IAML-IAMIC-IMS Conference

Gothenburg, Sweden June 18-23,2006

By Alison Hall and Maria Calderisi

othenburg (Goteborg) is a tidy partner in the four international and pleasant port city in the repertoires, RISM, RILM, RIdIM and Gsouth of Sweden, with vast RIPM, and by the International parks, playing fields, a huge amusement Association of Music Information park, canals, many churches, an opera Centres, formerly a Professional Branch house, and a renowned symphony of IAML. This provided us with an orchestra which some of us were enriched but also much enlarged privileged to hear on Sunday afternoon. programme. Our coverage, therefore, is Knowing that Alison would be attending necessarily spotty, but you may check the first council meeting, Maria happily http://www.iaml.info/en/conferences/got joined the 30,000 others who flocked to eborg_programrne, for the complete hear the orchestra celebrate the end of its line-up. There were 400 delegates, and concert season and the beginning of all meetings took place in Artisten, the summer. Spread out like a ciupet in all home of the University's Faculty of directions from the stage erected in a Music and Dramatic Arts, which was convenient hollow in the immense ideally suited for our conference. (AH, Castle Park were Gothenburgers and MC) visitors in festive spirits with picnic baskets, sunhats, baby carriers and cameras. It was a warmly grand beginning to a wonderful week. Council Meetings

We were welcomed on Sunday IAML business was dealt with as evening by our hosts, Veslemoy Heintz, usual at the two council meetings. Next Chair of the Organizing Committee, and year brings the triennial board elections. Eva NSissen, Vice-Dean of the Faculty of The candidates are Martie Severt Fine and Applied Arts of Goteborg (Netherlands) for president, and John University. We were then treated to a Bagues (Spain), Chris Banks (UK), Jim splendid concert of contemporary Cassaro (US), Michael Fingerhut Swedish music by the Pro Musica (France), Aurika Gergeliiu (Estonia), Chamber Choir, under its leader Jan Elisabeth Giuliani (France), Stanislaw Yngwe. Food and wine followed at the Hrabia (Poland) and Jutta Larnbrecht reception. (Germany) for vice-presidents. Ballots will 'be out early next year, and the We were joined this year for the first results will be announced at the Sydney time by the International Musicological meeting. Membership dues will be Society, our sister organization and increased by two percent: from €57 to €58 for institutional members, and from conference web pages should be hosted €34 to €35 for individuals. by the IAML site. (AH)

Fontes, under its redoubtable new Opening Session editor, Maureen Buja, will finally be back on schedule by the end of this year. After greetings by the three presidents- The next issue (2006, no. 3) will be Massimo Gentili-Tedeschi (IAML), about Russia-written in English, I David Fallows (IMS) and Roland hasten to add-thus presenting a great Sandberg (1AMIC)--on Monday opportunity to find out more about these morning, the opening address was libraries, while the following issue will delivered by Roland Sandberg, contain papers from Gothenburg. Executive Director of the Swedish Music Information Centre. He focused The ISMN is undergoing revision. on the state of contemporary music The constant M will be replaced by today, and its effects on libraries. He 0179, but there will be no change in the pointed out that the limits of the genre number calculation. The RISM are hard to define, as composers tend to Commission Mixte has been revamped, work with all styles of music, which and will now have four members each change all the time. He demonstrated from IAML and the IMS. IAML's this diversity with excerpts from works members will be Catherine Massip, John by Marie Samuelsson and Bo Nilsson. Roberts, Massimo Gentili-Tedeschi and There is scant attention to contemporary Chris Banks. Rules of procedure will be music in the media or from the podium. developed. On the financial fkont, Sandberg wondered if the concentration RISM's current funding will run out by on "pop" music defines it as the new 2012 at the latest, so new sources of music. A commission studying the role funding will need to be found. RISM is of contemporary music in Swedish looking at free of charge access, but the orchestral programmes suggested there issue is complicated by the fact that may even be less public support if the RISM does not own its software. The situation does not change. Orchestras goal is to find ways of access at a could have only museum repertoires. reasonable cost, and to share the experiences of the other R-Projects. For He suggested reasons for this state of RIdIM, the newly constituted affairs: composers are seldom Commission Mixte met for the first time performers, the music is "difficult," and in December 2005. It now has a the connection between composer and newsletter and a web site, and a new listener is changing in the digital age. He centre in Paris. Its database project is wondered if there will even be any need undergoing beta testing; it is expected to for music libraries, with the digitization be available by July 2007. Four issues of sheet music leading to less music of the electronic newsletter have been being available on paper and fewer issued. It was agreed the conference places fkom which to buy it. However, web sites will be archived on the IAML he believes there is still an important site, since they contain important role for libraries to play in the fields of information about papers presented. It cooperation and communication. The was also suggested that fbture development of new music will surely affect libraries. Sandberg said we should Rink, La creation du monde, Marchand be open both to renewal and to new d'oiseaux, Le Roseau, La boite a parameters in the promotion of joujoux, L 'homme et son disir, Jeux and contemporary music. (AH, MC) Iberia. (AH)

