IAML Newsletter N° 22, March 2007

Home , Eugen Indjic, Michael Korie, Polar Music Prize, Sonny Rollins

IAML Electronic Newsletter No. 22, March 2007 Australia before or after the conference. IAML 2007 in Sydney Hope to see you in a few months time. The next IAML conference will be held With best wishes July 1-6, 2007 at the Sydney Conservato- rium of Music, Sydney, Australia. This Laurel Dingle will be the first time the Australian Branch President of IAML hosts an international IAML con- IAML Australian Branch ference. Presenters and delegates will include music and sound librarians and archivists, music and sound print and electronic publishers and suppliers, bibliographers, musicologists, researchers, students and musi- As part of one of the Cataloguing Commission cians. For details and the Registration sessions in Sydney I would like to host a ‘swap Form please go to the website. The dead- shop’ to enable users of different library automation line for early registration is April 30, 2007. systems to compare notes with users of both their own and other systems with regard to the extent to This is an excellent opportunity for in- which they accommodate the special requirements formation exchange; but more than this, it for music and sound recordings. I’d be grateful will give you the opportunity to mix with therefore for anybody expecting/hoping to be in Sydney and willing to participate to get in touch other international visitors, as well as Aus- with me by email including the name of your sys- tralians, and to meet new colleagues and tem supplier and package. make new friends. We are a long way from Antony Gordon most of the rest of the world, and would be Chair, IAML IT Committee very grateful for your support in making British Library Sound Archive the commitment to come to Sydney. The social and concert programs, and the tours, will give you the opportunity to enjoy Aus- tralian hospitality and experience Austra- lian culture. Please consider this a personal invitation to participate in this event .Consider ex- If you’re planning on going to IAML in Sydney and will be staying around the region, you might tending your stay by taking a holiday in want to consider attending Die Walküre at the Bangkok Opera on July 24 or 26th. This is the sec- ond part of their Ring Cycle and I found the first part, Das Rheingold, one of the most interesting productions I’d seen, particularly in its recasting of the familiar story with strong Thai-Buddhist con- nections. For information, please see the Bangkok Opera website. Advance tickets are on sale now for the premium seats and the regular seats will be released later. Maureen Buja Resident Musicologist Naxos Digital Services Ltd.

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IAML Electronic Newsletter N° 22 March 2007

From the IAML committees A body of formally represented knowledge is based on a conceptualization: the objects, con- A couple of additional followups to the cepts, and other entities that are assumed to Göteborg conference. exist in some area of interest and the relationships that hold among them. A conceptualiza- Report of the WG on Access to tion is an abstract, simplified view of the world Performance Ephemera that we wish to represent for some purpose. Every knowledge base or knowledge-based The WG has decided to keep its name, system is committed to some conceptualization, explaining that “ephemera” is in no way explicitly or implicitly. An ontology is an ex- pejorative, and only reflects on the ephem- plicit specification of a conceptualization. erality of the events themselves. ● Work Ontologies are often equated with taxonomic hierarchies of classes (class definitions, and the has been undertaken over the past year on subsumption relation), but ontologies need not producing a set of guidelines for describing be limited to these forms (in other words, the collections of performance ephemera. We relations that are used in the description of are now looking to continue broadening ontologies are much richer than those used in the scope of the guidelines to make them taxonomies). Tom Gruber more generally applicable to people work- intention of reporting back to Council at ing in different countries. ● The desirabil- the Sydney conference. ity of producing guidance notes for de- The tasks of the WG are (i) to examine scribing items of performance ephemera the benefits of an ontology for music; (ii) was discussed. More work on this is to establish the boundary of the musical needed over the coming year. ● Rupert universe for this purpose; (iii) to decide Ridgewell showed an illustration of a ma- whether IAML is best-placed to undertake jor collection of international concert pro- such work; (iv) to consider what resources grammes known as the Konzert-Programm already exist and decide whether they can Austausch (Breitkopf & Härtel, 1892- be utilized; (v) if the answer to (iii) is in ca.1941). It was suggested that this might the affirmative, to consider how the work form the basis of a collaborative catalogu- might be scaled and apportioned. ing / research or digitisation project in the future.● Paul Banks presented a proposal Discussion will be by means either of a for creating an online international thesau- dedicated listserv or through the IAML rus of concert venues. The group agreed website's increased functionality. Please that the first step towards achieving this send an email if you would like to partici- goal, to be delivered in the coming year, is pate in discussions. to compile an extensive bibliography of Unimarc subcommission scholarly listings of concert venues, hope- fully in collaboration with RILM. Massimo Gentili-Tedeschi and Gabriele Gamba have made available on the IAML Dr Rupert Ridgewell site a form-based page to search and re- Curator, Music Collections trieve values for Unimarc field 128 – codes The British Library for musical forms (of which there are Working Group to consider a 2418, to date). web ontology for music Regarding Unimarc field 145 – codes for In December 2006, Antony Gordon medium of performance, Isabelle Gauchet launched an invitation to join the Working Doris is asking for feedback about its use: Group that was approved at the 2006 has someone started using it? If yes, are Göteborg conference as an outcome of you pleased with it? Does it suit your discussions in the IT Committee session. needs? In France (Cité de la musique, The purpose of the WG is to consider as- CDMC, Bibliothèque nationale…), we pects of a web ontology for music with an have come to the conclusion that there is a

