Europeana Task Force on EDM-FRBRoo Application Profile

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Final Report on EDM – FRBRoo
Application Profile Task Force
Contributors
Martin Doerr, ICS FORTH, Greece
Stefan Gradmann, KU Leuven, Belgium
Patrick LeBoeuf, BNF, France
Trond Aalberg, NTNU, Norway
Rodolphe Bailly, Cité de la musique, France
Marlies Olensky, Humboldt-Universität zu Berlin, Germany

Final Report on EDM – FRBRoo Application
Profile Task Force
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1. Scope and methodology of the taskforce and structure of this
document 3
2. Participating members 4
3. Example data 4
3.1. Don Quixote 5
3.2. Hamlet 5
3.3. Musical work 7
4. Results of the analysis of the example data 8
5. FRBRoo-EDM Application Profile 11
6. References 14
7. Appendix 14

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1. Scope and methodology of the taskforce and structure of this
document
The EDM – FRBRoo Application Profile Task Force (EFAP-TF) was launched in response to
the recommendations from the deliverable Final Technical & Logical Architecture and future
work recommendations (D3.4) from Europeana V1.0, WP3. This deliverable asked for an
application profile that would allow a better representation of the FRBR group 1 entities:
work, expression, manifestation and item. Additionally, it was to be conceived as an
application profile of FRBRoo where each intellectual contribution (e.g., in the publication
process) and the related activity are treated as entities in their own right and, as opposed to
FRBRer, does not depend too much on the notion of a bibliographic record. As a starting
point they suggested the mapping of FRBRoo and EDM offered by the CIDOC CRM working
group. The aim of the EFAP-TF is to extend, correct or restrict this suggested mapping and
provide examples for the use of the combined EDM and FRBRoo namespace clusters.
Two important motivations were added to the original Task Force mission and are important
for a better understanding of some of the report’s elements:
 The application profile is not a prescriptive framework for producing new object
representation metadata within Europeana, it is not a set of cataloguing rules –
instead it is strictly limited to the mapping of existing source data to a specialized
EDM framework.
 Our intention is to create buy-in from two communities: first of all, of course, the
Europeana community – but then we also should have the support of the FRBRoo
community in order to make the connection of the two worlds as seamless as
possible. This latter motivation had some influence on the composition of the Task
Force in that we made a conscious effort to include people from the FRBRoo context.
The methodology of the Task Force was to start from real, existing datasets and to then
provide first, tentative mappings of these to the EDM. This enabled us to identify a delta of
attributes that require specializations of the EDM in order to prevent information loss in the
migration from the source formats to Europeana. We then asked the sub-working groups
formed around the three example datasets to come up with research questions they
assumed should be answered based on the datasets before and after their mapping to an
extended version of the EDM specialized using attributes and relations from FRBRoo.
Whenever the specializations could safely be omitted without putting at risk the answer of the
research question this particular specialization element was dropped from the profile. This
way we continuously ‘stripped’ the graphs. The table reproduced in section 5 of this report is
the result of this and is the essence of the application profile.
This report delivers combined models in terms of properties and classes of EDM and
FRBRoo illustrated by sample data. Smaller groups have worked on three different examples
that are described in section 3. The report also provides principles for modeling and mapping
rules based on the experiments of the working groups.

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2. Participating members
Initiating Chairs: Martin Doerr, ICS FORTH and Stefan Gradmann, KU Leuven
Invited Members:
 Trond Aalberg, NTNU, Norway
 Vladimir Alexiev, Data and Ontology Management group, Ontotext Corp
 Kerstin Arnold, Bundesarchiv, Germany
 Rodolphe Bailly, Cité de la musique, France
 Detlev Balzer, Freelance developer and IT consultant
 Robina Clayphan, Europeana
 Gordon Dunsire, Independent consultant; Member of the FRBR Review Group,
Member of the International Working Group on FRBR/CIDOC CRM Harmonisation
 Kai Eckert, University of Mannheim, Germany
 Michael Fingerhut, Bibliomus, Paris
 Steffen Hennicke, Humboldt-Universität zu Berlin
 Antoine Isaac, Europeana
 Patrick LeBoeuf, BNF
 Marlies Olensky, Humboldt-Universität zu Berlin
 Justyna Walkowska, Poznan Supercomputing and Networking Center
 Maja Zumer, University of Ljublijana
3. Example data
For the more popular CHOs, Europeana will eventually achieve a very dense representation
of derivatives and related material. Flat “core” metadata, i.e., in formats describing tangible
resources without additional intermediate nodes representing contextual entities, the
respective rich relationships can either not be represented, or must be represented in a
highly redundant and often inconsistent manner. The FRBR family of models, and its
ontological representation in a Semantic Web compatible format “FRBRoo”, ultimately aim at
representing adequately the context of richly interrelated cultural resources.
The rationale for all the chosen examples consequently was to demonstrate that such
networks of highly interrelated data already exist implicitly or explicitly in current metadata,
and that they can be represented coherently in FRBRoo, overcoming the fragmented
representation of the current formats. The interest was not in the number of examples, but in
the coverage of the diversity of the kinds of semantic relationships (derivation, incorporation
and aboutness) found in library catalogues and Europeana itself. Further, these examples
were created to the degree of detail present in the sources and to the degree necessary to
answer the kinds of relevant research questions asked by end users that the participants
were aware of.
As expected, only a subset of the FRBRoo properties were necessary to represent the
example materials under the above restrictions, because FRBR also comprises notions
aiming at better, future documentation practices and notions relevant to library-internal
functions. Even though this approach doesn’t yield statistically valid results it is sufficient to
identify the elements that will definitely be required in specializing the EDM: we thus have

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identified a necessary, yet not sufficient set of properties. We may have missed a few
additional properties, but the people involved in the task force make us confident that we
should have close to complete coverage in this respect.
Three example data samples were provided by the taskforce and are briefly described in the
following subsections. Three smaller working groups modeled the data according to FRBRoo
and EDM with the goal to identify mapping rules and a set of FRBRoo classes and properties
that the EDM might have to be extended with.
The Don Quixote examples can be found at
http://november.idi.ntnu.no/frbrized/rest/db/edm/index.html
1
.
The Hamlet and the Musical Work examples can be found in the appendix.
3.1. Don Quixote
Selected to illustrate the following:
 Works that have parts
o What we now refer to as the work Don Quixote was originally two different
works published separate in time
 Different expressions of the same work
o translations or other “minor” derivatives
o where the original author is considered to be the main responsible of the
resource, not considered as new works in cataloguing
 Other derivations
o main entry person is different from the original author, considered to be new
works
 Publications with augmentations/supplements
o In addition to the main text there are illustrations, forewords and other
additions that are of interest to find
The records in the example are mainly from National Library of Spain and Bodleian Library
(UK) and can be found in Europeana. All records are in MARC and retrieved from the original
institutions using Z39.50. Most records include a 856-field with a link to a digital resource
with the exception of a few (which are alternative MARC records for comparable resources in
Europeana).
3.2. Hamlet
We know nothing about Shakespeare’s ‘original’ text. The very notion of ‘Shakespeare’s
original text’ is an anachronism. As Gary Taylor puts it, ‘we mislead ourselves if we imagine a
play moving from text to stage […]. For Shakespeare, a play began life in the theatre. […]
Playwrighting […] was an intrinsically social process. […] The earliest texts of his plays […]
were not printed from manuscripts prepared for the convenience of that consortium of
readers called “the general public”; instead, they were written to be read by a particular group
of actors […]. The written text of any such manuscript thus depended upon an unwritten
paratext […], an invisible life-support system of stage directions, which Shakespeare could
1
Or directly on the Wiki Task Force page: http://pro.europeana.eu/web/network/europeana-tech/-
/wiki/Main/Task+Force+EDM+FRBRoo