Sweden, Ancient and Modern (IMS). Per F. Broman of Bowling Monday Sessions Green State University spoke about writing a history of post-WWII Swedish Swedish Archives at Home and art music. He questions the methodology Abroad (IAML) featured three of past historical narrative based on collections in Uppsala, Stockholm and individual composers and stylistic Paris. Firstly Erik Kjellberg outlined a developments. Rather, he favours project to make an inventory of the considering these as complements to Diiben Collection at Uppsala University societal development and cultural Library, comprising manuscripts of policies, and describing musical about 2,500 musical works from the development in terms of genres with less seventeenth and early eighteenth emphasis on individual works and centuries. AEter the initial stages of composer accounts. He also pointed out designing and building the database, conceptual problems in writing work was suspended. However, contemporary history. For example, how subsequent funding from the Bank of does one describe electro-acoustic Sweden enabled it to be completed, and music? And must well-received works the database will be launched in be chosen instead of a seldom-played September 2006. Erik Naslund then work buried in an archive? No, he sees spoke about the Ballets suidois, which nothing wrong with that: there is no existed between 1920 and 1925, and was historical truth! For a complete change a rival to Diaghilev's Ballets russes. It of time and place, Cajsa S. Lund of attracted poets, painters and musicians of Musik y Syd, Kristianstad, spoke on the the time, such as Jean Cocteau and Les "phonomenal" bronze lurs, a traditional Six, and fostered new ideas and wind instrument depicted in rock experiments, such as the first jazz ballet. carvings and paintings from as early as The company had started out as a 2,500-3,000 years ago. The largest Swedish ballet, but subsequently moved number of the sixty-five or so that have in a different, more modem direction. been found to date are in Denmark and When it closed, the Danmuseet in date from around 1,300-500 BCE. A Stockholm inherited its music materials. replica of one of the more ornate ones, The costumes, sets, posters, sculptures, about two metres long with two gracefbl programmes, photographs and other curves, a decorative end plate and rattle materials are at the BibliothGque-musCe ornaments was played by a trombonist de I'OpCra in Paris, as described by who demonstrated its fundamentals of Mathias Auclair. Little choreographic eight to twelve notes and several notation exists, so the ballets have to be traditional calls. They were cast using reconstructed like detective work from the "lost-wax" method in six pieces and the available clues. Amongst the ballets usually made in pairs, requiring an for which materials are held are Skating incredible precision and artistry-as specialized as a Stradivarius violin and collection level to enable scholars to at a cost equivalent to building a nuclear locate material relevant to their research, submarine today. Someone asked about and library professionals to identify their purpose and use in pre-history-but priorities for collection development and there is no definitive answer. Laila preservation. This level of access is Barkefors of the University of Goteborg provided by the Collection Level spoke on the narrative technique of Description metadata scheme developed Swedish composer Allan Pettersson by the Research Support Libraries (1 91 1- 1980). Although a late starter, Programme (RSLP). The schema, with Pettersson composed fifteen sympho- some enhanced hctionality, will be nies, three concertos, chamber music and adopted for the Concert Programmes songs for voice and piano. Barkefors has database. taken on the study of the relationship of his compositional techniques to his life Alison Field then spoke of "An and social conditions, concentrating on Online Performance Index for the Royal the early works and the Second Opera House." The collection covers the Symphony in particular. (MC) history of three theatres-the Royal Opera, the Royal Ballet and the Birmingham Royal Ballet-and includes Concert Ephemera and Perform- programmes, posters, models, instru- ance Research in the United Kingdom ments, recordings, personal papers, (IAML) featured three fascinating and films, stage equipment, costumes and diverse presentations illustrating the photographs. Specifications for the index value that these materials have. Rupert were developed by AdLib Information Ridgewell of the British Library and the Systems, bearing in mind the complex Royal College of Music spoke first. about performance history, resident and the Concert Programmes Project, a joint visiting companies, different genres, initiative of Cardiff University and the different versions and productions, Royal College of Music. This type of works of the same genre with the same material is not covered by any of the R- name, and of different genres with the Projects, and a scoping study carried out same name. There will be a main in 