2 IAML Electronic Newsletter N° 22 March 2007 problem with its structure, which does not works than any other source; small vol- allow for an efficient search (particularly umes honoring music publishers, instru- on the soloist, specified by a suffix in posi- ment makers and societies, performing tion 7 of subfield $b). organizations, societies, academic institutions, festivals, exhibitions, music publish- RILM Festschriften ers and printers, and so on, could be simi- larly valuable to researchers. RILM Abstracts of Music Literature is in the midst of a new project, and we need Please contact us with bibliographic in- your help to ensure that the result is as use- formation. Also, please share this an- ful to the scholarly community as possible. nouncement with colleagues who you think might not see it here, particularly those Undertaken with a generous grant from likely to be able to locate materials in lan- the National Endowment for the Humani- guages other than those listed above. Any ties, this project will expand our scope to sources that meet the guidelines of this include one of the most valuable reposito- project will be included, and your contribu- ries of music research, a repository that has tions will be acknowledged in the front been all but inaccessible to researchers: matter of the forthcoming book. articles published in Festschriften before 1967. Together we can ensure that this retrospective project is as complete and com- While we have some excellent sources prehensive as possible, maximizing its for identifying pre-1967 Festschriften, they value to the music research community. are no doubt less than exhaustive, particularly (but not only) for those publications Barbara Dobbs Mackenzie in languages other than German, French, Editor-in-Chief, RILM Ab- Italian, Spanish, or English; those that stracts of Music Literature honor organizations or institutions rather Director, Barry S. Brook Cen- than individuals; and those that are mainly ter for Music Research and devoted to topics other than music but that Documentation include at least one music-related article. CUNY Graduate Center We would be very grateful for help in identifying Festschriften that we might RIPM otherwise miss. RIPM announces the release of a newly- Our main starting points for this infor- designed website with much new content mation are Walter W. Gerboth’s An index including: to musical Festschriften and similar publi- - all issues of the journal Periodica Mu- cations (New York: Norton, 1969) and sica (in a searchable PDF format); Imogen Fellinger’s “Fest- und Gelegen- - all introductions – treating over 100 heitsschriften” in Die Musik in Geschichte music journals – in RIPM's 205 vol- und Gegenwart (Kassel: Bärenreiter, umes (select the appropriate journal ti- 1979), Vol. 16, 222-269 (this version of tle); her article includes an extensive list of - all annual RIPM reports presented to Festschriften). We seek eligible Fest- the General Assemblies of IAML and schriften that are not included in either of the IMS. these sources. Vashti Gray We are not exclusively interested in col- Manager, Operations and Pub- lections of essays. For example, a small lications book issued for the 100th anniversary of a RIPM: Retrospective Index to lesser-known composer’s birth might pro- Music Periodicals vide a more extensive biography and list of