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either expect his first readers to supply, or which those first readers would expect
Shakespeare himself to supply orally.’
2
The play seems to have been performed for the first time around 1600-1. There were seven
editions of Hamlet prior to the 1642 theatre closures. The earliest edition (1603) is labelled
‘First Quarto’ or ‘Q1’; it is thought to have been ‘printed from a manuscript believed to be of a
memorial reconstruction of the play by actors’;
3
for that reason, it is also nicknamed ‘Bad
Quarto.’ The most striking differences between that edition and Hamlet ‘as we know it’ are
that Polonius is not named Polonius but Corambis, and that Hamlet does not say ‘To be or
not to be, that is the question,’ but: ‘To be or not to be, aye there’s the point.’
The next edition (1604-5) is labelled ‘Second Quarto’ or ‘Q2’; it is thought to have been
‘printed from a manuscript believed to be Shakespeare’s foul papers’
4
and is therefore
regarded as the best source (the ‘Good Quarto’) for a correct text. The ‘Third Quarto’ or ‘Q3’
(1611) was printed from Q2, the ‘Fourth Quarto’ or ‘Q4’ (1622) from Q3, and the ‘Fifth
Quarto’ or ‘Q5’ (1637) from Q4.
Hamlet was also included in the two folio editions (‘F1’ and ‘F2’, respectively 1623 and 1632)
of Shakespeare’s (almost) complete works. F2 was printed from F1, which in turn was
‘printed from a manuscript thought to be a transcript of a fair copy prepared from
Shakespeare’s foul papers […; it also] draws on the second “good” quarto. It omits lines
found in the “good” quarto, but adds others.’
5
As is usual with hand-press books
6
, not all
copies of F1 contain exactly the same text: typos and flagrant mistakes were corrected in the
course of printing.
7
As a result, specialists tend to individualize three major ‘Expressions’ of Hamlet: the text
conveyed by Q1 (the ‘Bad Quarto’), the text conveyed by Q2 (the ‘Good Quarto’), and the
text conveyed by F1. There is an edition of all three Expressions side by side.
8
Even the Folger Shakespeare Library in Washington collocates all editions of Hamlet in its
catalogue under the same uniform title: ‘Shakespeare, William, 1564-1616. Hamlet.’ That
same library’s subject index, however, differentiates between ‘Shakespeare, William, 1564-
1616. Hamlet. 1602’ (a mistake for 1603), ‘Shakespeare, William, 1564-1616. Hamlet. 1603’,
and ‘Shakespeare, William, 1564-1616. Hamlet. 1605’, i.e., between Q1 and Q2.
The Hamlet examples are based on implicit information, that are present in the texts.
For the sake of experimentation within the context of this Task Force, we used here both a
generic uniform title for the Work: ‘Shakespeare, William, 1564-1616. Hamlet’, and specific
uniform titles, loosely based on RDA instructions, for the identification of various Expressions
of that Work:
2
Gary Taylor, ‘Shakespeare Plays on Renaissance Stages,’ Stanley Wells and Sarah Stanton, ed., The
Cambridge Companion to Shakespeare on Stage (Cambridge, UK: Cambridge University Press, 2002): 1-20 (pp.
1 and 3-4).
3
British Library, Treasures in Full: Shakespeare in Quarto, <http://www.bl.uk/treasures/shakespeare/playham
let.html>.
4
British Library, Treasures in Full…
5
British Library, Treasures in Full…
6
See Gunilla Jonsson, ‘Cataloguing of Hand Press Materials and the Concept of Expression in FRBR,’
Cataloging & Classification Quarterly 39(3-4) (2005): 77–86.
7
‘Some pages of the First Folio – 134 out of the total of 900 – were proofread and corrected while the job of
printing the book was ongoing. As a result, the Folio differs from modern books in that individual copies vary
considerably in their typographical errors. There were about 500 corrections made to the Folio in this way.’ ‘First
Folio’, Wikipedia (accessed on January 2nd, 2013).
8
Paul Bertram and Bernice W. Kliman, ed., The Three-Text Hamlet: Parallel Texts of the First and Second
Quartos and First Folio (New York: AMS Press, 1991).

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 Shakespeare, William, 1564-1616. Hamlet. English (Singer edition).
 Shakespeare, William, 1564-1616. Hamlet. German (Schlegel).
 Shakespeare, William, 1564-1616. Hamlet (First Quarto version). English.
 Shakespeare, William, 1564-1616. Hamlet (First Quarto version). French (Hugo).
 Shakespeare, William, 1564-1616. Hamlet (Second Quarto version). English.
 Shakespeare, William, 1564-1616. Hamlet (Second Quarto version). French
(Hugo).
This is intended solely for the purpose of clarity, and does not prejudge of any future
cataloguing rule. Theoretically, it should be possible to dispense with such specific uniform
titles, and to identify all distinct Expressions through unique URIs. However, uniform titles
were deemed more easily readable by a human eye.
The following list indicates the kinds of examples are covered by the Hamlet example:
 Example N: Consolidation of the English text and publication by Samuel Weller
(Singer Edition)
 Example O: Facsimile-Edition of the first edition 1603.
 Example M: Translation into German
 Example L: A study of a German translation, published in 1970
 Example P: Second Quarto version in French published in 1865
 Example C: Image of a Hamlet theatre scene
 Example B: A psychological study about Shakespeare’s Hamlet
 Example F: A poster advertizing a French performance of Hamlet from 1899
 Example H (G): A photograph of a Hamlet theatre performance
 Example E: Drawing (costume design) from the elaboration process of a
 performance of Hamlet as opera
 Example J: A stage model from the elaboration process of a performance
 of Hamlet as opera
 Example K: A painting of a singer performing Ophelia in Hamlet as opera
 Example I: A recording of an excerpt of Hamlet as opera performed in Italian
3.3. Musical work
3.3.1. 1st Symphony by Johannes Brahms
This example focuses on the organization by the “Cité de la Musique” in Paris of a concert
containing the 1st Symphony by J.Brahms.
This performance was recorded, and a program note was published. The program note is a
document containing information about the concert such as biographies of the composers
and performers and description of the musical works. Both the recording and the program
notes are available currently on Europeana.
It has been chosen to illustrate the following requests a user may have when searching for
information about (or recordings of) particular musical works, such as:
Q1: I’m looking for all audio or video recordings of a particular musical work performed by a
particular orchestra or soloist.
Q2: I’m looking for all digitized texts having a particular musical work as subject
Q3 (usually following Q1): I’m looking for all of the digital resources (images, program notes,
audio and/or video recordings, performers interviews ) about a particular performance.