1993 revealed there exist large database, with smaller support databases, quantities of materials, widely dispersed, and the index hierarchy will be work, but with a critical mass of one million production and performance. Excerpts items held by the Royal College of will have a separate work record. Over Music British Library. The current 2,600 records have been entered thus far, scope of the project is the UK and dating from 1946 to the current season. Ireland fiom the 1720s to the present, excluding opera and theatre, as these are already covered. Venues, artists, performers and ensembles will be Speaking on "Concert Programmes indexed, but not works performed; and and Research: Mahler, A Case Study," other ephemera, such as posters, tickets Paul Banks of the Centre for and cuttings will be included. The Performance History at the Royal project aims to create an online database College of Music in London illustrated of concert programme holdings at how a researcher might benefit from an how a researcher might benefit from an Thanks to digitization projects and index to programmes. By using a indexing tools, this is now becoming database of all traced concerts more easily available, but there is no containing performances of Mahler's such tool yet for daily newspapers. It is music during his lifetime, Banks showed wise to compare newspaper reviews and how the composer planned his personal accounts with the printed programmes. The length and content of programmes to determine if any changes concerts could be influenced by location. were made. She ended with a passionate There were also certain changes "Long live concert ephemera!" (AH, regarding the placement of the main MC) work in the programme. A major change occurred in 1900 when Mahler moved to America to conduct the New York Philharmonic. He eventually came up Tuesday Sessions with a scheme regarding the repetition of works and programmes in a series. New Rhpertoire Internationale de la patterns also emerged of one-composer Presse Musicale (RIPM). This year concerts and repertoire that was new to sees RIPM celebrating its twenty-fifth Mahler, which became more frequent. anniversary, the publication of its two Also noticed in the all-Mahler concerts hundredth volume, and a database . of is a distinct similarity between the over 500,000 annotated records in design of the programme and the thirteen languages. The project began in construction of his symphonies. Budapest in 1981, and the first volume appeared in 1987. It was accepted as an "Writing Concert History, the R-Project in 1983, and since 1987 has Blessing and Curse of Ephemera," was produced ten volumes a year, with presented by Christina Bashford of the volume 100 appearing in 1997. In 2000 University of Illinois at Urbana, who it went electronic on NISC, OCLC and discussed her work with the Concert Life Silver Platter. In 2003 coverage was in Nineteenth-Century London Database expanded to 1950, and in 2004 a new Project. The upsurge of music in data entry system was introduced. cultural life of the 1890s, including RIPM, which has collaborators in twenty concert life, emphasizes the importance countries, provides a unique access to of ephemera in concert history-that is, primary source material, such as the documentation involved in putting reception history, and forms a on a concert. Originally such material complement to New Grove and MGG. In was not systematically preserved, but nearly all cases, the complete run of a important archives in the UK are now journal is indexed. This brilliant opening up. She described her work as a presentation by RIPM founder and lovekate relationship. On the one hand director H. Robert Cohen and his team they are a treasure trove, but on the other inspired heartfelt tributes all round. (AH, they present serious challenges in MC'! research methodology. Programmes are hard to locate and, given the explosion of print in the nineteenth century, there is a massive amount to sort through. RCpertoire Internationale de la approaches to reception history. The first Litterature Musicale (RILM and concentrates on statistics, audience IMS). Barbara Dobbs Mackenzie, analysis, and programming; the second Editor-in-Chief, announced that RILM looks at the relation between the has (as usual, it seems) had a great year; reception of a composer in the past and finances are stable, and, what's more, it current trends; while the third is celebrating its fortieth birthday! concentrates on publications about the Coverage has improved, and 10,498 composer and musical analysis. Krabbe citations and 7,719 abstracts were chose the third approach and reviewed a contributed, for which thanks are due to selection of literature. He took particular the efforts of the national committees. A exception to Mina Miller's Neilsen major grant has been received from the Companion, which he claims continues NEH to abstract and index Festschriften the myth that Nielsen was not well- published before 1967, when RILM researched in his native country. regular coverage began. A concise Nielsen, who died in 1931, is considered version of How to Write About Music: canonical. He is more musically relevant The RILM Manual of Style was today than ever before and much published, and Speaking of Music: Music remains to be done to document his Conferences, 1835-1966 won the contribution, including a comprehensive Duckles Award from MLA for best monograph, a thematic-bibliographic research tool of 2004. The long awaited catalogue, a