3 IAML Electronic Newsletter N° 22 March 2007

Music (in) libraries and Daniel Grimley. Registration deadline is May 1st. Library of Congress selects historical recordings IASA-BAAC Conference September 15-20, Riga (Latvia). The joint Every year, the US Library of Congress conference of IASA (International Asso- selects a number of sound recordings ciation of Sound and Audiovisual Ar- deemed of historical value and which make chives) and BAAC (Baltic Audiovisual it to the National Recording Registry. The Archival Council) will hold its conference 2006 choices, announced in March 2007, on the following theme: Building an Ar- includes tenor John McCormack’s re- chive for the Future. The conference will cording of Il mio Tesoro from Don Gio- address themes associated with the tasks vanni (1916), native Brazilian music re- audiovisual archives are facing in a world corded under the supervision of Leopold undergoing rapid changes. Stokowski (1942), Artur Rubinstein’s 1952 performance of Chopin’s Polonaise, op. 40 Int’l colloquium on theater and n° 1 (Polonaise militaire), along with Pete music: call for papers Seeger’s performance of We Shall Over- October 26 and 27, Toulouse (France). On come (Carnegie Hall, 1963) or The Eighty- the contemporary stage – theatrical and Six Years of Eubie Blake, as well as non- musical – various relationships between musical sound recordings. music and theatre can be observed, which Sacramento Orchestra music are difficult to define. They neither consist collection to go to campus in fusion nor belong to well identified genres such as opera and the musical. One can More than 1,100 symphonic scores and therefore talk about the “musicality of the musical works from the former Sacramento stage or the dramatic text” as well as “mu- Symphony, which closed its doors in 1996 sic’s theatrical quality”. In classical, popu- after 75 years of operation, have found a lar or contemporary music concerts, more new home in the Sacramento State Univer- and more musicians tend to use theatrical sity Library’s Special Collections and Uni- forms (actors, dancers, texts, stage man- versity Archives. The collection is for- agement). Stage music has found a new mally on deposit at the Library where it meaning and plays a new role: the musi- will be catalogued, maintained and appro- cian turns into an actor, for instance in priately housed, as part of a ten-year Jean-Louis Hourdin’s theatrical work, and agreement with the city. Its circulation will musical instruments become part and par- be limited to members of the campus who cel of the stage, as Meyerhold already ex- are using it for research and teaching and perienced in the 1920s. to local orchestras and musical groups who want to borrow scores for performance IRPLL (the Institute for multidiscipli- purposes. nary research in arts, literature and lan- guage at the Université de Toulouse 2) will Events organize a two-day colloquium on “The relationship between music and theatre: Grieg conference from attraction to model” will take place May 30 to June 2, Bergen (Norway). The on October 26 and 27, 2007. It will explore International Grieg Society will hold its two questions: the musical model and the- 2007 conference on the following theme: atrical work; music’s theatricality. Please “Beyond Grieg: Edvard Grieg and his di- send a title and a short summary of your verse influences on music of the 20th and paper to Muriel Plana or to Frédéric Soun- 21st centuries”. Keynote speakers will be ac before April 15, 2007. Malcolm Gillies, David Pear, Knut Vaage

