Hochschule für Musik und Theater "Felix Mendelssohn Bartholdy" Sunday 22 July IAML Leipzig 2018 – Preliminary Programme SUNDAY, 22 JULY 9.00–16.30 IAML Board meeting (closed) Board members only 16.00–18.00 IAML Germany: General Assembly 17.30–18.30 The IAML Board welcomes first-time attendees An introductory session for those attending their first IAML meeting 19.00-21.00 Opening ceremony and reception MONDAY, 23 JULY 9.00–10.30 Opening session Presented by the Organizing Committee Chair: Stanisław Hrabia (IAML President, Jagiellonian University, Kraków) Welcome addresses Peter Wollny (Bach-Archiv Leipzig) Keynote address Anke Hofmann (Hochschule für Musik und Theater Leipzig) and Ingrid Jach (Hochschule für Musik und Theater Leipzig) 175 years of the Leipzig Conservatory Barbara Wiermann (Sächsische Landesbibliothek – Staats- und Universitätsbibliothek Dresden) Digitizing Saxon music sources Since 2015 the federal state of Saxony has run a special program for digitizing cultural heritage, coordinated by the Saxon State and University Library Dresden (SLUB). By now a great variety of materials have been dealt with. A special focus has been on music material, including music manuscripts and prints of the 17th and 18th century from many smaller Lutheran churches and 2 Monday 23 July IAML Leipzig 2018 – Preliminary Programme schools (Grimma, Löbau, Pirna etc.), rivate collections brought together in the 19th and 20th century now held in the Stadtbibliothek Leipzig and Bach-Archiv Leipzig, concert programmes from a variety of institutions (Holy Cross Choir Dresden, Dresden Philharmonics, Royal Opera Dresden, Leipzig Conservatory etc.), as well as early audio-visual material by the famous Leipzig Tanzarchiv. The paper gives an overview of the materials and institutions involved and discusses the opportunities and challenges of such a centrally organized program. 10.30–11.00 Tea and coffee Coffee corner for mentors and mentees 11.00-12.30 Leipzig and Dresden music archives: from Bach to the present day Presented by the Archives and Music Documentation Centres Section Chair: Marie Cornaz (Bibliothèque royale de Belgique, Brussels) Manuel Bärwald (Bach-Archiv Leipzig) The Leipzig Bach Archive – its collections and recent research developments The Leipzig Bach Archive is widely recognized as the world’s pre-eminent centre of Bach scholarship. Comprising a research institute, a library, a museum, and an events department, it occupies the historic Bose House complex at St Thomas’s Square, opposite the church where J. S. Bach served as cantor for 27 years. With its unmatched collections and manifold activities the Bach Archive contributes significantly to the time-honoured image of Leipzig as a “city of music” in general and a “Bach city” in particular. The paper will start with an overview about the Bach Archive’s collections, our latest acquisitions and the thereby arising recent research and digitization developments. This will be followed by a discussion about the challenges and problems of a mainly externally funded building and conservation process for a special collection of Bach and Central German baroque music sources. Annett Büttner (Kurt-Masur-Archiv, Leipzig) Das internationale Kurt-Masur-Archiv in Leipzig In my short presentation I would like to introduce a relatively young institute. The Int. Kurt Masur Institute was founded in 2016 as a subsidiary of the Felix Mendelssohn Bartholdy Foundation in Leipzig. Since November 2017 it has been housed in Bartholdy’s last residence, a beautiful classicist building in Leipzig's city centre. Under the motto "Music-Encounters-Inspiration", the institute would like to address not only the musical achievements of the conductor Kurt Masur, but also his humanistic attitude and his commitment to society and young musical talents. I would like to start with some introductory words about Kurt Masur and his numerous life stages as a conductor, among others at the Gewandhaus Leipzig and The New York Philharmonic. He also became well-known far beyond Leipzig for his peaceful demurrage on Monday, October 9, 1989 and the so-called peaceful revolution. Even this short description of his Vita shows that the archives include a large variety of very heterogeneous materials, a diversity that presents its own 3 Monday 23 July IAML Leipzig 2018 – Preliminary Programme challenges. These contains the classical written paper records of a conductor, such as personal documents, sheet music, scores, program books, posters and an extensive musicological library. This material is supplemented by quantitatively not yet documented recordings such as tapes, cassettes, records, and CDs. Katrin Bicher (Sächsische Landesbibliothek – Staats- und Universitätsbibliothek Dresden) Documenting contemporary