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International Association of Music Libraries, Archives and Documentation Centres (IAML) Congress Rome, Italy 3–8 July 2016, Auditorium Parco della Musica Programme with abstracts (last updated 30 June 2016) SUNDAY, 3 JULY 9.00–13.00, 14.00–17.00 Multimedia Library IAML Board meeting Board members only 13.00–19.00 Santa Cecilia Hall foyers Registration Special exhibition “A glimpse into the Archivio Storico Ricordi” The exhibition will be open along the entire congress with the same hours as the Registration Desk Ricordi is synonymous with great music: the artists that the publisher Ricordi has promoted over more than two centuries of activity left a profound mark on the world of opera, classical instrumental and pop. Today you can retrace this fascinating story through the treasures of the Archivio Storico Ricordi, the most important private music collection in the world: the great artists who have left an indelible mark in the musical culture, the immortal works of geniuses such as Giuseppe Verdi and Giacomo Puccini, the daring explorations of contemporary composers. Founded in 1808, it represents the historic legacy of the Ricordi publishing house, which was acquired in 1994 by the German media group Bertelsmann which, henceforth, ensures its conservation and cultural development. The extraordinary importance of the Archivio lays in the variety of its documents, which offer a broad comprehensive reflection of Italian culture, industry and society. The Archive, housed within the Palazzo di Brera in Milan, collects manuscript scores, letters by composers, librettists and singers, costume and set designs, librettos, historical photographs and Art Nouveau posters. The exhibited documents offer important information not only related strictly to musical activity, but also to the pictorial, scenographic and decorative arts, to the publishing company and to the theatre world. 19.00–20:00 Santa Cecilia Hall Opening Ceremony and reception With a musical welcome by the JuniOrchestra of the Accademia Nazionale di Santa Cecilia, conducted by Simone Genuini Monday, 4 July IAML Rome 2016 – Programme (last updated 30 June 2016) MONDAY, 4 JULY 8.30–9.00 Multimedia Library The IAML Board Welcomes First Time Attendees. An introductory session for those attending their first IAML meeting 9.00–10.30 Santa Cecilia Hall Opening session: Music in Roma. Performing, broadcasting, archiving Presented by the Organizing Committee Announcements from the Congress Organizers Introduction and chair: Annalisa Bini (Accademia Nazionale di Santa Cecilia) Maria Pia Ammirati (RAI Teche, Director) Massimo Palombella (Cappella musicale pontificia Sistina, Music Director) Massimo Pistacchi (Istituto Centrale per i Beni sonori e Audiovisivi, Director) 10.30–11.00 Coffee break Coffee Corner for Mentees and Mentors BArt Central Cafeteria of the Auditorium 11.00–12.30 Santa Cecilia Hall Archives of music publishers Presented by the Archives and Music Documentation Centres Branch Chair: Marie Cornaz (Bibliothèque royale de Belgique, Brussels) Pierluigi Ledda (Archivio Storico Ricordi, Milan), Gabriele Dotto (Archivio Storico Ricordi, Milan) Setting the stage for a broad digital network: Positioning the Archivio Storico Ricordi as a hub for collaborative projects The Archivio Storico Ricordi began and grew with the publisher Ricordi, founded in 1808. Considered one of the most important private musical archives, it preserves the original handwritten scores of 23 of Verdi’s 28 operas, all the operas by Giacomo Puccini (except La Rondine), and also a great many works by composers like Bellini, Rossini and Donizetti up to contemporaries like Nono, Donatoni, Sciarrino and Bussotti. The extraordinary importance of the Archive resides in the variety of documents it preserves, which offer a broad panoramic vision of the culture, industry and society over the course of two centuries of Italian history. In the Archive, housed in the Braidense National Library in Milan, are preserved around 8.000 scores, more than 16.000 letters by musicians, librettists, singers and all manner of people connected to these arts, around 10.000 costume and set designs, more than 9.000 librettos, 6.000 historical photographs, and a large collection of Art Nouveau and Deco posters created by some of the main artists of the time. The Archivio Ricordi protects, preserves and