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The resources used on this example can be found on Europeana:
 Audio recording of a concert, containing 1st Symphony by Brahms:
http://www.europeana.eu/portal/record/03707/FF31A27C8A4A4B272AE19300D13A0
01B52F36625.html
 Program Note of the 9th of May 2000, Cité de la musique performance:
http://www.europeana.eu/portal/record/03710/A299D2B8F08FF9B716B1CC56571D9
AE02EEFC535.html
Note: Europeana contains a lot more interesting resources related to the 1st Symphony by
Brahms, such as:
 CD Audio : Monteverdi Productions Ltd, 2008:
http://www.europeana.eu/portal/record/2022106/079C25BCF35C7D15871972D3D75
31CCF74386975.html
 Performance record : Coliseu de Porto, Porto, Portugal 17.5.1999:
http://www.europeana.eu/portal/record/2022106/079C25BCF35C7D15871972D3D75
31CCF74386975.html
 Program Note of the 20th of september 2009, Salle Pleyel Performance:
http://www.europeana.eu/portal/record/03710/60FF3430E185843EB323E4E17343FB
A258032806.html
3.3.2. The Rite of Spring by Igor Stravinsky
This example illustrates the specific issue of the description of a notated music manuscript.
The resource can be found here:
http://www.europeana.eu/portal/record/9200103/08BAFAA636D9E26F77AC0A4E3BF89BE9
ED0FDC68.html
4. Results of the analysis of the example data
In this section, we describe how the FRBRoo representations of the examples were
simplified as well as how they could be mapped to EDM. This analysis was driven by
research questions the small working groups formulated for each sample and which needed
to be sufficiently accurately answered after the mapping process. Therefore, the research
questions were used to identify the core set of FRBRoo classes and properties that cannot
be further abstracted or generalized to fit into EDM.
The following is an example of how entities relating to the ‘work’ notion are modeled in
FRBRoo: The existence of a Work starts with its conception, be it explicitly known or not.
From this time on, the initial set of ideas may take more and more shape or are modified,
until a first Expression is fixed (or “externalized”) on a physical carrier – a Manifestation
Singleton – traditionally a manuscript or nowadays typically the first saved version on a
computer storage device. The latter process of “writing” (Expression Creation) is when the
ideas take their first tangible form. In the following, any number of expressions may be
created from the same Work, be it improvements or derivatives by the same authors or
others that have comprehended the Work through its expressions. The Expression Creation
is not limited to writing in the narrower sense, but may include other media, such as
photography, video, audio recording or drawing.

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Figure 1: Work and Time in FRBRoo
In contrast to FRBR, FRBRoo distinguishes between an Expression in general and a
“Publication Expression”, i.e. the representation of the exact content of a publication in
symbolic form: text, graphics, layout, notes etc., but without the material characteristics of a
Manifestation, such as paper, binding etc. The Publication Expression “incorporates” the
content which is traditionally attributed to the “author” of a book or analogous kind of item.
The Publication Expression is made available to the public via a “Publication Event”, be it on
electronic media to download, actual printing, print on demand or equivalent processes. The
Publication Event, and not the printing, is causal to the “publication date” in the traditional
sense and to the identity of the (intended) published content.
The analysis of this Task Force revealed that the most relevant properties for a Europeana
end-user associated with a publication is not the hardware format, often registered in detail
by libraries, but actually the level of the publication expression, which represents best the
aesthetic values of a publication and frequently a particular composition of content and
commentaries. Therefore the Task Force decided to instantiate “Publication Expression” in
Europeana rather than Manifestations in their proper FRBR sense.
Therefore, the following example is to illustrate the way we have been able to translate the
Work-Expression-Manifestation-Item (WEMI) hierarchy from FRBR group 1 to the EDM
without having to introduce new specializations.

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Figure 2: WEMI translated to EDM
In order to find an adequate FRBR application profile for Europeana, the examples were first
modeled in full FRBRoo. Then, the following principles were applied in simplifying the
FRBRoo model, such that the meaning necessary to answer the relevant research questions
was preserved:
 Work is only employed where it is really needed. As long as there is only one
Expression, no Work is needed.
 R21 created (was created through)(F29 Recording Event:F26 Recording) is replaced
by R17 created (was created by)(F28 Expression Creation:F2 Expression)
 Performance Plan is identified by performed expression; R25 performed (was
performed in)(F31 Performance:F25 Performance Plan) can point to more objects of
type F25 (Performance Plan)
 In F33 Reproduction Event the link produced is replaced by P108 has produced (was
produced by)(E12 Production:E24 Physical Man-Made Thing)
 R6 to be replaced by P128
 E56 language is the unique range of P72 has language. The latter maps dc:language
which has literal as range. Therefore E56 Language maps implicitly to the range
values of dc:language.
 F6 concept is replaced by E55 Type since the examples do not exhibit other cases of
use of F6 Concept.
This created the set of relevant properties and classes to be used for such examples in terms
of explicitly used FRBRoo and CIDOC CRM concepts (which form part of FRBRoo). It does
not contain the implicitly used superclasses and superproperties of both models. This forms
the first part of the recommendation of the Task Force, i.e., the Application Profile in FRBRoo
terms, a kind of necessary elements of a “FRBRoo Core” model.