study of his position in software for printing abstract volumes music history, and his role as a national was completed, so volume 33 will composer. Krabbe added, intriguingly, finally be published in the summer. there is an envelope of Neilsen 'material Currency has improved, and coverage at the Royal Library which may not be has been expanded, and data improved- opened until 2021. Susanne Staral of for example, a third title field has been the Staatliches Institut fiir Musikfor- added for non-roman original titles; and schung Preussischer Kulturbesitz in abstracts in their original languages, in Berlin then gave a brief overview of addition to the English translation, will "Musicological Publishing in Germany." now be published. RILM has also just Concentrating on the German National developed a software equivalency table Committee's contributions to RILM over of proper names, and has begun adding the last ten years-37,404 titles were index terms immediately once the sent to the International Center in New citation is received. All pre-1989 data York during that period-she pointed has been loaded into the current system. out that such ample publishing (AH, MC) opportunities for musicologists depend on political and economical conditions. Niels Krabbe of the Royal Library In spite of the increase in electronic in Copenhagen then discussed his publishing, print remains more impor- "Survey of the Reception of Car1 Neilsen tant. (MC) at Home and Abroad." Krabbe began by noting that both Nielsen's Fifth Cataloguing Code Developments Symphony and a wind quintet were (IAML). Antony Gordon of the British written in Gothenburg; Nielsen was very Library Sound Archive in London, who well received in Sweden. There are three chaired this session, gave introductory remarks about Resource Description and was founded in 1970 as part of Der Access (RDA), which will be the Deutsche Bibliothek for legal deposit for successor to AACR and is the new sheet music and sound recordings. It cataloguing standard for a digital future. holds 8,000 items of printed music, The draft of Part 1 has been reviewed by 18,000 CDs, and 1,000 DVDs. RAK is the Joint Steering Committee (JSC), and based on the Paris Principles and the new chapters will be issued periodically Copenhagen Principles. The full version for review by the cataloguing was produced in 1976, with versions for community. It was felt that more radical academic and public libraries. Supple- change was needed, and the rules needed ments are RAK Musik, RAK AV, and to be more metadata-fiiendly, simpler, RAK NBM. RAK Musik was revised in cost effective, and connected to the 2003, when some aspects of AACR2 Functional Requirements of Biblio- were adopted, such as the GMD and graphic Records (FRBR). The best of namelunifom title entries. There has AACR should be retained, and the recently been a shift to international relationship with the ISBDs maintained standards and participation in the but modified. The big picture is being development of RDA. (AH) re-examined, plus economic consid- erations and international developments. Hofmeister Online (IAML). The Paris Principles are being updated, Hofmeister, to my mind, is one of and FRBR concepts (identifl, select, IAML's success stories. (Yes, I know I obtain, find) brought in, plus am biased, as I've been part of the communications standards, MARC, project since its inception!) Project UNIMARC, MARC21, MARCXML, director Chris Banks of the British metadata standards. RDA will consist of Library reviewed its history. Hofineister Part A: Part 1, Description; Part 2, was an advertising tool consisting of Relationships; Part B: Part 3, Access monthly listings of recent and control, Authority files. Headings forthcoming publications. From 1817 should now be Access points (primary until 1900, it contains 400,000 entries- and secondary). Issues arising in the compared with 100,000 in RISM A1 for development of RDA included the the same period. There is no single question of throwing it out and keeping complete run extant, as it was considered the best of what we have, and ephemeral. An example of its use was maintaining compatibility with existing the Mahler project described earlier at records. New elements are to replace the the conference by Paul Banks. In GMD, the definition of notes will be general, one can use it to examine the clarified, and compatibility with ISBDs popularity of certain works, composers, retained. The draft of Part A should be instruments, or combinations of completed by October 2006, and Part B instruments, the dating of nineteenth- by April 2007. century publications, tracing composers, publishing activities, programme A description of RAK Musik, the building, economic trends. Hofmeister current German code for descriptive is recognised as an important research cataloguing, and the Deutsches tool, but until now it was not easy to Musikarchiv was provided by Silke consult, requiring as it did a visit to a Sewing. The Deutsches Musikarchiv library-existing copies are very fragile-and it is time-consuming to publisher's imprints on the title pages search, partly due to the lack of indexes. with those listed in Hofmeister, one can Thus computer development could make arrive at a close approximation of a it both available and flexible. publication date. He said it would be important to include price in the The project first began in 1989 under database and changes thereof showing the direction of Neil Ratliff. Initially inflation and