4 IAML Electronic Newsletter N° 22 March 2007

Publications tors focuses on the areas of music scholar- ship that were dear to Lenore's heart: mu- Fontes Artis Musicae sic of the eighteenth-century, music librar- Issue 2006:3, sent out on January, is a phe- ies and collections, and new approaches to nomenal issue put together by Pamela the musical canon. Thompson based on the conferences in Jim Cassaro Moscow and St. Petersburg on Russian Editor, NOTES Music Archives Abroad; Foreign Music Archives in Russia, including reports from Wagner on vinyl libraries on music manuscripts and prints The Testament label has issued the integral from the fifteenth century to the twentieth version of the Ring on vinyl, in four boxed century. Over 20 papers are presented in set for a total of 19 records, with such per- full with an additional 20+ papers in sum- formers as Hans Hotter, Astrid Varnay and mary. This issue will be of interest to mu- Wolfgang Windgassen, under the direction sic librarians and archivists, but you should of Joseph Keilberth (Bayreuth 1955). These also let your historical musicologists know live Bayreuth performances were taped by a about this as well – there are some real Decca team led by Peter Andry. Using a treasures to be found in these articles for new six-channel, the team made both stereo everyone. and mono recordings of each opera. Issue 4 (Volume 53), is in the mail. Keep The case of the wrong pianist an eye out for the first complete work list for the French composer and singer Gramophone magazine has recently re- Reynaldo Hahn, glimpses of Brahms’ lost vealed that some of the much hailed 100 fifth symphony, details about the creation CD recordings of the late pianist Joyce and development of an online resource on Hatto aren’t hers. Born in 1928, she had musical learning, a discussion on exchange studied with a pupil of Busoni and sought formats, and papers from the IAML meet- advice from Alfred Cortot, Benno Moisei- ing in Göteborg by Ann Kersting- witsch and Clara Haskil (so she claimed), Meuleman and Rex Lawson. Issue 4 con- and later embarked on an honest career. cludes with Geraldine Ostrove irreplace- She was Arnold Bax’s favored interpreter able international list of Recent Publica- for his Symphonic Variations, and made tions in Music. Reviews, two obituaries of some recordings. greatly-missed colleagues and the com- Hatto stopped playing in public in 1972 plete 2006 index follow the articles. due to health reasons, and continued re- Maureen Buja, PhD cording at home, her husband being a re- Editor-in-Chief cording engineer and the owner of a small Fontes Artis Musicae label. Out came recordings of Bach, Mo- zart and Beethoven, Schubert, Schumann, Festschrift for Lenore Coral Chopin, Tchaikovsky, Liszt, Prokofiev, The Festschrift for Lenore Coral, titled Ravel, Messiaen… Richard Dyer of the Music, Library, and Boston Globe wrote in 2005 that “Joyce the Academy: Es- Hatto must be the greatest living pianist says in Honor of that almost no one has ever heard of”. Lenore Coral has Those were some of the best recordings of now been published the century. by A-R Editions, And with good cause: they appear to be Inc. of Middleton, partly or all doctored copies of recordings Wisconsin. This of Vladimir Ashkenazy, Yefim Bronfman, labor of love on the Eugen Indjic, Yuki Matsuzawa, Roger Mu- part of the contribu- raro, Chen Pi-Hsien… Following a recent

5 IAML Electronic Newsletter N° 22 March 2007 flurry of publications about the purported through the produc- forgeries (such as the article by Nicholas ers and distributors Cook and Craig Sapp and the site set up by (digital objects can Pristine Classical which includes exam- be duplicated ad inf. ples), the husband has confessed having without loss of qual- done this for his wife’s sake who hadn’t ity) and last but not been aware of the hoax. Will libraries have least, to the user. to refile the recordings of this label? Does the “free” customer hold a value to the industry? An interesting paper by seri- Technology, rights ous academic researchers answers in the A better MP3? affirmative, but the industry is probably not convinced yet. This is why it has de- Like it or not, it veloped various kinds of locks (known as is a fact of life DRM – Digital Rights Management) in that MP3 has order to prevent unauthorized reuse of become a perva- digital copies and protect the right owners sive (even inva- during the copyright lifetime, but they may sive) format for hamper consumers from reusing their own digital music. It copies on distinct devices and are the target is qualitatively of hackers who manage to break them poorer than CD sound (not to speak of vi- quite quickly. nyl, for some audiophiles (hence the reis- sue of Wagner on vinyl, see above). It is Apple’s Steve Jobs came out recently also “flatter” than the “surround 5.1” sound strongly against the DRM (for whatever provided by some DVDs. motivations), and he’s not the only one. As The Fraunhofer Institute, who invented copy-protected CDs failed (Sony’ great the original MP3 format, has announced at mistake) as well as the DVD Content the last Midem show a MP3 surround 5.1 Scrambling System, it appears DRM may format. It allows for storing compressed start slowly fading out. For one thing, a multi-channel audio material and play 2004 research asserted that “file sharing them back either on regular MP3 players has no statistically effect on purchases of (in which case they will sound like regular the average album”. stereo), or on 5.1 consumer equipment (in Now we learn that Universal Music which case they will sound fully spatial- France is quietly testing the sale of DRM- ized). Fraunhofer also provides a surround free digital music with L’Olympia, the al- software player which allows for listening bum of French singer/composer Emilie to such files over common stereo head- Simon, a two-time winner in the French phones with simulated surround sound. In Victoires de la Musique (and a one-time this era of increased immersion in things student at Ircam and current user of its digital – as the omnipresent earphones and technology): an MP3 version is available the resurgence of 3D virtual worlds show – without technical restrictions, alongside this development will undoubtedly appeal with a better-sounding version which uses to the digerati. Microsoft’s WMA (Windows Media Au- DRM, like it or not? dio) with DRM. The distribution – and hence the consump- Yet the fight over the rights is far from tion – of digital contents (music and video) being over. The American Society of raises difficult economical questions to the Composers, Authors and Publishers whole chain, from the author or composer (ASCAP) has filed a motion in a US court, (who is usually short-changed anyway) asking it to confirm that Internet transmis- sions of musical works to the public, in-