promotes the knowledge of this artistic and documentary heritage, provides research services, digitization, and dissemination of the materials among organizations with cultural purposes, universities and other educational institutions. Since 2011 a project group has been working on a long‐term plan to index the collection, launching a process to catalogue, digitize and preserve the original documents. The inventory is also to be made available to the international research community in digital form. The archive is building virtual networks with other cultural and scientific institutions for this purpose. In this sense, the Archive has recently developed a tablet app about the life of Giuseppe Verdi, a sub‐website devoted to the historical catalogue of the publisher, now fully accessible for free, and is currently evaluating the implementation of new digital technologies (e.g. semantic web, linked open data, interoperability with external datasets) to make available its heritage in better ways. Jennifer A. Ward (Répertoire International des Sources Musicales, Frankfurt) Tracing the footsteps of the Ricordis in Leipzig Archives Nearly every recounting of Casa Ricordi's history briefly mentions the travels of founder Giovanni Ricordi (1785–1853) from Milan to Leipzig to study engraving at the firm of Breitkopf & Härtel in the summer of 1807, one year before he founded his 2 Monday, 4 July IAML Rome 2016 – Programme (last updated 30 June 2016) own firm. But details about Giovanni's sojourn to Germany and other aspects that connect the early history of Ricordi to Germany remain unexplored. Since no information on Giovanni Ricordi's earliest years with his firm is extant at the Ricordi Historical Archive in Milan, attempts to look for evidence of Ricordi's excursions to Leipzig may take place in Leipzig itself. Holdings in the Sächsisches Staatsarchiv (Saxon State Archives), which houses the Breitkopf & Härtel Archives and other publishers' archives, may be supplemented by documents found in the Stadtarchiv Leipzig (Leipzig City Archives). By exploring these Leipzig archives, we can piece together the relationship of Giovanni Ricordi, just starting out in Italy but ambitious with a well‐developed business sense, with established German publishers and find out more about the motivations and outcomes of Ricordi's studies in Leipzig. Martina Rebmann (Staatsbibliothek zu Berlin) Ein Archiv schreibt Musikgeschichte – 200 Jahre Schott‐Archiv Mainz Im Jahr 2014 ist es einem Konsortium von Ankäufern, darunter die Staatsbibliothek zu Berlin, gelungen, das Historische Archiv des Musikverlags Schott (Mainz) zu erwerben. Damit kam auf einen Schlag ein Musikverlagsarchiv in die öffentliche Hand, das an Größe und Geschlossenheit kein Pendant hat. Es umfasst die Geschäftsakten (Korrespondenz, Druck‐ und Stichbücher, Kopierbücher, Kontojournale) von 1787 bis 1945 sowie das gesamte historische Herstellungs‐, Musikhandschriften‐ und Erstausgabenarchiv seit 1810 bis etwa 1950 – viele 100 Meter Archivmaterial. Die Aufteilung des für die Wissenschaft unschätzbar wertvollen Archivs auf die beiden Staatsbibliotheken in Berlin und München sowie einschlägige Forschungseinrichtungen gewährleistet im jeweiligen Sammlungskontext die bestmögliche Nutzbarkeit. Die Staatsbibliothek zu Berlin erhielt dabei umfangreiche Autographen‐ und Briefbestände mit herausragenden Namen und weniger bekannten Briefpartnern von Franz Abt über Richard Wagner bis zu „Zumsteeg’s Witwe“. Mehr als 200 Jahre Verlagsgeschichte sind in diesem Archiv niedergelegt und es ist keine Übertreibung, dass dieser Verlag Musikgeschichte geschrieben hat: bereits der Gründer des Verlags, Bernhard Schott, stand mit bedeutenden Komponisten in engem Austausch und hat so die Entstehung von musikalischen Werken befördert. Viele Forschungsfragen können aus dem Material künftig beantwortet werden: wie nehmen Verlage Einfluss auf die Musikgeschichte durch Annahme bzw. Ablehnung von Werken? Gibt es Parallelentwicklungen in Deutschland, etwa am Leipziger Verlagsstandort oder auch im europäischen Ausland – z. B. beim Verlag Ricordi, Mailand? Welche Rolle spielt das Verlagsprogramm für die Entwicklung einzelner Gattungen, gibt es direkte Einflüsse auf die Verbreitung von Werken bzw. Genres? Natürlich wird auch ein Schub für die Forschung einzelner wichtiger Komponisten ausgeübt, wie hat ein Verlag die Karriere von Komponisten