other administrative scanning and OCR seemed to offer a changes, such as partnerships and means to do this, but this turned out be deaths. Hofmeister sometimes listed a impracticable, largely due to the fragility later issue than the original as evidenced of the originals. The alternative was to by a higher price when compared with key-in all data and tag the different an original copy. It is clear that elements. Studies were done to assess Hofmeister must not be taken as the final the total amount of data involved, and word in pricing, or even the original attempts made to find funding. For quite publisher, but it remains, nevertheless, a a while it seemed as if this might be most valuable research tool. Chris obtained from the Staatliches Institut fiir Banks concluded on a sombre note, Musikforschung in Berlin, but sadly this saying the team had not received remained bogged down in German red continuing funds for the project. There tape. Just when the group began to will be another chance to bid for funds in wonder if it was all over, an application November which, if successhl, would for Arts and Humanities Research not be received until May. Council funding in the UK was successful, under an Enhancement In a somewhat related postscript, Scheme based at Royal Holloway Paul Banks introduced a proposal for a College. new project or working group on dating and documenting printed music. Basic- Project manager Liz Robinson ally it would revisit and update the L4ML explained the long wait was not in vain Guide for Dating Early Published Music as by the time keying began XML had (1974), compiled by D.W. Krumrnel. It been developed and has proved to be the met general approval from those present ideal format. A tag set was developed, following the exclusion of manuscripts and four indexes decided upon: place, and related topics from the proposed composer, instrumental classification (as parameters. (AH, MC) used by Hofmeister) and publisher. The keying is now complete up to 1890. The Austrian National Library, which holds the most complete set, has digitized Wednesday Morning Sessions Hofmeister and links are provided to it from the Hofmeister web site. Music Information Literacy (IAML). In her talk, "Music Ulrich Duner, violist and music Manuscripts on the Internet: A Service antiquarian dealer in Stuttgart, spoke of for Research?," Laurence Decobert of the Hofieister Handbuch as a tool for the Biblioth&que nationale de France the dating of nineteenth-century music. described two projects. The BN decided By comparing the prices and the to digitize the Philidor Collection-fifty manuscripts copied by Anclre Danican Information Literacy in the Sibelius Philidor, musician and librarian of Louis Academy" was then read by Irmeli XIV. Begun in 2001, it is now accessible Koskimies. Hampered by language on Gallica, the BN's virtual library of difficulties and unfamiliar material, she early music manuscripts. The was largely unintelligible, but the printed continuation of this project in 2005-06 abstract says the Council of Finish will bring together the two parts of the University Libraries has included collection split between the BN and City information literacy in its plans for the Library of Versailles. It will include current year. As well, the Ministry of other manuscripts copied by Philidor's Education Development Plan for workshop as well as the Toulouse- Education Research, 2003-08, stresses Philidor Collection that was first the importance of the role of libraries in commissioned by the Count of Toulouse, the development of teaching and study the illegitimate son of Louis XIV. methods. At the Sibelius Academy there Decobert explained the process: timing, are various levels of teaching technical points, cataloguing, digitizing, information literacy according to the input of table of contents, setup on needs of the students and their curricula. Gallica, and linking the document to the An online tutorial on academic sources digitized format. Her demonstration of musical information is part of a proved the efficacy of the endeavor, with Finnish Virtual University project, ease of access and clear images of what designed for music students at would have been virtually impossible to universities and conservatories. (MC) consult otherwise. Researchers of the early ballets of Lully, ballets de cour, and sacred court music of the period would do well to visit http://gallica. Wednesday Afternoon Tours bnf.fr/ or http://catalogue.bnf.fr/ which will provide entry to Opale Plus, The following tours were offered: catalogue of the BnF and the online 1) Vitlycke Museum, featuring rock catalogue of the City of Versailles. carvings from 1000 BCE, including a group of musicians playing bronze lurs Decobert was followed by Birgitta that was used for the congress logo; 2) Sparr from the Bibliotheket An excursion to Gothenburg's pipe Musikhijgskolan Ingesund, Arvika. She organs; 3) a music-related walking tour spoke on music teaching literacy in of Gothenburg; 4) A boat trip to the Sweden and other Nordic countries seventeenth-century Elfsborg Fortress at (Iceland, Norway, and Denmark), the harbour entrance; and 5) "From especially in conservatories. Her main Cabin to Castle," which showed the point was the necessity of collaboration contrast of lifestyles and environment between the teaching staff and the between the simple farmer and the lord library to make sure information literacy of the manor. A splendid reception was was included both in the