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Then, all these concepts were mapped to EDM. The mapping is and is intended to be
consistent with the existing mapping of the CIDOC CRM concepts to EDM, which are in turn
superclasses or superproperties of FRBRoo concepts. We could clearly distinguish between
two cases:
1. The mappings to EDM which preserve sufficient semantics to answer the relevant
research questions.
2. The mappings which lose information, because they represent relevant
specializations of EDM Concepts.
The final recommended application profile consists consequently of two sets: the subset of
EDM classes and properties that are needed to represent the examples, and the additional
subset of CRM/FRBRoo concepts that one should specialize EDM classes and properties
with.. Since all elements of this profile are either elements of EDM or subsumed by EDM, any
data expressed in this profile can be queried and will return relevant results without loss of
recall using EDM concepts only, albeit with reduced precision (it has the “query containment”
property).
5. FRBRoo-EDM Application Profile
The following tables are in a way the essence of our mapping work and are the only element
of this report that is to be regarded as a reference element:
The following table contains the set of classes and properties from EDM that are judged
necessary by this Task Force so as to represent the examples:

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FRBRoo-EDM Application Profile Part 1: EDM subset
Underlying Source Concepts from FRBRoo:
Recommended EDM classes and
properties:
P9 consists of (forms part of) (E4 Period:E4 Period)
dcterms:hasPart
P148 has component (is component of) (E89 Propositional
Object:E89 Propositional Object)
dcterms:hasPart
R15 has fragment (is fragment of) (F2 Expression:F23
Expression Fragment)
dcterms:hasPart
P128 carries (is carried by) (E24 Physical Man-Made
Thing:E90 Symbolic Object)
edm:realizes
P62 depicts
dc:subject
P102 has title (E71 Man-Made Thing: E35 Title)
dc:title
P129 is about (is subject of) (E89 Propositional Object:E1
CRM Entity)
dc:subject
P138 represents (has representation) (E36 Visual Item:E1
CRM Entity)
edm:isRepresentationOf
P72 has language (is language of) (E73:Information
Object:E56 Language)
dc:language
E38 Image
edm:InformationResource.edm:hasType
[“DCT1:Image“]
E52 Time-Span
edm:TimeSpan
P4 has time-span (is time-span of) (E2 Temporal Entity:E52
Time-Span)
edm:occurredAt
E53 Place
edm:Place
P55 has current location (currently holds) (E19 Physical
Object:E53 Place)
edm:currentLocation
E62 String
rdf:literal
P3 has note: E62 String
dc:description
E39 Actor
edm:Agent
E55 Type
skos:Concept
P2 has type (is type of) (E1 CRM Entity:E55 Type)
edm:hasType
F6 Concept
skos:Concept
F5 Item
edm:PhysicalThing
R2 is derivative of (has derivative) ( F1 Work:F1 Work)
edm:isDerivativeOf
R14 incorporates (is incorporated in) (F22 Self-Contained
Expression:F2 Expression)
edm:incorporates
F4 Manifestation Singleton
edm:PhysicalThing
The following table contains the classes and properties that should be introduced as
specializations in EDM for representing the examples. Note that the specialization links can
already be derived from the existing mappings between FRBRoo and CIDOC CRM and the
existing mappings from CIDOC CRM to EDM given in the EDM Specification
9
:
9
http://pro.europeana.eu/edm-documentation

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10
dc:creator could only be used if the creation process has only one unique product which is directly related to the
agent and has no place association. Counterexamples: Manuscript writing produces a paper copy and a content
object. An edition of Hamlet is not produced by Shakespeare. El Greco painting in Venice.
FRBRoo-EDM Application Profile Part 2: FRBRoo subset
Recommended FRBRoo Concepts:
Implied EDM Superconcepts:
P14 carried out by (performed) (E7 Activity:E39 Actor)
inverse of edm:wasPresentAt10
P16 used specific object (was used for) (E7
Activity:E70 Thing)
inverse of edm:wasPresentAt
P73 has translation (is translation of)
(E73:Information Object)
inverse of edm:isDerivativeOf
F1 Work
edm:InformationResource
F18 Serial Work
edm:InformationResource
F27 Work Conception
edm:Event
R16 initiated (was initiated by) (F27 Work
Conception:F1 Work)
inverse of edm:wasPresentAt
F28 Expression Creation
edm:Event
R17 created (was created by) (F28 Expression
Creation:F2 Expression)
inverse of edm:wasPresentAt
R19 created a realisation of (was realised through)
(F28 Expression Creation:F1 Work)
inverse of edm:wasPresentAt
F30 Publication Event
edm:Event
R24 created (was created through) (F30 Publication
Event:F24 Publication Expression)
inverse of edm:wasPresentAt
F24 Publication Expression
edm:InformationResource
F32 Carrier Production Event
edm:Event
R27 used as source material (was used by) (F32
Carrier Production Event:F24 Publication Expression)
inverse of edm:wasPresentAt
F31 Performance
edm:Event
R25 performed (was performed in) (F31
Performance:F25 Performance Plan)
inverse of edm:wasPresentAt
F29 Recording Event
edm:Event
R20 recorded (was recorded through) (F29 Recording
Event:E5 Event)
inverse of edm:wasPresentAt
F22 Self-Contained Expression
edm:InformationResource
F23 Expression Fragment
edm:InformationResource
R3 is realised in (realises) (F1 Work:F22 Self-
Contained Expression)
inverse of edm:isDerivativeOf
E12 Production
edm:Event
P108 has produced (was produced by) (E12
Production:E24 Physical Man-Made Thing)
inverse of edm:wasPresentAt
F33 Reproduction Event
edm:Event
R29 reproduced (was reproduced by) (F33
Reproduction Event:E84 Information Carrier)
inverse of edm:wasPresentAt
E32 Authority Document
edm:InformationResource
P71 lists (E32 Authority Document:E1 CRM Entity)
dc:subject

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6. References
Dekkers, M., Gradmann, S., Molendijk, J. (2011). Europeana v1.0: D3.4 Final Technical & Logical
Architecture and future recommendations. Retrieved May 30, 2013 from
http://pro.europeana.eu/documents/10602/370691/D3.4+final.pdf.
7. Appendix
Hamlet examples, page 15-30
Musical Example, page 31-32

Hamlet
(textual work
by Shakespeare)
Hamlet
(musical work
by A. Thomas)
B
Étude médico-psychologique
sur Shakespeare et ses oeuvres,
Hamlet en particulier
C
Être ou ne pas être, c'est là la
question (Hamlet, scène VIII)
(art print by F. Gillot)
Event
(performance,
1899)
F
Tragique histoire d'Hamlet…
(playbill by A. Mucha)
Event
(performance,
1965)
G
Photographs
(by R. Pic)
Event
(performance,
1986)
H
Photographs
(by D. Cande)
M
Hamlet
(German translation
by A. Schlegel)
L
A. W. Schlegels Shakespeare-
Übersetzung: Untersuchungen…
am Beispiel des Hamlet
Event
(performance,
1868)
E
Costume designs
(by P. Lormier & A. Albert)
J
3D set model
(by Ch. Cambon)
K
Photograph of painted portrait of
singer Christine Nilsson
as Ophelia
Event
(performance,
1907)
I
Recording of an excerpt
as performed by T. Ruffo
dc:subject
isRelatedTo
incorporates
incorporates
incorporates
incorporates
incorporates
isRepresentationOf
isRepresentationOf
isRepresentationOf
isRepresentationOf
isRelatedTo
isDerivativeOf
dc:subject
N
Hamlet
(English text (Folio) with
S.W. Singer’s
annotations, ca. 1820)
dcterms:
hasVersion
O
Hamlet
(English text from
the ‘Bad Quarto’,
reprinted 1858)
dcterms:
hasVersion
P
Les Deux Hamlet
(French translations
of the Folio and Bad Quarto
by F.V. Hugo)
dcterms:
hasVersion
dcterms:
hasVersion
dcterms:isVersionOf dcterms:isVersionOf