music – possibilities and challenges for contemporary music archives in the digital age Undoubtedly, contemporary compositions are part of the dialogue inherent in societal self- identity and hence are part of our cultural heritage. Institutions that are obliged to document and maintain this legacy are faced with multiple challenges in terms of curation, long-term- preservation of, and access to contemporary music. What or whom determines the profile used when archiving this collection? Apart from institutional mandates determined by affiliations to specific composers: who receives the ultimate decision making authority to define what is worthy of being kept and what should be left out or forgotten-especially in light of the ever increasing ease and global access afforded us by the Internet? What and by which means should "contemporary music" be archived; especially as boundaries within the artwork itself becomes fluid as participants and works with different contexts begin to interact or merge? Which technical challenges do multi-media-artworks bring with them? What does accessibility mean; what role will the ability to connect to these archives play and what functions will the archival institutions themselves assume? And finally, what possibilities for artists and audiences will be realized by documenting contemporary music in public archives? Citing the example of the "Archiv für zeitgenössische Komponisten" at SLUB Dresden, this presentation will delve into these questions and thus hopefully produce the necessary impulse for a discussion of the aspects and concepts of contemporary music archives in terms of acquisition, preservation and distribution. 11.00-12.30 Crossing national borders: music in Europe in the 19th and 20th centuries Presented by the Forum of Sections Chair: Rupert Ridgewell (IAML Vice President, British Library, London) Berit Holth (National Library of Norway, Oslo) Edvard Grieg – Norwegian and European. A critical review This paper intends to present Edvard Grieg within the time and society where he worked and where he belonged, focusing on how his European connections contributed in creating a particular Norwegian tonal language and identity. Grieg’s music and personality played an important role in the nation building which was the main subject in Norway during Grieg’s life and which resulted in establishing the independent Norwegian nation two years before Grieg died. Leipzig played an important part in Grieg’s life as a composer. He was educated at the Music Conservatory in Leipzig and later he had a fruitful cooperation with his publisher there, Max Abraham, the head of Peters Verlag. The advertisements on the back of the scores from Peters 4 Monday 23 July IAML Leipzig 2018 – Preliminary Programme give an impression of the musical environment in which the music of Grieg was published. At times, Grieg was the best-selling composer of Peters. Edvard Grieg and his wife Nina stayed for longer periods in Leipzig and also gave concerts there. Grieg grew up in Bergen, an international oriented town in Norway, with its historic Hansa traditions and easy access to England across the North Sea. Nearly all of the important Norwegian artists in the nineteenth century went abroad for shorter or longer periods during their lifetime and many settled abroad. Grieg followed this tradition. Therefore, Grieg would also meet groups of Norwegian artists at many places in Europe, sharing artistic and political ideas. Grieg was politically aware at home as well as abroad. As an example he gave strong public support for Dreyfus in the Dreyfus affair in France. I want to focus on the fact that Grieg was a composer and musician that worked in a public-minded context. It is interesting that Grieg managed to develop a peculiarly Norwegian tonal language precisely in the meeting and “mix” with other cultures. Using folk music as an element in composing classical music had become popular among composers in the leading musical nations. Grieg took up this idea. He dug into the very soul of folk music, trying to reveal its secrets, and to transform it to a complete new work, which easily enables us to recognize a typical Grieg sound. Edvard and Nina Grieg had a rare cooperation in performing music together, as she was his preferred interpreter of his songs. Probably this was the main reason for the fact that the songs of Grieg represent a very important part of his output, with about 140 songs in all. Problems with good translations are one reason for the fact that many of the songs have not got the international break-through that they deserve. During Edvard Grieg’s education in Leipzig he was struck down with a severe illness. As a result, one of his lungs did not function after that and he had to struggle with bad