curriculum and then offered on our return by RILM and for the teachers themselves. A paper by RIPM. Maaria Harviainen of the Sibelius Academy in Helsinki on "Information Literacy in Finland and Music Thursday Sessions autograph scores of the seven mature operas and produce facsimile editions The Uniform Title in the Modern from the high-resolution scans. Of World (IAML). Somewhat surprisingly, additional importance in this project is given the usual reaction experienced bringing together parts of some operas when uniform titles .are mentioned, this that are scattered in different libraries was a packed session, with standing around the world. He expects all seven room only. Jenn Riley began by saying operas will be available by the end of the main function of uniform titles is to 2007. Wolff, who is on the editorial bring together difference editions and board, expressed his appreciation of the versions of the same work, and to collaboration shown by the participating confirm that the work found is the work libraries. Friedrike Grigat of Beetho- sought. The purpose of the session was ven-Haus in Bonn demonstrated the to ask why they were invented, what to Digital Beethoven-Haus which opened at library users make of them, and whether the end of 2004. It allows visitors to they are still needed. With the advances investigate all aspects of Beethoven's that have been made in database life and music through documents and structure, there are other options images held by the museum. One can available to perform these functions, look at a manuscript and hear it being e.g., the component parts could be stored played, or view an autograph letter with as separate elements, and the a transcription into modern German and information retrieved as required. We hear it being read, or visit a need to move towards true work reconstruction of his last dwelling place. identifiers or labels. The display They have plans to coordinate with possibilities could group items according owners of Beethoven material elsewhere to the structure of the work, with each so as to create a complete virtual part expandable, such as Bach's Beethoven-Archiv. Richard Chesser of Wohltemperierte Klavier listed by the British Library proudly presented its instrument (harpsichord, modem piano) publication of Mozart's own thematic and by format (sound recording, score), catalogue, Verzeichnis aller meiner following FRBR principles. The Werke, in digital, interactive format. pertinent information could be recorded This fascinating source lists somewhere in the record, even if it is not chronologically the works Mozart in the uniform title. (AH) composed between 1784 and his death in 1791, with brief, dated verbal Digital Music Sources (IAML). descriptions of the pieces on the left- Christoph Wolff of Harvard University hand leaves and the corresponding announced that the Packard Humanities musical incipits written on the right- Institute, in collaboration with the hand leaves. To view and listen, see Salzburg Mozarteum, is currently http://www.bl.uk/onlinegallery/ttp/ undertaking two major digital projects. ttpbooks.htm1. The morning that Chris A long-term project aims at making the Banks, Head of the Music Collections at complete works of Mozart available in the British Library, was interviewed digital format and in a critical edition about the catalogue on a morning radio that can be updated as needed. The other show, there was a huge spike in the project, already begun, is to digitize the number of hits on the site, and a record- breaking 57,000 hits over five days! Somfai pointed out that Bart6k's Finally, Seija Lappalainen from working conditions and state of mind Helsinki University spoke on the had changed considerably. The complete important collections of Russian music silence he had commanded in his home in Finland. Russian musicians frequently working conditions in Hungary was no travelled from St. Petersburg and other longer possible, not even at Saranac more distant cities to Europe through Lake; he switched to writing in pencil Finland, giving concerts in Helsinki and rather than ink; he wrote in shorter Turku along the way. Finnish musicians segments; and he had desperate periods also studied in St. Petersburg and of anxiety and homesickness. But Moscow. Finnish political and cultural Somfai concludes that Bart6k's gentler, history continued to be closely more accessible style of writing was in associated with that of Russia fiom keeping with his experiences and his 1809, when Finland became an condition. He nevertheless disapproved autonomous Grand Duchy of the of the Cambridge Handbook's exchange Russian Empire, through to its of Music for Strings, Percussion and independence in 19 17 and even later. As Celesta for the Concerto for Orchestra. a result, there is a great deal of Russian Stephanus Muller of the University of and Soviet music manuscripts and Stellenbosch then introduced South biographical materials in Finnish Africa's foremost composer, Arnold Van archives. One of the most important is Wyk (1916-1 983), who suffered all his the collection of deposit copies of life fiom toothache. The composer Russian music publications because of suffered terribly from homesickness the destruction of the Soviet copies. An while in London at the Royal Academy important collection of Russian in the late 1930s, but he was just as out- Orthodox music, some dating from the of-place in Stellenbsoch. (Muller sixteenth century, is today preserved in remarked