6 IAML Electronic Newsletter N° 22 March 2007 cluding digital streams and downloads, are related rights (Rachmaninoff died in 1943), public performances – and hence that they he may have to have the music “rear- are subject to licensing fees such as im- ranged”. Switched-on Rachmaninoff? posed by ASCAP. An interesting proposal to “fix” the online music distribution busi- Awards, grants ness has been recently floated by Bennett Lincoff, an intellectual property law attor- Gravemeyer Award to Currier ney who had worked for a while as director H. Charles Grawemeyer, industrialist, en- of legal affairs for new media at… trepreneur, astute investor and philanthro- ASCAP: end DRMs, allow free listening, pist, created the Grawemeyer Awards at and secure licensing for redistribution. the University of Louisville in 1984 to honor ideas rather than life-long or publi- The Bolero unravel’d, at last cized personal achievement. The first The highest court in award, Music Composition, was presented the French judiciary in 1985, with other categories (“Ideas Im- has recently ruled proving World Order”, “Education”, “Re- that European Union ligion”, “Psychology”) to follow in latter Council Directive years. Some of the musical laureates were 93/98/EEC of 29 György Kurtág (2006, Concertante Op. October 1993 har- 42), Kaija Saariaho (2003, L’amour de monizing the term loin), Pierre Boulez (2001, Sur Incises) and of protection of copyright and certain György Ligeti (1986, Etudes for Piano). related rights includes all extensions due to war-related events. In other words, the The 2007 Music award went to duration of copyright is 70 years from the Sebastian Currier for Static, a work com- last day of the year during which the missioned by Meet the Composer for Mu- author died (while related rights, those of sic from Copland House. This six- performers, producers and the like, are set movement piece for flute, clarinet, violin, to 50 years). This ruling goes against the cello and piano reflects “different mean- ADAGP, a rights owner agency for graphic ings of the word ‘static,’ which can be a and plastic works – which claimed for an state of quiet balance or the erratic noise extension of 14 years of protection of between radio stations,” according to Marc Claude Monet’s works due to the two Satterwhite, who directs the music award. World Wars (Monet died in 1926). As a A faculty member at Columbia University, consequence, Ravel’s works will enter the Currier had taught at the Julliard School public domain on January 1st, 2008 (as he from 1992 to 1998 and holds a doctorate in died in 1937). Who owns them? This is a musical arts from Julliard, where he stud- very complex and juicy story, as The ied with American composer Milton Bab- Guardian told it. The Bolero alone brings bitt. Currier also has written works using over 2m€ of rights dividends per year. electronic media and video, including Nightmaze, a multimedia piece filled with While the music industry may suffer images of strange road signs that loom up from the technological advances, rights along a dark highway. owners of popular composers – even classical ones – don’t necessarily, at least Polar Music Prize to Reich and during the protection period. This is the Rollins case of Alexander Temple Wolkonsky This yearly prize, established in 1989 by Rachmaninoff Wanamaker, who will soon the late Stig Anderson, was recently inherit the full rights to his great-grand- awarded to Steve Reich, in recognition for father works (estimated to 50m$ for the “his unique ability to repeats, canon tech- last 30 years alone). In order to renew the nique and minimal variation of patterns to

