Music Librarian Charlotte E. Price.
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Throwback Thursday- Some things are timeless: Metropolitan Opera's Grand Foyer getting its final touches in 1966.


Review of the Chicago premiere of Mahler’s Symphony Nº. 5, 1907.


Need an adorable pick me up? Check out the artwork archive of Sarah Lawrence’s Early Childhood Center!

If you are an SLC student who will be using October Study Days to actually study, the Music Library will be open for you! But with reduced hours:

  • Saturday & Sunday, October 18th-19th: 1pm to 5pm
  • Monday & Tuesday, October 20th-21st: 9am to 5pm

Regular hours resume next Wednesday, the 22nd.



Did you miss “The Nance” starring Nathan Lane on Live From Lincoln Center this past weekend? You can still view the whole episode on

SLC has a longstanding (40+ years!) relationship with the Metropolitan Opera. As such, we offer VERY special pricing for the SLC community on phenomenal orchestra level opera tickets. Weeknight (Mon.-Thur.) cost only $30, and weekend (Fri.-Sun.) are $40, a huge discount considering how these tickets normally cost over $200!

Ticket orders for the Fall must be in by Saturday, October 25th, so get your orders in by then. Schedule below the cut.


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SLC alumna Amy Laburda ‘07 just wrote an article for The Toast about Jonathan Larson’s musicals called "On RentTick, Tick… Boom!, and Caring a Whole Lot.

This article has been certified enjoyable even if you aren’t into Rent. Here’s an excerpt:

Part of what makes Larson’s work endure is not only that it hit at a moment when the AIDS crisis met the disaffection of the generation coming of age in the early to mid-1990s. And it isn’t simply that Larson told the culturally resonant story of La Boheme in a new way. As Christopher Isherwood noted inhis New York Times review of the revival of Tick, Tick… Boom!, the show feels as if it could have been written “yesterday, or today, or tomorrow.” While both Tick, Tick… Boom! and Rent are musicals deeply rooted in their respective times and places, they also include sharply drawn observations about human nature. Even — sometimes especially — the ugly parts.

If you’re unfamiliar with these (especially Tick, Tick…Boom!, Larson’s less well-known musical), the SLC Music Library has you covered - we have the book/lyrics and a sound recording.

For Rent, we have the book/lyrics, vocal selections in sheet music, the original cast recording, and the Chris Columbus movie.


Starting today and continuing for one month, Sarah Lawrence students and faculty have access to the fabulous Met Opera On Demand database.

Using this link and logging in with your MySLC info, you can access it at home or on campus.

Please try it out and let Charlotte the Music Librarian know what you think. The link is located on the library page under “M” Databases.

It’s your last week to try out the Met Opera on Demand database! Our trial ends next Monday, October 20th.


The Smithsonian Libraries collections contain works in several North American languages including Navajo, Hausa, and Lakota. We’re close to finishing the digitization of our collection of the rare (and pretty fragile) 19th c.newspaper Anpao Kin (The daybreak), which is almost entirely in Lakota!
These are just some of the collections that support research done in the Smithsonian’s Recovering Voices program, a collaborative initiative that seeks to revitalize and celebrate linguistic and cultural diversity.

Image above from Edward Curtis’ North American Indians, is captioned “Dancing to Restore an Eclipsed Moon – Qagyuhl” The Qagyuhl (Kwakiutl) are a people of the Kwakwaka’wakw nation in British Columbia. 

(via sarahlawrencegradprograms)

Forty years ago, over 400 Sarah Lawrence students, faculty, staff, and alumni moved 140,000 volumes of books from MacCracken to the then new Esther Raushenbush Library.

Svea Conrad ‘18 of the Sarah Lawrence Phoenix reports on the history of the Esther Raushenbush library and of Esther herself. Including many photos from the Sarah Lawrence College Archives.

The Sarah Lawrence Music Library gets spooky! Interested parties are welcome to stop by and create their own Halloween decoration for the windows.


Mandolino, ca. 1710–20
Attributed to Giovanni Smorsone (Italian, active 1702–38)

"… (A) mandolino del vecchio tipo… is characterized by its small size, sickle-shaped peg box, and four to six double-course strings of gut, which are plucked without a plectrum.”

"Sometime during the eighteenth century, the number of double-course strings in this mandolino was extended from five to six, which made it necessary to widen the neck on the bass side by about 3/16 inch. The rich decoration attests to the high quality of the instrument. The rose displaying the Habsburg double eagle suggests that a member of the Austrian imperial family commissioned this mandolino, but no hard evidence can be found to support the suggestion."


(via no-tritones-for-you)


In November, 1966, eight months before he died of cancer, John Coltrane played a concert at Temple University in Philadelphia. It was not a financial success—only 700 people showed up—and the band’s high-energy music proved too much for some listeners. That concert recording is now officially out for the first time. It got our jazz critic Kevin Whitehead thinking about what Coltrane was up to: 

"John Coltrane’s 1966 Philadelphia concert wasn’t quite as legendary as folks now claim, judging by the scant attention his biographers give it. But the double-CD “Offering: Live at Temple University” spotlights an aspect of Coltrane’s late period more heard about than heard—how his generosity of spirit led him to share his stage with lesser-known players. Drop-ins here include a gaggle of local percussionists he’d been jamming with.

Coltrane’s vocal outbursts in Philly lend credence to the idea his saxophone was an extension of his voice, just as soprano sax extended the range of his tenor. But Coltrane was fascinated by the saxophone itself, and ways to animate the mechanism. His breath liberated the saxophone’s life force. He was concerned with getting the instrument to sound, to feel as well as hear the dance of a vibrating air column inside the metal tube. Some fans had given up on Coltrane by 1966, but in a way his priorities hadn’t changed. Playing standards in the ’50s, he had that same love of setting the horn vibrating with a busy line.”

Listen: One Final Offering From John Coltrane

The SLC Music Library just received this CD, so you can also stop by and check it out when you get a chance. You will not regret it.