that, "Had he not been born a the Orthodox Church Museum in melancholic, he had every reason to Kuopio. Digitization of the Russian become one.") Van Wyk had a tortuous collections has not yet started, but it is compositional method, full .of hoped that scholarly pressures will speed anachronisms, which Muller suggested up the planning process. (MC) was the result of Van Wyk's impoverished background, his sexual Biography, Melancholy and Final- orientation, and the ever-present ity (IMS). The first topic of this session toothache. Excerpts of some of his work was "The 'Classical' Last Scores of BCla were played-I promised myself to look Bart6k" by L6sz16 Somfai of the Bart6k for his CDs, especially his String Quartet Archives in Budapest. Were the and Night Music for piano. Finally, composer's last pieces in the USA a Nigel Simeone of the University of compromise? This was the accusation of Sheffield regaled us with tales of his the post-war leaders in the new music research while preparing a biography, world. They were certainly less co-written with Peter Hill, of Olivier dissonant and therefore more accessible, Messiaen (Yale University Press, 2005). and enjoyed great public success. For Following an exploratory letter to instance, the Concerto for Orchestra was Yvonne Loriot, the composer's widow, recorded fifty-six times up to 1990. she made available to them a private archive consisting of fifty-one annual Archive in Maryland and at the diaries, photos, sketches, and Phonotheque national in Paris. programmes-in short, a dream. They Lawson's message to the musical kept discovering hitherto unknown community was, if you have piano rolls, material, which made them unwilling to keep them, and make them available for write an official biography because of scanning. In Germany there is work the delicate nature of some of it. going on copying and scanning rolls. Messiaen was secretive about his work. For instance, Loriot was unaware of his Goran Kristiansson's presentation new opera, St-Fran~oisD 'Assise, until dealt with the strategy in preparing an he presented her with a ticket to the first archive, specifically the Riksarkiven in performance. A note fiom August 1946 Stockholm. This database is constructed stated his plan to apply the twelve-note in the MARC AMC exchange format. In system to all future works, one year Sweden there are 180,000 different before his first such venture. He also places which have archives. The aim wrote little-known incidental music for was to build a topographical database by plays during the 1940s.Were they try- area. Sweden has had a good archival outs for subsequent efforts? These and standard for its records since 1903. Over other tidbits were used to illustrate a two-year period, 1,100 people worked Messaien's life. (MC) on this project. In 1997, they began to build a web-based second generation Creating Virtual Archives system, which will describe all items in (IAML). Thomas Aigner from the collections. This was finished in 2001, Wiener Stadt- und Landesbibliothek, and it contains twenty million soon to become the Wienbibliothek im descriptions. A national authority data- Rathaus, spoke about a project to base was created with links to different digitize their large collection of Schubert authorities. Files were sent to the LIF manuscripts. Between 2004-05, about project using XML, DAD and EAD. 8,000 autographs were digitized. They After 2001, the data was moved to the are listed by genre, names (e.g., new system, one institution at a time. Mayrhofer), titles and Deutsch numbers, The next step was digitization, the and information for each item includes a biggest project of which was entering the description, watermarks, and texts. One church records going back ten years. can view the manuscript, enlarge it, view This will be followed by pre-1900 it sideways, and reverse the colour. records, which will be done from Combined searches are also possible, microfilm. It is also planned to preserve e.g., flute and piano. Aigner was sound and moving images. (AH) followed by Rex Lawson of the Pianola Institute, London, who described a Friday Sessions project to preserve piano rolls. Perforated piano rolls were around in the Repertoire Internationale d'Icono- 1870s, and the first pianola appeared in graphie Musicale (IMS and RIdIM). 1895. At least one hundred composers Antonio Baldassare of the Hochschule wrote for the pianola during the Musik und Theater in Ziirich gave a twentieth century. Large collections can general overview of the state of musical be found at the International Piano iconography as a field of research and documentation in an academic setting. hand of benediction and absolution. He pointed out the opportunities for Florence GCtreau of the CNRS, Institut fruitful interdisciplinary and trans- de recherche sur le patrimonie musical disciplinary work. Considering the en France, described the process of extent of sound and image in today's cataloguing musical iconography in culture, one might expect recognition of France since 1936, and explained why the benefits of musical iconography, art the Institut could not wait for the RIdIM history, and organology. But this has not database. Some 10,000 records have been the case and he attributes it to a been transferred to Alexandrie, an online decline of prestige of the humanities in database that will be launched in the general. The opening in 2004 of the next semester. Sean Ferguson and Internation RIdIM Centre in Paris is a Stephen Westerman