7 IAML Electronic Newsletter N° 22 March 2007 develop an entire universe of evocative has awarded a prize to Bettina Ehrhardt for music, endowed with immediate tonal her movie Intolleranza, un regard sur beauty. Inspired by different musical tradi- l’action scénique de Luigi Nono. Two spe- tions, Steve Reich has transferred ques- cial mentions were awarded to Bruno tions of faith, society and philosophy into a Monsaingeon’s Glenn Gould, au-delà du hypnotic sounding music that has inspired temps and to Clara and Robert Kuperberg’s musicians and composers of all genres.” Martin Scorcese, l’émotion par la musique. The other laureate, tenor saxophonist Grammy Awards and composer Sonny Rollins, was recog- nized as “one of the most powerful and Among the (loooooong) list of recent personal voices in jazz for more than 50 Grammy awards: ● Mahler: Symphony no. years. Sonny Rollins has elevated the un- 7 (Michael Tilson Thomas, San Francisco accompanied solo to the highest artistic Orch.), for best classical album and best level – all characterised by a distinctive orchestral performance. ● Golijov: and powerful sound, irresistible swing and Ainadamar: Fountain of Tears (Robert an individual musical sense of humour. He Spano, soloists, Atlanta SO), for best opera is still active and the greatest remaining recording and best classical contemporary master from one of jazz’s seminal eras.” composition. ● Pärt: Da Pacem (Paul Hill- ier, Estonian Phil. Chamber Choir), for The prizes will be awarded by King Carl best choral performance. ● Messiaen: XVI of Sweden on May 21. Some of the Oiseaux Exotiques (John McLaughlin Wil- recent laureates were: Russian conductor liams Angelin Chang Cleveland Chamber Valery Gergiev and British rock group Led Symphony), for best instrumental soloists Zeppelin (2006), Dietrich Fischer-Dieskau performance with orchestra. ● Chopin: and Gilberto Gil (2005), György Ligeti and Nocturnes (Maurizio Pollini, DGG), for B. B. King (2004), Keith Jarrett (2003), best instrumental soloist performance Sofia Gubaidulina and Miriam Makeba without orchestra. ● Rilke Songs (Lorraine (2002), Burt Bacharach, Robert Moog and Hunt Lieberson, Peter Serking) for best Karlheinz Stockhausen (2001), and Isaac classical voice performance. ● Elgar: Stern and Bob Dylan (2000). Enigma Variations; Britten: The Young Sonning Music Prize to Pärt Person’s Guide To The Orchestra, Four Sea Interludes (Paavo Järvi, Cincinnati Estonian composer Arvo Pärt won the SO), for best engineered album, classical. 2008 Sonning Music Prize, Denmark’s top music award, for works that are “rich in spiritual overtones” according to the prize Other News of interest committee. The prize, named after Leonie Premières Sonning, has been awarded annually since 1959 to an internationally renowned com- A new symphonic poem, Theologou- poser, musician, conductor or singer. menon, by modernist composer Charles Wuorinen, was performed in January at Previous winners include Igor Stravin- Carnegie Hall under the direction of James sky, Leonard Bernstein, Mstislav Ros- Levine. It is an “abstract contemplation tropovich, Anne-Sophie Mutter and John (…) on a theological epigraph by the neo- Eliot Gardiner. Pärt’s Da Pacem was also Platonist philosopher Maximus Tyrius.” awarded a Grammy, see below. Next month, Wuorinen new Eighth Sym- Classique en images 2006 phony, Theologoumena, will be performed by the Boston Symphony for its 150th an- awards to movies on music niversary, and in June, Spin 5, commis- th The 9 edition of this prize has been sioned for the violinist Jennifer Koh, will awarded to Emmanuelle Franc for her be premièred at Columbia University. He movie Béla Bartók, l’homme juste. Sacem

8 IAML Electronic Newsletter N° 22 March 2007 is working on other works for soloists and chamber ensembles. (Source) On the other hand, the world première of John Adam’s Doctor Atomic Symphony, an orchestral adaptation of his 2005 opera, will not take place in March as scheduled but in the following season. (Source) While probably not a première, the Ar- chiv label recently released a recording of symphonies by Josef Myslivecek (1737- 1781), known as the Divine Bohemian, tive end to the figure of the jet-setting con- who was a close friend of Mozart. A re- ductor? Remote attendance, using MPEG4 view is available in the New York Times to broadcast very high quality sound and online.