Proposal for translating WEMI into EDM
edm:InformationResource
URI xxxxx
edm:InformationResource
URI xxxxxx
edm:isDerivativeOf
dcterms: hasVersion edm:InformationResource
URI xxx
edm:InformationResource
URI xxxx
edm:PhysicalThing
edm:incorporates
edm:realizes
edm:isDerivativeOf
skos:Concept
“ "FRBR:Work”
skos:Concept
“ "FRBR:Publication Expression”
skos:Concept
“ "FRBR:Expression”
edm:hasType
edm:hasType
edm:hasType

Hamlets
edm:InformationResource
URI "FRBR:Expression
edm:InformationResource
URI "FRBR:Work
dcterms:isVersionOf
“Shakespeare, William, 1564-1616. Hamlet” dc:title
“Shakespeare, William, 1564-1616.
Hamlet (Folio version). English”
dcterms:isVersionOf
edm:InformationResource
URI "FRBR:Expression
dc:title
“Shakespeare, William, 1564-1616.
Hamlet. English (Singer edition)”
dc:title
edm:InformationResource
URI "FRBR:Expression
dcterms:isVersionOf
“Shakespeare, William, 1564-1616.
Hamlet (First Quarto version). English”
dc:title
edm:InformationResource
URI "FRBR:Expression
dcterms:isVersionOf
“Shakespeare, William, 1564-1616.
Hamlet. German (Schlegel)”
dc:title
edm:InformationResource
URI "FRBR:Expression
dcterms:isVersionOf
“Shakespeare, William, 1564-1616.
Hamlet (Folio version). French (Hugo)”
dc:title
dcterms:
hasVersion
edm:InformationResource
URI "FRBR:Expression
dcterms:isVersionOf
“Shakespeare, William, 1564-1616.
Hamlet (First Quarto version). French (Hugo)”
dc:title
dcterms:
hasVersion
edm:InformationResource
URI "FRBR:Work
dcterms:isDerivativeOf
“Thomas, Ambroise, 1811-1896. Hamlet”
dc:title

Example N according to "FRBROO Core"
F15 Complex
Work
F27 Work Conception
E39 Actor
{Shakespeare, William, 1546-1616} P102 has title
R16 initiated
P14 carried out by
F22 Self-Contained Expression
R3 is realised in
E56 Language
{eng}
P72 has language
F28 Expression Creation R17 created
E39 Actor
{Shakespeare, William, 1546-1616}
E39 Actor
{Singer, Samuel Weller, 1783-1858}
P14 carried out by
P14 carried out by
F24 Publication Expression
F5 Item
R14 incorporates
P128 carries
F30 Publication Event R24 created
E39 Actor
{Leipzig: Kersten} P14 carried out by
E52 Time-Span P4 has time-span
E50 Date
“1820”
E62 String
“[ca. 1820]”
P78 is
identified by
P3 has note
E53 Place
E42 Identifier
“Signatur: München, Bayerische
Staatsbibliothek… P.o. angl. 622c”
E44 Place Appellation
“München, Bayerische Staatsbibliothek”
P55 has
current location
P87 is
identified by
P48 has preferred
identifier
E35 Title
“Hamlet”
P102 has title E35 Title
“William Shakespeare’s
Hamlet Prince of Denmark”
P102 has title
E62 String
“Ausgabe: 3. ed. with
notes original and
selected by
Samuel Weller Singer”
P3 has note
E62 String
“179 S.”
P3 has note
“Shakespeare, William, 1564-1616. Hamlet”
“Shakespeare, William, 1564-1616.
Hamlet. English (Singer edition)”
F28 Expression Creation
P102 has title
F22 Self-Contained Expression
R14 incorporates
R24 created
E35 Title
“Hamlet Prince of Denmark:
tragedy in five acts”
P102 has title
R3 is
realised in

Example O according to "FRBROO Core"
F15 Complex
Work
F27 Work Conception
E39 Actor
{Shakespeare, William, 1546-1616} P102 has title
R16 initiated
P14 carried out by
F22 Self-Contained Expression
R3 is realised in
E56 Language
{eng}
P72 has language
F28 Expression Creation R17 created
E39 Actor
{Shakespeare, William, 1546-1616}
P14 carried out by
F24 Publication Expression
F5 Item
R14 incorporates
P128 carries
F30 Publication Event R24 created
E39 Actor
{S.l.: Direction of the
Duke of Devonshire}
P14 carried out by
E52 Time-Span P4 has time-span
E50 Date
“1858”
E62 String
“1858”
P78 is
identified by
P3 has note
E53 Place
E42 Identifier
“Signatur: München, Bayerische
Staatsbibliothek… 4 P.o. angl. 23”
E44 Place Appellation
“München, Bayerische Staatsbibliothek”
P55 has
current location
P87 is
identified by
P48 has preferred
identifier
E35 Title
“The Tragicall Historie of
Hamlet Prince of Denmarke”
P102 has title
E35 Title
“Hamlet”
P102 has title
E62 String
“Ausgabe: [Nachdr. d.
Ausg. London, 1603]”
P3 has note
F24 Publication Expression R14 incorporates
R14 incorporates
F30 Publication Event
R24 created
E52 Time-Span P4
E50 Date
“1603”
P78
F5 Item
P128
E53 Place
P7
E48 Place Name
“London”
P87
“Shakespeare, William, 1564-1616. Hamlet”
“Shakespeare, William, 1564-1616.
Hamlet (First Quarto version). English”
P102 has title
P16

Example M according to "FRBROO Core"
F22 Self-Contained Expression
R3 is realised in
E56 Language
{ger}
P72 has language
F28 Expression Creation R17 created
E39 Actor
{von Schlegel, August
Wilhelm; 1767-1845} P14 carried out by
F24 Publication Expression
F5 Item
R14 incorporates
P128 carries
F30 Publication Event R24 created
E39 Actor
{Berlin: Reimer} P14 carried out by
E52 Time-Span P4 has time-span
E50 Date
“1844”
E62 String
“1844”
P78 is
identified by
P3 has note
E53 Place
E42 Identifier
“Ar 3129”
E44 Place Appellation
“Ghent University Library”
P55 has
current location
P87 is
identified by
P48 has preferred
identifier
E35 Title
“Shakespeare’s Hamlet / ;
übersetzt von Aug.
Wilh. Schlegel. ;”
P102 has title
E62 String
“16°; 168 p.;
Regular print
reproduction”
P3 has note
P2 has type
E55 Type
{Monograph/item}
P2 has type
E55 Type
{Language Material}
{text}
F15 Complex
Work
F27 Work Conception
E39 Actor
{Shakespeare, William, 1546-1616} P102 has title
R16 initiated
P14 carried out by “Shakespeare, William, 1564-1616. Hamlet”
P102 has title
“Shakespeare, William, 1564-1616.
Hamlet. German (Schlegel)”