beeinflusst? Gemeinsam mit der Bayerischen Staatsbibliothek in München ist ein Plan zur Erschließung entwickelt worden, damit die Nutzung verbessert und der Zugang über das Internet ermöglicht wird. Das Referat geht auf Fragen der gemeinsamen Erschließung verteilter Bestände ein, widmet sich rechtlichen Problemen bei der Erschließung und Digitalisierung von teilweise urheberrechtlich geschütztem Material und es werden die Ideen zu einem digitalen Schott‐Portal im Internet diskutiert. An archive makes music history – 200 years Schott‐Archiv Mainz (Schott‐Archive Mainz) In 2014, a consortium of purchasers including the Staatsbibliothek zu Berlin (Berlin State Library) successfully purchased the Historisches Archiv des Musikverlags Schott (Mainz) (Historic Archive of the music publisher
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    Vahdah Olcott-Bickford Collection, 1800-2008

    http://oac.cdlib.org/findaid/ark:/13030/c8zp4c79 No online items Guide to the Vahdah Olcott-Bickford Collection, 1800-2008 Special Collections & Archives Oviatt Library California State University, Northridge 18111 Nordhoff St. Northridge, CA, 91330 URL: http://library.csun.edu/SCA Email: [email protected] Phone: (818) 677-2832 Fax: (818) 677-2589 © Copyright 2012 Special Collections & Archives. All rights reserved. Guide to the Vahdah IGRA/VOB 1 Olcott-Bickford Collection, 1800-2008 Overview of the Collection Collection Title: Vahdah Olcott-Bickford Collection Dates: 1800-2008 Bulk Dates: 1923-1979 Identification: IGRA/VOB Creator: Olcott-Bickford, Vahdah, 1885-1980 Physical Description: 88.71 linear feet Language of Materials: English French German Spanish; Castilian Italian Portuguese Repository: International Guitar Research Archives (IGRA) Abstract: Vahdah Olcott-Bickford, née Ethel Lucretia Olcott, was an professional teacher of the Guitar, most well known for her influential Guitar Method, Op. 25, and the Advanced Course, Op. 116. She also wrote numerous articles about the guitar, and corresponded with other musicians and enthusiasts about the instrument throughout her long career. The Vahdah Olcott-Bickford Collection documents Olcott-Bickford’s professional life as a classical guitarist, an avid member of various organizations in the United States, her work with guitarists around the world, and her personal life. The collection includes scores, letters, photographs, newspaper clippings, receipts, articles, lecture notes, and guest books, and dates from 1874-1980. Biographical Information: Ethel Lucretia Olcott was born on October 17, 1885 in Norwalk, Ohio. She was three years old when she and her parents moved to Los Angeles, California. At the age of eight she started guitar lessons with George Lindsay, a well-known classic guitarist.
  • [T] IMRE PALLÓ

    [T] IMRE PALLÓ

    VOCAL 78 rpm Discs FRANZ (FRANTISEK) PÁCAL [t]. Leitomischi, Austria, 1865-Nepomuk, Czechoslo- vakia, 1938. First an orchestral violinist, Pácal then studied voice with Gustav Walter in Vienna and sang as a chorister in Cologne, Bremen and Graz. In 1895 he became a member of the Vienna Hofoper and had a great success there in 1897 singing the small role of the Fisherman in Rossini’s William Tell. He then was promoted to leading roles and remained in Vienna through 1905. Unfor- tunately he and the Opera’s director, Gustav Mahler, didn’t get along, despite Pacal having instructed his son to kiss Mahler’s hand in public (behavior Mahler considered obsequious). Pacal stated that Mahler ruined his career, calling him “talentless” and “humiliating me in front of all the Opera personnel.” We don’t know what happened to invoke Mahler’s wrath but we do know that Pácal sent Mahler a letter in 1906, unsuccessfully begging for another chance. Leaving Vienna, Pácal then sang with the Prague National Opera, in Riga and finally in Posen. His rare records demonstate a fine voice with considerable ring in the upper register. -Internet sources 1858. 10” Blk. Wien G&T 43832 [891x-Do-2z]. FRÜHLINGSZEIT (Becker). Very tiny rim chip blank side only. Very fine copy, just about 2. $60.00. GIUSEPPE PACINI [b]. Firenze, 1862-1910. His debut was in Firenze, 1887, in Verdi’s I due Foscari. In 1895 he appeared at La Scala in the premieres of Mascagni’s Guglielmo Ratcliff and Silvano. Other engagements at La Scala followed, as well as at the Rome Costanzi, 1903 (with Caruso in Aida) and other prominent Italian houses.