3D image to remote concert halls? New and forthcoming operas Tenor-conductor Placido Domingo, direc- On The Web and elsewhere tor David Cronenberg and composer How- Digital Johan Helmich Roman ard Shore will create an opera based on the 1986 Cronenberg movie The Fly, after The Music Library of Sweden has digitized the 1957 eponymous story by George Lan- another of its rare collections. This time, it gelaan. The libretto is by David Henry- is the complete sources to the music of Hwang. It will be premièred July 1, 2008 Johan Helmich Roman (1694-1758), also at the Théâtre du Châtelet in Paris, with known as “the father of Swedish music” or three main roles: a lead baritone, a tenor “the Swedish Haendel”. Other available and a mezzo-soprano. ● John Steinbeck’s online collections on the Library’s site are Grapes of Wrath has been turned into an the Boije collection (Carl Oscar Boije af opera by composer Ricky Ian Gordon, on a Gennäs, 1849-1923) and the Swedish jour- libretto by Michael Korie. The press re- nal of musicology. ports a recent successful production. Digital Mozart Edition Remote rehearsal The Neue Mozart-Ausgabe: Digitized Ver- A recent rehearsal (February 2) of the New sion offers the musical text and the critical World Symphony – established in 1987 in commentaries of the entire Neue Mozart- Miami Beach by Michael Tilson Thomas – Ausgabe, edited by the Internationale took place transatlantically with the help of Stiftung Mozart in cooperation with the the Internet. The orchestra, its conductor Mozart cities of Augsburg, Salzburg, and Reinbert de Leeuw and soprano Barbara Vienna. Hannigan, were in Miami working on Du- Digital Beethoven tilleux’s Correspondances and Dalbavie’s Color, with both composers attending the Beethoven’s sketchbooks – as well as rehearsal and communicating (“in real- many first editions and other publications time”) from Ircam in Paris with the con- of his works – are available online courtesy ductor and soloist through a fast internet of the Beethoven-Haus Bonn. two-way connection (involving Internet2 Contemporary music portal and Renater) transmitting both sound and The French Ministry of Culture has image to a very large screen with an ade- awarded funds to an alliance of 6 institu- quate sound system. The concert included tions (CDMC, Cité de la Musique, a third piece, by Rihm. Next will we have Conservatoire de Paris, Ensemble intercon- remote conducting, thereby putting a rela-

9 IAML Electronic Newsletter N° 22 March 2007 temporain, Ircam, Médiathèque musicale Philip Glass turns 70 Mahler) to establish a common access Until this year, Philip Glass has been given point to their available collections, digital precious little attention in his hometown of and physical and related information (con- Baltimore. Now, at age 70, he is finally certs, events, people…). honored with a performance by the The project is managed by the CDMC Baltimore Symphony Orchestra under the and developed by Ircam, in conjunction direction of Marin Alsop – a whole pro- with the other partners. This portal, sched- gram’s worth at that. Other concerts are uled to open in 2008, will use the OAI taking place elsewhere. For those who’d (Open Archive Initiative) “light” protocol like to explore his music, the Glass Engine to harvest metadata from the existing sites provides deep navigation of the music of and databases of the participants. Philip Glass. Personal interests, associa- tions, and impulses guide the listener Contemporary music on RSR through an expanding selection of over Brush up on your French skills. Radio sixty Glass works. Suisse Romande has a very interesting online program on contemporary music, Transition appropriately called Musique aujourd’hui (“Music Today”), every Sunday at 10pm Brian Redfern (GMT+1). Recent talks focused on Pierre Brian was President 1980-3, Editor of Fon- Schaeffer and musique concrete, on tes 1987-93, and had been Chair of the Helmut Lachenmann and Brice Pauset, and Cataloguing Commission. He had, of on the younger generation of Franck course, been a very great deal besides, and Bedrossian and Raphaël Cendo. doubtless proper obituaries will be written. We in the UK branch have lost (along I People am sure with many others) a great friend, a Change at the CDMC (Paris) guru to many of those who came a generation after to him, a wise and king figure who seemed to have been there for ever. Malcolm Jones Gian Carlo Menotti (1911-2007) The celebrated composer was born in Italy (Cadegliano, province of Varese…). He first studied at the Conservatory of Milano, and, at upon the advice of Arturo Toscan- ini, with Rosario Scalero at the Curtis In- stitute of Music in Philadelphia. won the Pulitzer Prize and the New York Drama Circle Critics’ Award for his first full- Marianne Lyon, who has directed the length work, The Consul, in 1954. He is Centre de documentation de la musique well known for his many operas (such as contemporaine in Paris has retired after 30 The Medium, The Telephone or L’Amour à years of dedicated work to the promotion trois, or Amahl and the Night Visitors) but of French contemporary music. he also wrote ballet music and songs. In Her successor will be Laure Marcel- 1958, he founded the Festival of the Two Berlioz, music advisor at the Rhône-Alpes Worlds, in Spoleto, Italy, and in 1977, regional cultural affairs department. Spoleto USA (in Charleston, SC). In 1993 he became Director of the Rome Opera.