Example L according to "FRBROO Core"
F22 Self-Contained Expression E56 Language
{ger}
P72 has language
F28 Expression Creation R17 created
E39 Actor
{Gebhardt, Peter}
P14 carried out by
F24 Publication Expression
F5 Item
R14 incorporates
P128 carries
F30 Publication Event R24 created
E39 Actor
{Göttingen : Vandenhoeck & Ruprecht}
P14 carried out by
E52 Time-Span P4 has time-span
E50 Date
“1970”
E62 String
“1970”
P78 is
identified by
P3 has note
E53 Place
E42 Identifier
“Signatur: München, Bayerische
Staatsbibliothek… P.o.germ. 1041 fo-255/257 #257--”
E44 Place Appellation
“München, Bayerische Staatsbibliothek”
P55 has
current location
P87 is
identified by
P48 has preferred
identifier
E35 Title
“A. W. Schlegels Shakespeare-
Übersetzung : Untersuchungen
zu seinem Übersetzungsverfahren
am Beispiel des Hamlet”
P102 has title
E62 String
“von Peter Gebhardt”
P3 has note
E62 String
“265 S.”
P3 has note
P129 is about
F19 Publication Work
E42 Identifier
{257}
E55 Type
{numbering within series}
F18 Serial Work
E35 Title
“Palaestra”P102 has title
P2 has type
P148 has component
R3 is realised inP1 is identified by
P2 has type E55 Type
{Druck}
E39 Actor
{Schlegel, August Wilhelm von ; 1767-1845}
F1 Work
{Shakespeare, William ; 1564-1616 ; Hamlet}
F6 Concept
{Übersetzung}
P129 is about P129 is about
P129 is about
E55 Type
{series}
F22 Self-Contained Expression
P102 has title
“Shakespeare, William, 1564-1616.
Hamlet. German (Schlegel)”
P2 has type

Example P according to "FRBROO Core"
F22 Self-Contained Expression
R3 is realised in
E56 Language
{fre}
P72 has language
F28 Expression Creation R17 created
E39 Actor
{Hugo, François-Victor, ; 1828-1873} P14 carried out by
F24 Publication Expression
F5 Item
R14 incorporates
P128 carries
F30 Publication Event
R24 created
E39 Actor
{Paris: Pagnerre}P14 carried out by
E52 Time-Span P4 has time-span
E50 Date
“1865”
E62 String
“1865.”
P78 is
identified by
P3 has note
E53 Place
E44 Place Appellation
“Ghent University Library”
P55 has
current location
P87 is
identified by
E35 Title
“Les deux Hamlet / ; W.
Shakespeare ; François-Victor
Hugo traducteur. ;”
P102 has title
E55 Type
{Language Material}
{Druck}
P2 has type
E62 String
“Monograph/item
Vertaling van de uitgave:
Londres: Trundell, 1603 ;
en: Londres: I. R., 1604.”
P3 has note
E62 String
“388, [4] p. ; Regular print reproduction”
P3 has note
P73 has translation
F22 Self-Contained Expression
R14 incorporates
F28 Expression Creation
R17 created P72 has language
P73 has translation
F24 Publication
Expression
E35 Title
“Oeuvres complètes
/ Shakespeare, William”
P102 has title P106 is composed of
R3 is realised in
E56 Language
{fre}
P72 has language
F15 Complex
Work
F27 Work Conception
E39 Actor
{Shakespeare, William, 1546-1616} P102 has title
R16 initiated
P14 carried out by “Shakespeare, William, 1564-1616. Hamlet”
“Shakespeare, William, 1564-1616.
Hamlet (Second Quarto version). English”
“Shakespeare, William, 1564-1616.
Hamlet (First Quarto version). English”
F22 Self-Contained Expression
F22 Self-Contained Expression
R3 is realised in
R3 is realised in
P102 has title
P102 has title
“Shakespeare, William, 1564-1616.
Hamlet (Second Quarto version). French (Hugo)”
“Shakespeare, William,
1564-1616. Hamlet
(First Quarto
version).
French (Hugo)”
P102 has title P102 has title
P14 carried out by

Example C according to "FRBROO Core"
F22 Self-Contained Expression
F22 Self-Contained Expression E56 Language
{fre}
P72 has language
F28 Expression Creation R17 created
E39 Actor
{Gillot, Firmin (1820-1872)}
P14 carried out by
F24 Publication Expression
F5 Item
R14 incorporates
P128 carries
F30 Publication Event R24 created
E52 Time-Span
P4 has time-span
E50 Date
“1867”
P78 is
identified by
E53 Place
E42 Identifier
“Bibliothèque nationale de France, département Bibliothèque-musée
de l'opéra, ESTAMPESSCENESHamlet(16)”
E44 Place Appellation
“Bibliothèque nationale de France,
département Bibliothèque-musée de l'opéra”
P55 has
current location
P87 is
identified by
P48 has preferred
identifier
E35 Title
“Être ou ne pas être, c'est
là la question (Hamlet,
scène VIII) : [estampe]
/ Gillot sc. [sig.]”
P102 has title
E55 Type
{still image}
{art print}
P2 has type
E62 String
“1 est. ; 35 x 22 cm
(im.) ; image/jpeg”
P3 has note
E31 Document P70 documents
E75 Conceptual Object Appellation
“http://catalogue.bnf.fr/ark:/12148/cb42066280g”
P149 is identified by
E35 Title
{Scènes théâtrales -- 1800-1869}
P109 is about
F15 Complex
Work
P102 has title
“Shakespeare, William, 1564-1616. Hamlet”
R14 incorporates
P102 has title

Example B according to "FRBROO Core"
F22 Self-Contained Expression
E56 Language
{fre}
P72 has language
F28 Expression Creation R17 created
E39 Actor
{Biaute, Alcée}
P14 carried out by
F24 Publication Expression
F5 Item
R14 incorporates
P128 carries
F30 Publication Event R24 created
E39 Actor
{Vier (Nantes)} P14 carried out by
E52 Time-Span P4 has time-span
E50 Date
“1889” P78 is
identified by
E53 Place
E42 Identifier
“Bibliothèque H. Ey. C.H.
de Sainte-Anne, 505-46”
E44 Place Appellation
“Bibliothèque H. Ey. C.H. de Sainte-Anne”
P55 has
current location
P87 is
identified by
P48 has preferred
identifier
E35 Title
“Etude médico-psychologique
sur Shakespeare et ses oeuvres,
Hamlet en particulier / par
le Dr Biaute,...”
P102 has title
E55 Type
{printed monograph}
P2 has type
E62 String
“24 p. ; in-8 ;
application/pdf”
P3 has note
E31 Document
P70 documents
E75 Conceptual Object Appellation
“http://catalogue.bnf.fr/ark:/12148/cb37268057t”
P149 is identified by
P129 is about
P129 is about
F6 Concept
{Maladies mentales -- Dans la littérature}
F15 Complex
Work
P102 has title
“Shakespeare, William, 1564-1616. Hamlet”
E55 Type
{text}
P2 has type

