Crane Concert Program Guidelines

The concert program guidelines in this document are intended to provide a style
reference for performers when submitting information for printed concert and recital
programs at The Crane School of Music. Event coordinators are responsible for
researching, formatting, and submitting complete and accurate program information by
the deadline for their event, and for proofing the draft program when provided. Studio
instructors should assist students with researching and creating their recital programs.

Deviations from these style guidelines may be considered upon request from the
performer in certain circumstances, such as a non-traditional concert format (e.g.
lecture-recital, thematic recital, etc.) or to more clearly communicate to the audience
how the concert is to be performed (e.g. spacing of works on the page to indicate works
performed as a “set” without interruption of applause).

Submitted programs should include:

• Complete name of composition(s)
• Composition date
• Complete name of composer(s), arranger(s), and transcriber(s)
• Birth and Death date of composer(s)
• All composition movements being performed.
• Names of all performers, including accompanist(s)
As programs are no longer printed and instead viewed using mobile devices during
performances, the smallest font size should be 16. The program templates utilize
“invisible” tables (shown as dashed lines), as rows and columns help with spacing and
formatting.

Instrumental Programs
Generic titles of works, such as “Sonata”, “Toccata”, “Prelude”, “Symphony”, “Piano
Trio”, “String Quartet”, etc., are to be capitalized but not italicized. Keys and
opus/catalog numbers of such works should generally be included. Ordinal numbers
may optionally be included (e.g. Symphony No. 5, Piano Concerto No. 4).

Examples:

Prelude in E Minor, Op. 28 no. 4 [i.e., no comma, lower case “n”]

Sonata in B-Flat Major, K. 281
Toccata and Fugue in D Minor, BWV 565
Trio No. 1 in C Major, Hob. IV:1 (“London”)
Piano Concerto No. 2 in G Minor, Op. 22
Symphony No. 9 in E Minor, Op. 95 (“From the New World”)

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Titles of complete works should be listed as printed in the score or in the composer’s
catalog, without quotation marks. Titles of complete works may optionally be
italicized, retaining the upper-/lower-case of the original. Opus/catalog numbers should
generally be included.

Examples:

Billy the Kid: Suite

Americana, Op. 96a (1992)
The Gumsuckers March (1914)
Meeresstille und glückliche Fahrt, Op. 27
Prélude à l'après-midi d'un faune

Foreign titles known equally well under their English titles may be listed either way.
Titles in Cyrillic or other non-Western alphabets should generally be transliterated.

Examples:

Le Sacre du printemps OR The Rite of Spring

Ne poy, krasavitsa, pri mne

Catalog numbers should be abbreviated and capitalized.

Examples:

Opus: Op.
Köchel: K.
Longo: L.

Traditional descriptive names of works should be placed at the end of the work
information, using quotation marks and parentheses.

Example:

Sonata No. 17 in D Minor, Op. 31 no. 2 (“Tempest”) Ludwig van Beethoven

(1770–1827)

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Premieres of works may so be indicated.

Example:

From the Depths of Time (2014) Frank Milquetoast

(b. 2001)
World Premiere

Dates of composition may be included at the discretion of the performer, especially for
works that have no opus or catalog number, or when the performer wishes to provide a
context for the work.

Example:

Lament (1998) Christopher Tilley

(b. 1970)

When performing complete multi-movement works, the names or tempo indications of

each movement should generally be printed below the title, indented and single spaced:

Example:

Sonata in B-Flat Major, K. 281 Wolfgang Amadeus Mozart

Allegro moderato (1756–1791)
Andante amoroso
Allegro

When performing selected portions of a multi-movement work, Roman numerals may be

added to indicate which portions of the work are being performed. The periods should
be right-aligned, followed by a single space:

Examples:

Sonata in B-Flat Major, K. 281 Wolfgang Amadeus Mozart

I. Allegro moderato (1756–1791)
II. Allegro

Klavierstücke, Op. 118 Johannes Brahms

I. Intermezzo (1833–1897)
II. Romance

Symphony No. 0 in D Minor (“Die Nullte”) Anton Bruckner

III. Scherzo: Presto (1824–1926)
IV. IV. Finale, moderato – Allegro vivace

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Alternatively, when performing selected portions of a multi-movement work, the word
“from” (with a lower case “f”) may be used to indicate which movement or movements of
the work is/are being performed, followed by the italicized title.

Example:

from Sketches for Friends Brian Head

Lobster Tale (b. 1964)
November Song

Vocal Programs
Single song titles (not from larger works) should be printed non-italicized, even when in
a foreign language. Multiple such songs from the same composer should be single
spaced.

Examples:

Già il sole dal Gange Alessandro Scarlatti

(1660–1725)

Le papillon et la fleur Gabriel Fauré

Lydia (1845–1924)
Au bord de l’eau

Keys and opus numbers are typically not included for individual song titles, though opus
number may be included if performing an entire cycle or more than one selection from a
larger work.