of Ohio State hopefbl step that will provide a focus for University demonstrated the new RIdIM the disparate and diffuse studies and database which will provide links to projects in musical iconography. outside sites, especially to the museum sites where the images are held. It is but Irene Guletsky of the University of a rough prototype at the moment, and the Toronto was unable to attend, but her web version is less flexible than paper, "A Sacred Iconographic Symbol Alexandrie. Try it out at www.ridim.org. Reflected in the Formal Structure of the (MC) Mass," was read by Dorothea Baumann, Secretary-General of the International Rare Collections in Conservatories Musicological Society. Her research on (IAML). JosC Carlos Gonsailvez Lara the five-part Ordinary of the Mass was introduced his institution, the Real carried out with the help of a special Conservatorio Superior de Musica, computer programme. Beginning with located in Madrid. He described its Guillaume Dufay's Mass for St. Anthony many treasures which include the music of Padua and its relation to the picture of and documentation of such well-known St. Anthony in the Basilica in Padua, composers as Sarasate, Boccherini, D. Guletsky demonstrated how the Scarlatti, Soler, Turina,and Mercadante, proportions of the parts of the Mass, besides sixteenth-century sacred music according to the number of breves in collections, and the archives of Madrid each section, were in direct proportion to musical societies. Dominique the shape of the saint's hand. She went Hausfater, of the MCdiatheque Hector on to show that the "manus" symbol- Berlioz at the CNSDP in Paris asked, and there are several forms of this "Why do conservatories hold rare symbol, including the benedictory hand materials, and should they?" She then and the pointing hand--could be proceeded to answer that, although the transposed onto facades of basilicas in principal hction of conservatories is the number and heights of the arches. teaching, the presence of treasures can Her rich and complicated thesis touched inspire students and it can also attract on numeral secrecy and much more that other gifts. The Conservatoire is an I could not always follow nor do justice ancient institution-the original library to on this first hearing. But I shall never was created in 1795 from the contents of listen to or sing another mass, nor view confiscated libraries. It merged with the another basilica, without thinking of the Bibliotheque nationale in 1935 and became its first Music Section in 1942. featured vocal and instrumental music The sole purpose of the new library, from the Diiben Collection in Uppsala, MCdiath&que Hector Berlioz, was to presented on Monday morning. Many of support teaching, but it has now regained the pieces had not been heard since their its status as a research library because of first performances in the seventeenth and its rare recordings, annotated scores, and eighteenth centuries. The musicians papers, including Messaien's working played and sang from the organ loft and papers and 2,300 letters of Gounod. The from niches to the side, creating a transfer of the Bozidar Kantuser Library homogeneous and resonant ensemble. to the Mediathkque brought 25,000 The organ was a splendid North German documents of or about contemporary Baroque instrument, inaugurated in music from seventy-seven countries, The 2000. The farewell dinner took place in a question remains, however, whether converted warehouse on one of the many such gifts should be accepted by docks in the city. The large, open space teaching institutions. If yes, how should was filled with long communal tables to they be preserved, developed and which bowls and platters of traditional communicated to other libraries? If no, Swedish food were brought and passed should they instead be transferred to around, along with plentiful refills of other institutions, even against the wine or beer, and the occasional shot of wishes of the donor? Emilia Rassina, of Akvavit, the traditional Scandinavian the Moscow State Tchaikovsky beverage. Many members of the Conservatoire, presented a detailed organizing committee wore traditional description of the Taneyev Library at her costumes. It was an informal and lively institution, which was started by a donor evening, with Martin Bagge's in 1902. Her report on the library's performances of Car1 Michael Bellman's development and contents is ' forth- provocative songs adding to the coming in the Russian issue of Fontes conviviality. Warm goodbyes were said Artis Musicae (2006, no. 3). (MC) or sung, and many hugs exchanged, until next year in Sydney! Overall, this was an excellent meeting, superbly organized, held in Here is a line-up of future conferences, congenial surroundings, and offering a and we hope that more of our CAML wide variety of sessions. The IMS was members will consider taking part in enthusiastic about the collaboration and order to enrich their professional and declared it was ready to repeat it soon. personal lives. Of course, we were also offered receptions and concerts. Particularly 2007 Sydney, Australia 1-6 July interesting was the Goteborg Baroque 2008 Naples, Italy 20-25 July concert. The early music group was 2009 Amsterdam 5- 10 July founded in 2003 by its artistic director, 20 10 Moscow, Russia Magnus Kjellson, with a focus on the 20 11 Dublin, Republic of Ireland instrumental and vocal music of Sweden, 20 12 Aarhus, Denmark Germany and Italy. The concert, which 20 13 Vienna, Austria