Example F according to "FRBROO Core"
F22 Self-Contained Expression
E56 Language
{fre}
P72 has language
F28 Expression Creation R17 created
E39 Actor
{Mucha, Alphonse (1860-1939)} P14 carried out by
F24 Publication Expression
F5 Item
R14 incorporates
P128 carries
F30 Publication Event R24 created
E52 Time-Span
P4 has time-span
E50 Date
“1899”
P78 is
identified by
E53 Place
E42 Identifier
“Bibliothèque nationale de France,
ENTDN-1(MUCHA,Alphonse/6)-ROUL”
E44 Place Appellation
“Bibliothèque nationale de France”
P55 has
current location
P87 is identified by P48 has preferred
identifier
E35 Title
“[Hamlet]. Tragique histoire
d'Hamlet prince de Danemark.
Sarah Bernhardt. Théatre
Sarah Bernhardt : [affiche] / Mucha”
P102 has title
E55 Type
{still image}
{art print}
P2 has type
E32 Authority Document
{Rennert (Jack) et Weill (Alain),
Alphonse Mucha : toutes
les affiches & panneaux,
Paris, 1984}
P71 lists E62 String
“1 est. : lithographie, coul. ; 210 x 78 cm ; image/jpeg”
P3 has note
F32 Carrier
Production Event
E39 Actor
{Imp. F. Champenois, 66
boul[evar]d St Michel (Paris)}P14 carried out by
R27 used as
source material
E78 Collection P70 documents
E75 Conceptual Object Appellation
“http://catalogue.bnf.fr/ark:/12148/cb40461546b”
P149 is identified by
F31 Performance
P129 is about
E55 Type
{advertising material}
P129 is about
E39 Actor
{Bernhardt, Sarah (1844-1923)}
P129 is about
F6 Concept
{Théâtre}
F1 Work
P102 has title
“Shakespeare, William, 1564-1616. Hamlet”
P108 has produced
R25 performed
P2 has type

Example H(G) according to "FRBROO Core"
E35 Title
“[Hamlet : photographies
/ Daniel Cande]”
P102 has title
F29 Recording Event
R21 created
E39 Actor
{Cande, Daniel (1938-....)}
P14 carried out by
F24 Publication Expression
F5 Item
P128 carries
F30 Publication Event
R24 created
E39 Actor
{Daniel Cande (Paris)} P14 carried out by
E52 Time-Span
P4 has time-span
E50 Date
“1986” P78 is
identified by
E53 Place
E42 Identifier
“Bibliothèque nationale de France, département
Arts du spectacle, DIA-PHO-6(175)”
E44 Place Appellation
“Bibliothèque nationale de France,
département Arts du spectacle”
P55 has
current location
P87 is
identified by
P48 has preferred
identifier
E55 Type
{still image}
{photograph}
P2 has type
E62 String
“11 photogr. pos. : diapositive coul. ; 24x36 mm ; image/jpeg”
P3 has note
E78 Collection
P70 documents
E75 Conceptual Object Appellation
“http://catalogue.bnf.fr/ark:/12148/cb41321471d”
P149 is identified by
F31 Performance
E39 Actor
{Daniel Mesguich}
E52 Time-Span
{17-11-1986}
E53 Place
{Saint-Denis : Théâtre Gérard Philipe}
P7
P4
“Shakespeare, William, 1564-1616. Hamlet”
P102 has title
F15 Complex Work
P14 carried out by
R25 performed

Example E according to "FRBROO Core"
F28 Expression
Creation
P14 carried out by
F22 Self-Contained Expression
E39 Actor
{Albert, Alfred (1814?-1879)}
E39 Actor
{Lormier, Paul (1813-1895)}
P14 carried out by
P14 carried out by
F4 Manifestation
Singleton
P128 carries
F28 Expression
Creation
R17 created
E52 Time-Span P4 has time-span
E50 Date
“1868”
P78 is
identified by
E53 Place
E42 Identifier
“Bibliothèque nationale de France, département
Bibliothèque-musée de l'opéra, D216-23 (1-27)”
E44 Place Appellation
“Bibliothèque nationale de France,
département Bibliothèque-musée de l'opéra”
P55 has
current location
P87 is
identified by
P48 has preferred
identifier
E35 Title
“[Hamlet : trente-quatre maquettes
de costumes / par Paul Lormier
et Alfred Albert]”
P102 has title
E55 Type
{still image}
{drawing}
P2 has type
E62 String
“34 dess. : crayon, plume, lavis d'encre, aquarelle ;
H. 170-305 x L. 130-225 mm ; image/jpeg”
P3 has note
P14 carried out by
E39 Actor
{Albert, Alfred (1814?-1879)}
E39 Actor
{Lormier, Paul (1813-1895)}
F31 Performance
E39 Actor
{Georges Colleuille}
E52 Time-Span
{09-03-1868}
E53 Place
{Paris : Théâtre national de l'Opéra}
P7
P14 carried
out by
R18 created
E31 Document
P70 documents
E75 Conceptual Object Appellation
“http://catalogue.bnf.fr/ark:/12148/cb40916184t”
P149 is identified by
E56 Language
{fre}
P72 has language
R2 is derivative of Hamlet
(an opera by
A. Thomas)
“Shakespeare, William,
1564-1616. Hamlet”
P102 has title
F15 Complex Work
R17 created
R25 performed
R25 performed P4 has time-span

Example J according to "FRBROO Core"
F22 Self-Contained Expression
E39 Actor
{Cambon, Charles-Antoine (1802-1875)} P14 carried out by
F4 Manifestation
Singleton
P128 carries
F28 Expression
Creation
R17 created
E52 Time-Span P4 has time-span
E50 Date
“1867”
P78 is
identified by
E53 Place
E42 Identifier
“Bibliothèque nationale de France, MAQA-122”
E44 Place Appellation
“Bibliothèque nationale de France”
P55 has
current location
P87 is
identified by
P48 has preferred
identifier
E35 Title
“[Hamlet : maquette construite
de l'acte II, tableau 1 /
par Charles Cambon]”
P102 has title
E55 Type
{still image}
P2 has type
E62 String
“1 maquette en volume ; formats divers ; image/jpeg”
P3 has note
F31 Performance
E39 Actor
{Georges Colleuille}
E52 Time-Span
{09-03-1868}
E53 Place
{Paris : Théâtre national de l'Opéra}
P7
P4
R25 performed
P14 carried
out by
R18 created
E31 Document P70 documents
E75 Conceptual Object Appellation
“http://catalogue.bnf.fr/ark:/12148/cb409161797”
P149 is identified by
E56 Language
{fre}
P72 has language
R2 is derivative of
Hamlet
(an opera by
A. Thomas)
“Shakespeare, William,
1564-1616. Hamlet”
P102 has title
F15 Complex Work
R14 incorporates