Poets may optionally be listed in parentheses.

Example:

Mandoline (Verlaine) Gabriel Fauré

(1845–1924)

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Aria titles from operas, oratorios, and cantatas are generally capitalized as sentences
(initial capital only), while titles of songs from musicals and generally have each word
capitalized, with certain exceptions (some oratorio, in particular). In general, follow the
capitalization of the text as printed in the score.

Example:

Et exultavit spiritus meus in Deo salutari meo Johann Sebastian Bach

from Magnificat, BWV 243a (1685–1750)

When performing an aria with a recitative, the recitative title should be separated from
the aria title with an ellipsis ( … ). Include a space on each side of the ellipsis.

Example:

Giunse alfin il momento … Deh vieni, non tardar Wolfgang Amadeus Mozart
from Le Nozze di Figaro (1756–1791)

When performing multiple selections from a collection, opera, or musical, italicize the
name of the collection, opera, or musical, and list the selections (non-italicized) below
the title, indented, without quotation marks. Use “from” to indicate a portion of the work
is to be performed; list the title alone to indicate the entire work is being performed.
Examples:

A portion of a larger work:

from Cowboy Songs Libby Larson

Bucking Bronco (b. 1950)
Billy the Kid

from Falstaff Giuseppe Verdi

L’onore! Ladri! (1813–1901)
Tutto nel mondo è burla

A complete work:

Despite and Still Samuel Barber

A last song (1910–1981)
My lizard
In the wilderness
Solitary hotel
Despite and still

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When performing only one selection from a collection, opera or musical, the work may
be listed one of two ways:
Examples:

Bucking Bronco Libby Larson

from Cowboy Songs (b. 1950)
OR
Bucking Bronco (Cowboy Songs) Libby Larson
(b. 1950)

A Boy Like That Leonard Bernstein

from West Side Story (1918–1990)

OR
A Boy Like That (West Side Story) Leonard Bernstein
(1918–1990)

Two or more songs not from a cycle (different composers) are unspaced to indicate a
group of works to be performed without interruption of applause:

Example:

La lune blanche Gabriel Fauré

(1845–1924)
L’heure exquise Reynaldo Hahn
(1874–1947)
Extase Henri Duparc
(1848–1933)

Two or more songs not from a cycle (different composers with more than one piece by
the same composer) are unspaced to indicate a group of works to be performed without
interruption of applause:

Example:

Voyage à Paris (Banalités) Francis Poulenc

(1899–1963)
Madrid Pauline Viardot
Canción de la infanta (1821–1910)
Schwanenlied Fanny Mendelssohn
(1805–1847)

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Composers
Use full names for composers and list applicable birth and death dates in parentheses
under name. Both lines will be right-justified.

Example:

Johann Sebastian Bach

(1685–1750)

For living composers, indicate the birth year with “b. ” followed by a single space:

Example:

John Corigliano
(b. 1938)

In the event a composer appears more than once on a program, dates should be
provided for the first occurrence only.

If a work has been adapted, arranged, or transcribed, include both the name and dates
of the composer (with dates) and the adapter/arranger/transcriber (without dates).
Abbreviate “arranged,” “transcribed,” and “adapted” as follows: “arr.”, “trans.”, and
“adapt.”

Example:

Allegro Joseph Hector Fiocco

(1703–1741)
arr. Sigurd Rascher

Performer Credits
All performers should be listed by full name followed by a comma, then their instrument
or voice type (uncapitalized). Pianists in an accompanying or collaborative role should
be listed as “piano.”

Examples:

Clara Rockmore, theremin (not “thereminist”)

Gerald Moore, piano (not “pianist”)
Lilli von Stupp, mezzo-soprano

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Non-instrumental performer credits should be listed in the same manner.

Examples:

Herbert von Karajan, conductor

Patrick Stewart, narrator

In cases where multiple performers are performing on the same instrument, list the
performers separated by commas, then the instrument in plural form.
Example:

Ricardo Morales, Samuel Caviezel, clarinets

For programs with multiple performers performing only one or two works (such as a
faculty gala, or a performer joining for only a single work), those performers should be
listed below each selection to be performed.

In cases when smaller numbers of faculty are performing a group recital (such as a
voice faculty concert), all performers may be listed at the top of the program and also
listed below each selection to be performed. In such subsequent listings, performers
may be identified by Mr., Ms., Dr., etc.
Example:

Piano Faculty Recital

Rudolf Serkin
Alfred Brendel
Martha Argerich

Sonata for Two Pianos in D Major, K. 448 Wolfgang Amadeus Mozart

(1756–1791)
Mr. Serkin, Mr. Brendel
OR
Rudolf Serkin, Alfred Brendel