Example K according to "FRBROO Core"
F33 Reproduction Event
E39 Actor
{Boussod, Valadon et Cie}P14 carried out by
F24 Publication Expression
F5 Item
R14 incorporates
P128 carries
F30 Publication Event
R24 created
E39 Actor
{Goupil (Paris)} P14 carried out by
E52 Time-Span P4 has time-span
E50 Date
“1868”
P78 is
identified by
E53 Place
E42 Identifier
“Bibliothèque nationale de France,
département Musique, Est.NilssonC.021”
E44 Place Appellation
“Bibliothèque nationale de France,
département Musique”
P55 has
current location
P87 is
identified by
P48 has preferred
identifier
E35 Title
“Christine Nilsson dans le rôle
d'Ophélie dans "Hamlet"
d'Ambroise Thomas / peint par
Brochart, photogr. par Goupil”
P102 has title
E62 String
“1 photogr. pos. ; 12,5 x 9,5 cm (im.), 21 x 17 cm (cadre) ; image/jpeg”
P3 has note
F31 Performance
E24 Physical Man-Made Thing
E39 Actor
{Nilsson, Christine (1843-1921)}F6 Concept
{Thomas, Ambroise (1811-1896).
Hamlet -- Représentations}
E12 Production
E39 Actor
{Brochart, Constant-Joseph (1816-1899)}
P62 depicts
P14 carried out by P62 depicts
P62 depicts
P108 has produced
P14 carried out by
E31 Document P70 documents
E75 Conceptual Object Appellation
“http://catalogue.bnf.fr/ark:/12148/cb396209089”
P149 is identified by
R2 is derivative of
Hamlet
(an opera by
A. Thomas)
“Shakespeare, William,
1564-1616. Hamlet”
P102 has title
F15 Complex Work
E24 Physical Man-Made Thing
P128 carries
P108 has produced
R29 reproduced
R25 performed

Example I according to "FRBROO Core"
F29 Recording Event
F24 Publication Expression
F5 Item
R14 incorporates
P128 carries
F30 Publication Event R24 created
E52 Time-Span P4 has time-span
E50 Date
“1907” P78 is
identified by
E53 Place
E42 Identifier
“Bibliothèque nationale de France, département
Audiovisuel, NCHismaster'svoice052189”
E44 Place Appellation
“Bibliothèque nationale de France,
département Audiovisuel”
P55 has
current location
P87 is
identified by
P48 has preferred
identifier
E35 Title
“Amleto. Monologue / Ambroise
Thomas, comp. ; Titta Ruffo,
BAR ; Carlo Sabaino, dir. l'orch.”
P102 has title
E55 Type
{sound}
P2 has type
E62 String
“1 disque monoface : 78 t, aig. ; 30 cm ; disc ; disque pré-lp ; multipart/mixed”
P3 has note
F31 Performance
E55 Type
{piece performed}
E39 Actor
{Ruffo, Titta (1877-1953)}
E39 Actor
{Sabaino, Carlo (1874-1938)}
R20 recorded
P14 carried out by
P14 carried out by
E31 Document
P70 documents
E75 Conceptual Object Appellation
“http://catalogue.bnf.fr/ark:/12148/cb37889427p”
P149 is identified by
E62 String
“Diffusé grâce à
la générosité
d'un donateur
anonyme”
E75 Conceptual Object Appellation
“His master's voice 052189”P149 is identified by
E55 Type
{Numéro
commercial}
P2 has type E56 Language
{ita}
P72 has language
E52 Time-Span
E50 Date
“1907” P78 is
identified by P4 has time-span
E35 Title
“[Hamlet]. Extrait (italien)”
P102 has title
F23 Expression
Fragment
F22 Self-Contained
Expression
R15 has fragment
R3 is realised in
F27 Work Conception
E39 Actor
{Thomas, Ambroise (1811-1896)}
R16 initiated
P14 carried out by
R2 is derivative of
F15
Hamlet
(the opera)
“Shakespeare, William,
1564-1616. Hamlet”
P102 has title F15 Complex Work
P3 has note
R25 performed

E39 Actor
Sound engineer: Didier Panier
P14 carried out by
F22 Self-Contained Expression)
Recording from AUDIODVD: Paavo Berglund,
Chamber Orchestra of Europe-9th of May 2000
R17 created
R20 recorded
E39 Actor
Conductor: Paavo Berglund
E39 Actor
Orchestra: Chamber Orchestra of
Europe P14B performed
R25 performed R14 incorporates
F1 Work
Symphonie no1 op 68, by Johannes Brahms
R19 created a realization of
E39 Actor
Composer: Johannes
Brahms
F28 Expression Creation
Creation event for the Original Expression of
Symphonie no1 op 68, by Johannes Brahms
P14 carried out by
R17 created
P4 has time-span
E53 Place
Paris, France
P7 took place at
P2 has type
E55 Type
SOUND
E35 Title
1st Symphony by Brahms
Concert Recording
F24 Publication Expression
AUDIODVD: Paavo Berglund, Chamber
Orchestra of Europe-9th of May 2000
R14 incorporates F30 Publication Event
*
R24 created
E39 Actor
“Cité de la musique”
P14 carried out by
E52 Time-span
1862-1876
P4 has time-span
P102 has title
P129 is about
E55 Type
TEXT
E35 Title
Program Note
P2 has type
F28 Expression Creation
*
R17B was created by
F22 Self-Contained Expression, F25 Performance Plan
Program Note 13th May 2000 Cité de la musique, Paris
E52 Time-span
05.2000
E39 Actor
“André Lischke”
P14 carried out by
P4 has time-span
P14B performed
F31 Performance
9th of May 2000 Cité de la
musique, Paris
E52 Time-span
09.05.2000
F29 Recording Event
Recording performance 9th of
May 2000
P102 has title
F22 Self-Contained Expression, F25 Performance Plan
Symphonie no1 op 68, by Johannes Brahms
P129 is about

F1 Work
E35 Title
The rite of spring
P1 is identified by R19 created a realisation of
E52 Time-span
1912-1913
P4 has time-span
*
F4 Manifestation Singleton P102 has title
P2 has type
E55 Type
TEXT,
manuscript of
notated music
E35 Title
Vesna svâŝennaâ" // Čast pervaâ //
Vstuplenie (manuscrit autographe)
R18B was created by
E39 Actor
“Igor Stravinski”
F28 Expression Creation
P14 carried out by